FRANCIS CUTTING

Collected Lute Music

transcribed and edited

by
Jan W.J. Burgers

Complete Edition

TREE EDITION
FRANCIS CUTTING

COLLECTED LUTE MUSIC

 FRANCIS CUTTING

COLLECTED LUTE MUSIC

transcribed and edited

by

JAN W.J. BURGERS

COMPLETE EDITION

Introduction Tablature

Commentary Transcriptions

© 2002
TREE EDITION
LÜBECK
 PREFACE
Ever since Martin Long’s publication in 1968
of the Selected Works of Francis Cutting, I
have been fascinated by the music of this
enigmatic composer, and it has been my de-
sire to know all of his works. As the years
went by and a complete edition did not ap-
pear, I decided to collect his music myself.
Now the work is done, and I believe it has
been worth the effort. The quality of Cut-
ting’s compositions rank them among the
best of the rich Elizbethan repertoire, and the
quantity of his output makes him one of the
leading lutenists of the period. It is my hope
that with the present edition Cutting’s music
will win the attention it rightly deserves.
When collecting and editing Cut-
ting’s works I was fortunate enough to re-
ceive help from many persons. I would like
to thank Andrew Ashbee, Anthony Bailes,
Anthony Fiumara, René Genis, Lynn Hulse
and Tobias Neumann, who assisted me at one
point or another during the work. Special
mention should be made of John Robinson,
who generously let me share in his knowl-
edge of lute music as well as his collection
of photocopies of manuscript sources;
Stewart McCoy, who took great pains to
scrutinize the tablature and the Commentary;
and Ian Harwood, who critically read the
Introduction, checked manuscripts in the
Cambridge University Library and was ever
ready to give good advice when it was
needed. Their help has improved the book,
and made it a pleasure to write. Finally I am
grateful to Wayne Cripps, for allowing the
free use of his TAB software, and to Albert
Reyerman, who has been willing to publish
this book as a TREE Edition.
Amsterdam, January 2002 JWJB
 CONTENTS

Introduction 1
Cutting’s Life 1
Cutting’s Works 5
Cutting’s Style 12
About the present edition 29

Tablature 31

Paired pavans and galliards

1a Mrs. Anne Markham’s Pavan 32
1b Mrs. Anne Markham’s Pavan 34
2 Galliard 36
3 Pavan 37
4 Galliard 38
5a Pavan 39
5b Pavan 41
6 Galliard 43
7 Pavan 44
8 Galliard 46
9 Pavan 47
10 Galliard 48
11 E. Porter’s Pavan 49
12 Galliard 50
13a Pavan Sans Per 51
13b Pavan Sans Per 52
14 Galliard 54

Single pavans
15 Pavan 54
16 Pavan 56
17a Pavan 58
17b Pavan 59
18 Groninge Pavan 61
19 Sir Fulke Greville’s Pavan 62
20 Pavan 64
21a Pavan (Pavana Bray) 66
21b Pavan (Pavana Bray) 67
Single galliards
22 Galliard 69
23 Galliard 70
24 Galliard (on Go from my Window) 71
25 Galliard 72
26 Galliard 72
27 Galliard 74
28a Galliard 75
28b Galliard 75
viii 29 Galliard 76
30 Galliard 78
31 Galliard 79
32 Galliard 80
33 Galliard 81
34 Galliard 82
35 Sir Walter Raleigh’s Galliard 83
36 Galliard 84
37a Galliard 85
37b Galliard 86

Almains
38a Almain 87
38b Almain 88
38c Almain 89
39 Almain 90
40a Almain 91
40b Almain 91

Toys and related pieces

41 Jig 92
42a Toy 93
42b Toy 93
43 The Squirrel’s Toy 94
44 Cutting’s Comfort 94

Variations and Ballad tunes

45 Greensleeves 94
46 My Lord Willoughby’s Welcome Home 95
47 Packington’s Pound 96
48a Walsingham 97
48b Walsingham 98
Setting of a vocal piece
49 Lullaby (William Byrd) 100

Lute duet
50 Short Almain 101
Appendix A: Works of uncertain ascription 103
51 Lachrimæ Pavan 104
52 Quadro Pavan 106
53 Passion Galliard 107
54 Galliard 108
55 The Woods so Wild 109
Appendix B: Works for Bandora 113
56 Galliard 114
57 The New Hunt sundry Ways 114

Appendix C: Lost Lute Work 117

58 Pavan 118
Commentary 121
Transcriptions 161 ix

Paired pavans and galliards

1a Mrs. Anne Markham’s Pavan 162
1b Mrs. Anne Markham’s Pavan 165
2 Galliard 168
3 Pavan 170
4 Galliard 172
5a Pavan 174
5b Pavan 177
6 Galliard 179
7 Pavan 182
8 Galliard 184
9 Pavan 186
10 Galliard 188
11 E. Porter’s Pavan 190
12 Galliard 191
13a Pavan Sans Per 192
13b Pavan Sans Per 195
14 Galliard 197
Single pavans
15 Pavan 198
16 Pavan 201
17a Pavan 204
17b Pavan 206
18 Groninge Pavan 209
19 Sir Fulke Greville’s Pavan 211
20 Pavan 214
21a Pavan (Pavana Bray) 217
21b Pavan (Pavana Bray) 218

Single galliards
22 Galliard 221
23 Galliard 223
24 Galliard (on Go from my Window) 225
25 Galliard 226
26 Galliard 228
27 Galliard 230
28a Galliard 232
28b Galliard 233
29 Galliard 235
30 Galliard 237
31 Galliard 239
32 Galliard 241
33 Galliard 243
34 Galliard 244
35 Sir Walter Raleigh’s Galliard 246
36 Galliard 248
37a Galliard 250
37b Galliard 251
Almains
38a Almain 253
38b Almain 254
38c Almain 256
39 Almain 258
x 40a Almain 259
40b Almain 260

Toys and related pieces

41 Jig 261
42a Toy 262
42b Toy 262
43 The Squirrel’s Toy 263
44 Cutting’s Comfort 263
Variations and Ballad tunes
45 Greensleeves 264
46 My Lord Willoughby’s Welcome Home 265
47 Packington’s Pound 266
48a Walsingham 267
48b Walsingham 269

Setting of a vocal piece

49 Lullaby (William Byrd) 272

Lute duet
50 Short Almain 274

Appendix A: Works of uncertain ascription 277

51 Lachrimæ Pavan 278
52 Quadro Pavan 280
53 Passion Galliard 283
54 Galliard 284
55 The Woods so Wild 286

Appendix B: Works for Bandora 291

56 Galliard 292
57 The New Hunt sundry Ways 292

Appendix C: Lost Lute Work 297

58 Pavan 298

List of sources 299

List of Abbreviations 303
 INTRODUCTION

Cutting’s Life
Until recently almost nothing was known of the
Elizabethan lutenist and composer Francis
Cutting. In the 1980 edition of the New Grove
Diana Poulton mentioned only the reference in
the poor rate book of the parish of Saint Clement
Danes in Westminster, London, where a Francis
Cutting was rated at 4d in the years 1583, 1588
and 1589.1 Since then further information has
come to light of this Cutting in the same parish,
so in the 2001 edition of the New Grove Robert
Spencer was able to say a good deal more about
him.2 This new information, published mainly
by Lynn Hulse,3 partly on the basis of an old
article by Charles Lethbridge Kingsford, 4
strongly suggest that this Francis Cutting indeed
was our lutenist.
From 21 March 1571 Francis Cutting, gentle-
man, rented one of the tenements adjoining
Arundel House, the London residence of the
Howard family. According to a survey of
Arundel House drawn up in 1590, the tenement
was rented by him for a period of 21 years, for
the sum of 40s per annum. On 18 February 1583
he was granted a lease in reversion on the
property by Philip, Earl of Arundel.5 In this house
in the Strand, facing Saint Clement Danes’
churchyard (see Ill. 1 and 2), Cutting must have
lived from at least March 1582, because from
then on we find his children in the baptismal
register of Saint Clement Danes. Perhaps Francis
Cutting lived somewhere else before that time,
as can also be deduced from the fact that he was
mentioned in the parish poor rate book from
1583 onward, and from the fact that he, in
contrast to many of Arundel’s tenants, was not
assessed in the surveyor’s accounts for the
highways and bridges of the parish until 1587;
thereafter he was rated at 4d a year.6
Francis Cutting and his wife Elizabeth had at
least ten children. Eight of them are recorded in
the baptismal register of the parish. These are:
William (baptised 1 March 1582, probably died
before 1597, as he was not referred to in his
mother’s will), Thomas (7 November 1583),
John (16 November 1584), Ann (26 November
1585), ‘Elsabeth’ (6 February 1587), Edward (19
May 1588), ‘Frauncis’ (7 September 1589, but
buried a day later, on 8 September), and another
John (8 March 1595); all are referred to as ‘ye
sonn/daughter of Frauncis [Cutting]’.7 A further
two children are mentioned in Elizabeth’s will:
Margaret, born some time before September
1576, and Christopher who was under 21 years
of age at the time of his mother’s death in 1597.
It is possible, however, that these were Eliza-
beth’s children from an earlier marriage; it seems
likely that Francis and Elizabeth were married
in 1580 or 1581, as they had seven children at
one to one-and-a-half year intervals between
1582 and 1589.
Francis Cutting died on one of the first days
of the year 1596; according to the parish register
‘Frauncis Cutting housholder’ was buried on 7
January. He did not leave a will, so perhaps his

1 Poulton, ‘Francis Cutting’.

2 Spencer, ‘Francis Cutting’.
3 Hulse, ‘Francis and Thomas Cutting’. The following paragraphs are mainly based on this article.
4 Kingsford, ‘Bath Inn or Arundel House’, first noticed in the musicological literature by Stevens, ‘A songe
of fortie partes’, pp. 174-175.
5 Kingsford, op. cit., p. 270. All years mentioned are in modern reckoning.
6 Hulse, op. cit., p. 73.
7 Ibid. These data have been checked on a microfilm of the parish register of Saint Clement Danes, 1558–
1638/9, kept in Westminster City Library: A Register of Baptismes, Marriages, and Burialls in the parrish
of St. Clement Danes [...] written by me John Morecroft mynister in the year of grace 1598. This film (no.
574623) was made in October 1968 by the Genealogical Society, Salt Lake City, Utah.
2

Ill. 1. Conjectural Plan of the North side of Arundel House. The black tenement was held by Francis
Cutting. From: Kingsford, ‘Bath Inn or Arundel House’, p. 262.

death was unexpected. His widow Elizabeth died
shortly after September 1597. Her will, made in
the same year 1597, has been handed down, and
from it we learn – assuming that all Francis’
wealth passed to her – that their estate was worth
approximately £154 plus the value of the lease
on the tenement and the goods and chattels.8 So
Cutting was rather well-to-do, and this agrees
with Poulton’s suggestion that he was not a
professional musician, but rather a gentleman,
living quietly outside the circle of musicians
directly connected with the court. As a matter
of fact, in the 1590 survey of the Arundel House
tenements Francis is called a ‘gentleman’.9 It is
possible that he was a servant as well as a tenant
of the Howards; the fact that Lord Thomas
Howard still owed Elizabeth £20 in 1597 can
also be seen as an indication that Francis had
been employed by him. As we shall see, his son
Thomas in all probability became a professional
musician, and this also indicates that Francis’
social status had not been very elevated.
Poulton was also the first to suggest that
Cutting originated from East Anglia, where his
surname was more common than in other parts
of the country. This suggestion was reiterated
by Hulse and Spencer, who both add that this
connection with East Anglia is also implied by
a bill of complaint brought against Cutting and
one Richard Smyth of Suffolk in September
1591 by a Norfolk gentleman named William
Smyth of Great Yarmouth. Furthermore, county
ties could have contributed to the original asso-
ciation between Cutting and the Howards, who
owned considerable property in east Anglia. To
this we can add that in Suffolk in the sixteenth
and seventeenth centuries were several families
named Cutting(e), as is shown by the Internatio-
nal Genealogical Index.10 There is a Cuttinge
family in Stoke-by-Nayland, and an extended
Cutting family in Peasenhall, both in Suffolk.
Interestingly, in the latter family we find branch-
es with the same Christian names as in Francis
Cutting’s family. An obvious candidate as a

8 Hulse, ‘Francis and Thomas Cutting’, p. 73.

9 Spencer, ‘Francis Cutting’, supposes that this one reference of Cutting as a ‘gentleman’ is probably a mis-
take. Under the other nineteen tenants of Arundel House we find two more gentlemen, but most of Cutting’s
neighbours were artisans, such as a taylor, a ‘sadler’, a pewterer, a blacksmith, and so forth.
10 The information was found on the internet version (autumn 2000: www.familysearch.org) as well as, with
much more results, on the CD-ROM version of the International Genealogical Index.
 3

Ill. 2. Arundel House and the church of Saint Clement Danes, from Hollar’s view of West Central
London, probably drawn between 1656 and 1666.

possible relative of Francis is Thomas Cutting
of Peasenhall, who married Amy Cady in 1563.
They had a daughter Alice baptised on 2
September 1571. Amy was buried shortly
thereafter, on 11 September. Thomas remarried
in 1572, with Susan Stebbing from Pettistree,
Suffolk. From this union sprang the children
Thomas and his twin sister ‘Oliffe’ (1573),
Henry (1577), Mary (February 1579), Susan
(December 1579), Elizabeth (1587) and Edmund
4 (1589). The oldest son Thomas married in 1603
a woman named Agnes, and they had at least
four children: Elizabeth (1604), John (1607),
Thomas (1610) and Francis (1613). This Francis
died 19 December 1680 and fathered four
children that we know of: Elizabeth, Ann, John
and Grace. The lutenist Francis Cutting may
have been a relative, perhaps a (younger) brother,
of the first Thomas Cutting from Peasenhall.
Another relative could be John Cuttinge from
Peasenhall, who had a daughter Maria baptised
in 1558 and a son Symon in 1560.
The data of the life of the Francis Cutting in
Westminster agree well with the lute music of
the composer Francis Cutting, none of whose
pieces is likely to have been composed later than
1596: they are mostly for a six-course instru-
ment, and none requires more than seven
courses.11 Moreover, in Elizabeth’s will a ‘seal
Ringe of the lute’, which obviously had belonged
to Francis, was bequeathed to her son Thomas,
and this choice of the lute as an emblem shows
that this instrument had a special significance
not only to Francis, but also to Thomas. Now, it
is likely that this son Thomas is the same as the
professional lutenist Thomas Cutting who from
1608 to his death in april 1614 served Lady
Arbella Stuart, King Christian IV of Denmark,
Henry Prince of Wales and William Cavendish
successively.12 All in all it is almost certain that
the Francis Cutting who lived in the parish of
Saint Clement Danes from about 1581, and was
buried there on 7 January 1596, is the same as
our lutenist.
As we saw before, Francis Cutting probably
married in 1580 or 1581 and took up full-time
residence in his tenement in the Strand in about
the same period. We also saw that he was
connected to the Howards, perhaps as a servant.
He possibly followed in the wake of his master
Philip Howard, who succeeded to the earldom
of Arundel in 1580 and so came into possession
of Arundel House. Cutting’s connection with the
11 Spencer, ‘Francis Cutting’.
12 On Thomas Cutting see Poulton, ‘Thomas Cutting’, Spencer, op. cit., Hulse, ‘Hardwick MS 29’, pp. 63-64,
and Ward, ‘Dowland miscellany’, pp. 149-151 (App. Z: ‘Five letters concerning Thomas Cutting’s appoint-
ment to the court of Christian IV’).
13 DNB; Kingsford, ‘Bath Inn or Arundel House’, pp. 250-252.
14 Kingsford, op. cit., p. 251.
Howards cannot have been an altogether happy
experience, due to the unfortunate life of his
patron.
Philip Howard (1557–1595), the first Earl of
Arundel of the Howard family, was out of favor
at court. In 1582 his wife Anne Dacre openly
professed Romanism, and under her influence
Howard himself in 1584 also converted to
Roman Catholicism, as a result of which he
became a prisoner in his London house. After
attempting to escape from England he was fined
and rigorously imprisoned for life in 1585. In
1589 he was even condemned to death, on the
charge of having had a mass said for the success
of the Spanish Armada. Although he was not
executed, he remained in the Tower untill his
death.13 In the family a story was remembered
that may cast some light on the significance of
music in their lives: it was told that the night
before Lord Howard was condemned a nightin-
gale was heard to sing with great melody in a
jessamine tree in the garden of Arundel House,
where his countess and children did remain, a
thing neither before nor since heard in that
place. 14 After the earl’s attainder in 1589,
Arundel House with his other estates was
declared fortfeit. In December 1590 the countess
was allowed the use of certain rooms in the old
part of the House, but it seems uncertain whether
she resided there for any considerable time.
With such a patron, it is not difficult to see
why Cutting could not play a prominent role in
the most important musical circles of London,
those of the court and its associated noble houses.
The other contacts he had, judging from the
dedicatees of his works, were not for the most
part very helpful either in this respect, and not
very numerous anyhow. Pieces of his were
dedicated to Mrs. Anne Markham, the wife of
the socially not very elevated soldier Griffin
Markham, an E. Porter of whom nothing is
known, and (probably) Sir Walter Raleigh, at a
time however when he fell out of favour at court.
More substantial contacts were Fulke Greville,
the dedicatee of one of Cutting’s pavans, and
Philip Howard’s younger brother Thomas
Howard, who was to become first Earl of
Suffolk, from whom Cutting received at least
one gift.15
Cutting’s works
Cutting was probably an amateur, not a
professional lutenist like the Johnsons or the
Dowlands. It is thus very unlikely that he
received a professional musical training, for
instance at a University (in the sources there is
never any mention of a degree with his name).
Still, he must have learnt the art from someone,
because his music shows the hand of a very
skilful musician, not only as a virtuoso but also
as a composer. Wilburn Wendell Newcomb, who
made a comprehensive study of English lute
music, states that Cutting was ‘a good and
thoroughly educated composer.’16 However, it
is not known where or with whom this musical
education was acquired. It does not seem likely,
in view of the quality and ‘learned’ style of his
compositions, that he was completely a self-
taught man.
Cutting’s seclusion from the musical main-
stream of the court circles could explain the
curious fact that his works, although of high
quality and produced in considerable number,
are found relatively sparsely in the sources. In
this edition we include all lute works, 49 solos
and one treble-and-ground duet, that are ascribed
to Francis Cutting or are very probably compos-
ed or arranged by him. To these are added, in
Appendixes, five more lute pieces that are
probably or possibly by his hand, the two
bandora works to which his name is attached, 5
and a presumed lute pavan which is only handed
down in the form of a viol duet.17 This rich output
– exceeded only by that of Dowland and Hol-
borne, and roughly equalled by that of John
Johnson and Bacheler – is handed down only in
a limited number of sources, of which most
contain just a few of his compositions.
In the List of sources (see pp. 211-214) we
count 26 manuscripts and two printed books in
which music by Cutting is found. In this list are
five sources of continental provenance,18 but in
these only two of his works were included. These
are galliard no. 22, found in two continental
manuscripts, and Sir Walter Raleigh’s Galliard
no. 35, but the foreign copies of the latter are
probably based on Richard Allison’s version of
this work (see the Commentary to this piece). It
is clear that Cutting’s music was hardly known
outside England.
Even in England he was hardly a household
name. Of the 23 English sources in which his
music is included, fifteen have just one or two
of his works; in the Pickeringe manuscript we
find three pieces (and Johnson’s ground on
which Cutting wrote his only treble, no. 50).
More important for the dispersion of Cutting’s
music are the Euing and Hirsch manuscripts and
Add.31392, with respectively eight (or nine),
five (or six) and six works. Not much is known
of these books, but all three were probably
written some time after Cutting’s death:
Add.31392 is dated by Julia Craig-McFeely
circa 1605, Euing circa 1610 and Hirsch still
later, circa 1620.19 Cutting’s music is for the
greater part handed down in two sources, or
rather a group of sources and a printed book,
stemming mostly from his own life time or very
shortly thereafter. These are the three earliest

15 Spring, Lute in Britain, p. 107, on the basis of Hulse, Musical Patronage, which work I was not able to
consult.
16 Newcomb, Englischen Lautenpraxis, p. 74: ‘einen guten Komponisten von gründlicher Ausbildung’. In
the next section, Cutting’s musical style will be analysed more fully.
17 Not included is one setting for bandora of Cutting’s lute pavan no. 9, a part for a consort of which the other
parts are lost, and which probably was adapted from the lute solo by someone else, because no other
consort pieces by Cutting are extant.
18 Aegidius, Besard, Leipzig, Nürnberg and Thysius.
19 Craig-McFeely, Lute Manuscripts and Scribes. The dating of the Hirsch manuscript however is controver-
sial, an earlier date (c. 1595) being given by others.
6

Ill. 3. Dd.5.78, f. 15r: the last part of Cutting’s pavan no. 9, copied by Matthew Holmes.

manuscripts for solo lute that were written by
Matthew Holmes, and A new Booke of Tabliture,
published in London by William Barley in 1596.
Matthew Holmes was a precentor and singing
man at Christ Church Cathedral, Oxford, from
1588 to 1597, and thereafter at Westminster
Abbey until his death in 1621. An important
study by Ian Harwood brought to light that he
was the writer of nine volumes with music for
various instruments, now preserved in the Cam-
bridge University Library.20 These books have
been described as ‘the largest and most important
body of instrumental music that have come down
to us, not excepting even the famous Fitzwilliam
Virginal Book’, and as ‘the richest store of
English lute music in the world’.21 Of these
manuscripts four are mainly for solo lute music:
Dd.2.11, Dd.5.78, Dd.9.33 and Nn.6.36. Cut-
ting’s works are found in Dd.2.11 (16 pieces),
Dd.5.78 (26 pieces) and Dd.9.33 (13 pieces). Of
the 50 lute pieces certainly written by Cutting,
only four are missing in these Holmes’ manu-
scripts.22 (The total number of transcripts of
works by Cutting in these books adds up to 56
as ten pieces appear in two versions.23) The
significance of Holmes’ lute books for Cutting’s
music is amply illustrated by the fact that no less
than 31 pieces would have been unknown to us
without them. Unique pieces are found in all
these manuscripts: seven in Dd.2.11, thirteen in

20 Harwood, ‘Cambridge lute manuscripts’.

21 There is much literature on these sources; for a recent overview see Spring, Lute in Britain, pp. 115-124, on
which this paragraph is based (the citations are taken from p. 115).
22 Nos. 27, 44, 45, 47. Included is the lute duet no. 50 in Dd.3.18, also written by Matthew Holmes.
23 These are nos. 4, 5, 7, 13, 14, 17, 28, 35, 38 and 48. When also counting a bandora work, pieces of uncertain
ascription and closely related works by other composers, we reach a total number of 63 Cutting pieces in
these books.
Dd.5.78 and eight in Dd.9.33 (as well as the duet
in Dd.3.18). Without the diligent copying labour
of Matthew Holmes only 19 of Cutting’s works
would have been handed down.
From their contents and the changes in
Holmes’ handwriting the lute books can be dated
approximately: Dd.2.11 was written circa 1585–
1595 (for the greater part probably between 1588
and 1591), Dd.5.78 circa 1595–1600 and Dd.
9.33 circa 1600–1605.24 Cutting’s works are not
evenly distributed in these manuscripts: in
Dd.2.11 almost all of them are found in the
second part of the book, in Dd.5.78 for the
greater part in the first half, and in Dd.9.33
almost all in the first third of the book. This
distribution reveals that Matthew Holmes copied
Cutting’s works mostly during the last decade
of the sixteenth century, with some more pieces
during the first years of the seventeenth century.25
He must have had easy access to Cutting’s music,
perhaps even a direct connection with the com-
poser, which is suggested not only by the sheer
number of pieces he transcribed, but also by the
overall high quality of these transcripts. The
manuscript with the greatest number of Cutting
pieces is Dd.5.78, written circa 1595–1600;
perhaps Holmes’ move from Oxford to West-
minster in 1597, in the near vicinity of Cutting’s
relatives, made acquisition of his compositions
all the more easy. It could be that Cutting’s son
Thomas, seventeen years of age in 1600 and
probably already a young lute-player in his own
right, preserved and distributed his father’s
music.26
The second most important source for Cut-
ting’s music is A new Booke of Tabliture, printed 7
from woodblocks in 1596. In this book are
included eleven (or perhaps twelve) of Cutting’s
works, three of which are found nowhere else.
Apart from a significant number of block-
maker’s errors these pieces are edited very
carefully, featuring full additions of graces and
playing signs (fingering dots and ‘hold’ signs).
What makes this print very special for our
knowledge of Cutting’s works is the probability
that he himself edited the music in the book. John
Ward was the first to come up with this sug-
gestion,27 and it was adopted readily by other
scholars.28
It is therefore worth the effort to take a better
look at this source. In full, the title reads: ‘A
new Booke of Tabliture, Containing sundrie
easie and familiar Instructions, shewing howe
to attaine to the knowledge, to guide and dispose
thy hand to play on sundry Instruments, as the
Lute, Orpharion, and Bandora: Together with
divers new Lessons to each of these Instruments.
Whereunto is added an introduction to Pricke-
song, and certaine familliar rules of Descant,
with other necessarie Tables plainely shewing
the true use of the Scale or Gamut, and also how
to set any Lesson higher or lower at your
pleasure. Collected together out of the best
Authors professing the practice of these Instru-
ments’. It is usually referred to as one book, but
as it consists of three volumes, each with a title
page, a preface and introductory matter, and each
beginning with fol. A, the publisher designated
them to be three separate books.29 However, as
the three parts unmistakably form a unity (the

24 Here the dates are adopted as given by Craig-McFeely, Lute Manuscripts and Scribes. Dates given by
other scholars are not much different from these.
25 There are none in Holmes’ latest lute book, Nn. 6.36, dated circa 1610–1615.
26 There is not one single work known of Thomas Cutting; obviously composing was not were his interest
lay.
27 Most fully in Ward, ‘Dowland Miscellany’, pp. 123-133 (App. P: ‘Falce and vnperfect?’)
28 In Carpenter, ‘Lute Music of Francis Cutting’ and Spencer, ‘Francis Cutting’. Spring, op. cit., p. 140,
thinks that a professional musician like Cutting could not have been responsible for the many uncorrected
mistakes in the book, but there are some counter arguments against this; see below.
29 See Brown, Instrumental music, nos. 15964, 15965 and 15966. The allusion in the title to ‘an introduction
to Prickesong’ make it probable that A new Booke was published with a fourth book on music theory
entitled The pathway to musicke (Ward, ‘Barley’s Songs without Words’, p. 14, footnote 2). All four books
could be bought seperately or together; there is a (defective) copy of The pathway, with the orpharion and
bandora books, in a contemporary binding that can never have included the lute book, at Helmingham
Hall (personal communication by Ian Harwood).
8

Ill. 4. Barley, A new Booke, f. D3r: the end of Cutting’s pavan no. 9 and the beginning of pavan no. 5.

above cited title page of the first part clearly is
alluding to all three parts),30 we will follow the
accepted practice and refer to these as to one
book. The parts are devoted to music for lute,
orpharion and bandora respectively. The first part
is for lute and has a dedication to Bridget,
Countess of Sussex on f. A2, a preface ‘To the
Reader’ on f. A3v, some poems, and an instruc-
tion to lute playing and tuning on ff. B1-D1. The
second part only has a short preface ‘To the
Reader’ (f. A4), the third a preface without title
(f. A3). In the first part only the dedication is
signed ‘W. B.’, in the second and third parts the
same signature is found with the prefaces.
A new Booke was published by William
Barley, a London draper, publisher and book-
seller, who sold copies of it ‘at his shop in
Gratious street, neere Leaden-Hall’, as is stated
on the title page of the second part.31 Not until
1606 did he become a member of the Stationers’
Company of London (a monopoly controlling
practically every aspect of the book trade), and
so his earlier publishing activity brought him
into trouble. In 1591 he was committed to prison,

30 The title of the second part runs ‘A new Booke of Tabliture for the Orpharion: Contayning sundrie sorts of
lessons, collected together out of divers good Authors, for the furtherance and delight of such as are desirous
to practice on this Instrument. Never before Published.’ The title of the third part is identical, with the word
‘Orpharion’ changed to ‘Bandora’.
31 For a biographical note on William Barley see, Newcomb, Lute music of Shakespeare’s time, pp. xi-xvii.
Ward, ‘Barley’s Songs without Words’, pp. 16-17, footnote 5, makes clear that Barley was not a printer; his
books probably were printed by John Danter. I was not able to consult some recent literature: Lavin, William
Barley; Johnson ‘William Barley’; Krummel, English Music Printing.
and in 1595 he was brought to court for
‘printinge iij ballades and a booke disorderly
without licence or aucthoritye’, for which he was
fined 40s.32 The publishing of A new Booke was
again without protection or permission of the
Stationers’ Company, although it seems that
Barley did not infringe the royal patent for
printing music, granted to Thomas Tallis and
William Byrd in 1575.33 Barley’s publication
ventures were evidently successful. His business
thrived from 1599 until his death in 1614, during
which time he published books for Thomas
Morley, the new patent-holder for printed music.
In his study on A new Booke, Ward defends it
against many scholars, who in earlier years had
condemned it as a crude product, with ‘imprecise
and incoherently expressed’ rules for playing the
lute, orpharion and bandora, offering ‘seedy’
copies of an ‘arbitrary’ choice of pieces, in
readings that are ‘at best inaccurate and at worst
contemptible’.34 First he points out that the long
introduction of the first part, with the rules for
playing the lute, is in fact no more than a – quite
good – recension of the earlier treatise by Adrian
le Roy, that had been translated into English by
J. Alford and printed in 1568 under the title A
Briefe and easy instru[c]tion (reprinted in
1574).35 The text published by Barley is for the
greater part identical to Alford’s, and most of
the changed passages are no more than abridge-
ments, or a mixture of quotations and para-
phrases. Sometimes the older version is some- 9
what improved, but in a few instances Barley is
faulty, which according to Ward shows that the
text-editor was not a lutenist.36 Furthermore,
Ward firmly defends the Barley edition against
the allegation that it offered the public poorly
chosen or haphazardly arranged music. On the
contrary, the three parts of A new Booke display
a ‘nice progression from the serious to the
playful, from the stylistically unified to the
miscellaneous’.37 The contents of the lute and
orpharion sections, for instruments that shared
tuning and repertoire, are complementary, and
together they display a rich array of excellently
composed dances (pavans, galliards and al-
mains) and variation works. ‘The hand of the
editor is clearly in evidence’.38
Ward offers some sound arguments for his
supposition that the musical editor, who incident-
ally is mentioned implicitly albeit anonymously
in the preface,39 could have been Francis Cut-
ting.40 Cutting contributed eleven pieces to A new
Booke, and they are a good cross-section of his
work, representing all the genres in which he is
known to have composed.41 His contribution is
larger than that of Dowland (six pieces), Rosseter
(three), Holborne (two), Edward Johnson (one)
and the anonymous composers (seven). Of the
seven pieces in the lute part, being the first,
largest and probably most prestigious volume
of the three, Cutting composed four, including

32 Newcomb, op. cit., p. xii.

33 The printing from woodblocks would have evaded the patent, which only included music set from move-
able type. Moreover, the Tallis/Byrd patent expired in 1596.
34 Ward, ‘Dowland Miscellany’, pp. 123 and 126-127, with these quotations from writings of Thurston Dart
and David Lumsden, and additional citations condemning the book. He had defended A new Booke earlier
in Ward, ‘Barley’s Songs without Words’, p. 18, footnote 12.
35 Ward, ‘Dowland Miscellany’, pp. 124-126; Harwood, ‘Le Roy’s Lute Instructions’.
36 Ward, op. cit., p. 125, footnote 239, also thinks that this may explain why Le Roy’s description of octave
tuning, in 1596 probably already abandoned in England, was retained in the Barley recension; the editor
was probably not aware of the current practice. However, Spencer, ‘Francis Cutting’, states that from the
Barley text it can be deduced that Cutting’s lute had octave stringing. As a matter of fact, in a few places
Cutting’s music does seem to imply octave stringing; see for instance in galliard no. 14 (a late piece) the
chords in mm. 9 and 33. Nevertheless, this evidence is far from conclusive.
37 Ward, ‘Dowland Miscellany’, p. 126. Spring, Lute in Britain, pp. 143-144, also speaks out in favour of A
new Booke.
38 Ward, op. cit., p. 126.
39 Barley, A new Booke, f. A3v: ‘I have here to my great cost and charges, caused sundrie lessons to be
collected together for the Lute, Orpharion, Bandora’. Ward, ‘Barley’s Songs without Words’, p. 22, foot-
note 14, also mentiones this indication that a music editor was employed by Barley.
40 Ward, ‘Dowland Miscellany’, p. 124; earlier in Ward, ‘Barley’s Songs without Words’, p. 22, footnote 14.
41 Carpenter, ‘Lute Music of Francis Cutting’.
10 the first two and the last, Dowland the remaining
two. Moreover, in all parts his name is the only
one that is spelled out in full (four times), while
all other names appear as initials. Also, his name
is the only one to appear in a title (Cutting’s
Comfort). To this can now be added that the
Barley setting of Dowland’s Lachrimæ Pavan,
which in its divisions differs markedly from
other versions of this piece, clearly shows traits
of Cutting’s musical style, and was probably
arranged by him.42 Furthermore, in his preface
Barley mentions the presence of expert lute
tutors in London.43 One of those expert lutenists
must have been the one that edited his book, so
this reference to London does not exclude
Cutting. Finally, if Cutting really was the editor
of A new Booke, then there is an explanation why
this collection of carefully chosen and edited
music was published with such a large number
of printing errors; more in fact than in any other
printed book. These mistakes were made by the
anonymous block-maker, who clearly had no
idea of lute music,44 and the woodblocks were
of course more difficult to correct than type, and
only at high cost for Barley. Moreover, Cutting
died in January 1596 (perhaps unexpectedly, as
we have seen), and so probably never had the
opportunity to proof-read the book, which was
published later that year. Of course the first
stages of the production – the collecting of the
music and the writing of the exemplars for the
block-maker – must have started much earlier,
as is stated expressly by Barley in his dedi-
cation.45
The poor opinion expressed by many scholars
of A new Booke was probably caused by Dow-
land’s preface in his First Booke of Songes
(1597), in which he writes that ‘there have bin
divers Lute-lessons of mine lately printed
without my knowledge, falce and unperfect’.46
Dowland must have been referring to the Barley
print of the year before, in which his music was
obviously included without permission. Of
course Dowland was only trying to denigrate A
new Booke as it was obviously a threat to his
chances to profit from his own works, and so he
declared its contents ‘falce and unperfect’.
Probably he was especially displeased with
Barley’s version of his Lachrimæ Pavan, which
was so unlike his own setting. If Cutting really
collaborated with Barley in the production of A
new Booke, he surely did not earn the favour of
Dowland (nor of any of the other musicians
whose works were printed illegally). This could
be the reason why Cutting’s music is conspic-
uously absent from Robert Dowland’s Varietie
of Lute-lessons, in which other great lutenists
of the recent past and present were honoured by
the inclusion of one or two of their works (al-
though there is no piece by John Johnson either).
A new Booke was bound to arouse the wrath of
the professional musicians in the upper circles,

42 See below. The setting in Barley of Dowland’s Piper Pavan, on ff. E3r-F1r, although Diana Poulton in
Dowland, Lute music, no. 8, finds it ‘generally unsatisfactory’, agrees fairly closely with the other versions
of this piece (see also Ward, ‘Dowland miscellany’, pp. 129-130). Only in the first strain and its divisions
there are some variants in Barley, mainly small details (differently spaced chords and some variant – mostly
simpler – scalar passages in mm. 11, 12-13). There are two more important differences: firstly, the omitting
in Barley (as in some other sources) of the second half of mm. 3 and 12, and secondly, the varied repeat of
the third strain, which is lacking in most sources. These added divisions, however, are very simple and show
no signs of Cutting’s style; nor do the different passages in the A’ strain.
43 Barley, A new Booke, f. A3v: ‘It is not to be doubted but that there are a number of good wits in England,
which for their sufficient capacitie and promptnes of spirit, neither Fraunce nor Italie can surpasse, and in
respect that they cannot all dwell in or neere the cittie of London where expert Tutors are to be had, by whom
the may be trained in the true manner of handling the Lute and other Instruments, I have here to my great
cost and charges, caused sundrie lessons to be collected together for the Lute, Orpharion, Bandora’. Ian
Harwood, however, points out that this phrase is partially taken from Le Roy, A Briefe and easy instru[c]tion:
‘Being verely perswaded that there be an infinite number of good wits in fraunce, the which for that they
cannot all dwell in or neere the Cittie of Paris, or such like flowrishing Citties, for lacke of perfit Instructors
...’ (personal communication).
44 Carpenter, ‘Lute Music of Francis Cutting’, is of the same opinion.
45 Barley, A new Booke, f. A2v: ‘And now after long time having gotten it finished’.
46 Dowland, First Booke of Songes, ‘To the courteous Reader’. Ward, ‘Dowland miscellany’, p. 123, cites also
some derogatory remarks by Holborne and Morley condemning other prints by Barley.
and it is likely that Cutting was willing to be
involved in its production just because he was
not associated with them.
We may be fairly confident that between them,
the Holmes lute books and A new Booke have
handed down to us a considerable portion of
Cutting’s compositions, in versions that are on
the whole in accordance with the composer’s
intentions. 47 It has been said that Matthew
Holmes did not hesitate to edit the pieces he
copied. As a matter of fact we have noted some
instances of Holmes’ alterations of Cutting’s
pieces.48 However, the fact that, in his books,
Holmes frequently copied out the same pieces
in identical or near-identical versions indicates
that he was apt to copy his exemplars rather
mechanically. Many of the crossing-outs and
alterations in his books could be corrections of
his own copying errors. Cutting probably edited
the excellent versions in the Barley print himself,
and his work was only sullied by the overt errors
of the block-maker.
Cutting’s known output of 50 pieces for the
lute consists of 14 pavans, 23 galliards (six of
them paired to a pavan), three almains, four
‘toy’-like pieces, four sets of variations on ballad
tunes, one intabulation of a vocal model, and
one treble-and-ground duet, which pieces ‘best
epitomize the English lute style of the late 1580’s
and early 1590’s’.49 The works of questionable
attribution in Appendix A consist of a version of
Dowland’s famous Lachrimæ pavan, a Quadro
pavan, two galliards, and a set of variations of
the tune The Woods so Wild. The bandora pieces
in Appendix B are another galliard and variations
of The New Hunt is Up. In Appendix C is a
pavan, attributed to ‘Cutting’, which is handed
down as a duet for viols, but originally probably
was composed for the lute. Absent from Cut- 11
ting’s works are newer musical forms like volts,
corantos and preludes, but also the old fantasias,
which is rather remarkable for this composer
with a manifest propensity for polyphonic part-
writing and imitation. However, fantasias were
not very popular with English lute composers
of Cutting’s generation, although some of them,
notably Dowland and Holborne, did write a few
(and successful ones at that). Also lacking in
Cutting’s oeuvre are Passamezzo settings (or
almost lacking, if no. 52 is really a work by him),
but in the ‘classical’ period of English lute music
such variations had gone out of favour: John
Johnson still wrote a good number of Quadro
and Passymeasures pavans and galliards, but
composers like Dowland and Holborne none or
practically none.50
In some ways, however, Cutting does dis-
tinguish himself from the lutenists of his day.
The paired pavan and galliard, although pro-
claimed the norm by Morley,51 and written ex-
tensively in the keyboard music of the period, is
found rather sparsely in the ‘classical’ English
lute repertoire from the 1590’s. Not so with
Cutting: almost half of his pavans, six out of 14,
have an accompanying galliard. In this respect
he is more like John Johnson, who also wrote
many pairs. It seems that in Cutting’s time the
writing of paired pieces was already somewhat
outdated.52 Cutting’s galliards are often modelled
rather loosely on their pavans, with both pieces
sharing the same tonal scheme, identical motives
at the opening of strains and recurring bass
lines.53 Galliard no. 10 in C minor can hardly
have much in common with its pavan no. 9,
because it is a literal transposition of galliard
no. 34 in F minor. Probably it was selected by
Cutting for no other reason than the fact that,

47 Carpenter, ‘Lute Music of Francis Cutting’.

48 See for instance the Commentary to no. 34.
49 Spring, Lute in Britain, p. 148.
50 That is, in their lute works. Holborne included several ground bass pieces in his Cittharn Schoole (four
Passamezos, three Quadros, two La Vecchios, one Qui Passi and A Horn Pype), and in the introduction of
that book he calls these ‘the most usuall and familiar grounds of these our times’ (cited in the modern
edition, p. [15]). See also Wentzel, Lute pavans and galliards, p. 4, and Spring, op. cit., pp. 117-119, 146.
51 Morley, Plaine and Easie Introduction, p. 181: ‘After every pavan we usually set a galliard (that is, a kind
of musicke made out of the other)’. See also Wentzel, op. cit., p. 90.
52 Wentzel, op. cit., p. 4.
53 See Wentzel, op. cit., pp. 99-107, with illustrative comparisons of the pairs 1-2, 11-12 and 13-14.
12 after transposition, it had the same tonal scheme
as the pavan. On the other hand, galliard no. 6
resembles its pavan no. 5 more closely, and in
the case of nos. 13 and 14 the galliard essentially
is the pavan in triple meter.
Another individual trait of Cutting’s output
is the great number of pieces that are in one way
or another based on works of other composers.
This practice is also found in the works of other
English lutenists, but much less often than in
Cutting’s. Of his 50 lute pieces, eight or nine,
possibly even eleven or twelve, were based on
music by other composers, as were perhaps all
five works of uncertain ascription. He used the
works of the best musicians, such as William
Byrd, John Dowland, Thomas Morley, John
Johnson and Alfonso Ferrabosco the elder, and
his models were of a divers nature. He made
transcriptions for the lute from works for voices
or keyboard: from Byrd the five-part song
Lullaby my sweet little baby, the Pavana Bray
for keyboard, and possibly a galliard and the
keyboard variations on The Woods so Wild.54
Besides that there is another pavan for keyboard
from Morley.55 These transcriptions are all ‘very
well crafted and clearly the work of an
experienced intabulator’;56 Cutting probably
played the keyboard, or was at least aware of
contemporary keyboard practice.57 In the process
of transcribing music he follows the model quite
closely, not only keeping the melody and bass
(and thus the harmony) unchanged, but often
also the middle voices (sometimes interchanging
tenor and alto). In most cases he transposes the
piece to a key fit for the lute. In the dances by
Byrd and Morley he adds varied reprises of his
own invention.
Furthermore, Cutting borrowed from the
works of other composers for the lute. His only
known duet treble, no. 50, is based on a ground
54 Nos. 49, 21, 54, 55.
55 No. 16.
56 Carpenter, ‘Lute Music of Francis Cutting’.
57 Spring, Lute in Britain, p. 141.
58 The galliards nos. 22 and 35, to which not only Cutting’s name but also those of Alfonso Ferrabosco(?) and
Richard Allison respectively are attached in the sources, are probably not based on works by these compos-
ers. The galliard no. 53, attributed to Cutting in one source and to Anthony Holborne in another, is probably
composed by the latter.
59 Galliards: nos. 2, 3, 8, 10, 12, 22, 23, 24, 26, 28, 29, 30, 31, 34, 35, 37 (and 54). Almains: nos. 38, 39, 40; no.
39 has only two strains.
by John Johnson (and even a few elements of
the treble itself are taken from Johnson’s treble).
The beginning of Walsingham, no. 48, is rather
reminiscent of the opening of Johnson’s set of
variations. Elements of the Quadro Pavan no.
52, a work of uncertain ascription, also show
indebtedness to Johnson’s settings of this
ground. Cutting’s pavan no. 15 in G minor is
new setting of a piece in B flat minor by Alfonso
Ferrabosco. Some of Cutting’s pieces are based
on works by Dowland. These are galliard no.
33, to which he added his own divisions, and
perhaps also galliard no. 36, the varied repeats
of which are certainly by Cutting. The first strain
of Cutting’s variations on My Lord Willoughby’s
Welcome Home, no. 46, is probably a setting by
Dowland. The Barley version of Dowland’s
Lachrimæ Pavan, no. 51, is most likely revised
by Cutting, who made some small changes to
the first statements of the strains and rewrote
the varied repeats, albeit on the basis of Dow-
land’s own divisions. 58 Perhaps this rather
extensive borrowing from other composers is a
further indication that Cutting was an amateur
musician.
Cutting’s style
It is now time to take a closer look at the works
composed by Francis Cutting and to analyse his
musical style. The greatest part of his known
output consists of dances: pavans, galliards and
almains make up 40 of his 50 pieces. The 23
galliards constitute almost half of his oeuvre, and
the 14 pavans are another substantial part of it;
the dances are rounded off by the three almains.
Most of the galliards and almains are of ‘normal’
length, with three eight-measures strains, al-
though one of the latter has only two strains.59
Of the galliards, three include one strain of ten
measures; one long example has one strain of
ten measures and two of twelve.60 Rather excep-
tional are three galliards of just two strains each,
but in two of them the length of the strains (12
and 16 measures) make the pieces sizeable
enough.61 With the pavans the picture is different.
All of them have three strains, but only five have
the ‘standard’ number of eight measures per
strain – and two of these are based on works by
other composers.62 The other nine pavans are
almost all shorter, varying from 6-6-6 measures
to 8-10-8 measures; only two share a number of
8-6-8 measures, and the others each have a
different length.63 Thus the pavans of Francis
Cutting show a great variety in numbers of
measures, but in this they are not very different
from those of other lute composers; the pavans
of Dowland and Holborne, for instance, also
often deviate from the 8-8-8 standard.64 Com-
pared with the pieces by Johnson and especially
Dowland and Holborne, few of Cutting’s pavans
and galliards have a symmetrical structure, of
four measures with an antecedent phrase and
four measures with the consequent phrase.65 This
is sometimes the case, mostly in galliards,66 but
generally Cutting prefers not to stop the move-
ment with a full-bar close halfway trough the
strain (in many instances there is indeed a close
in the fourth measure), but to go on immediately
with a new phrase.
In the harmonic construction of his works
Francis Cutting does show some individuality.67
Of course, we must be careful when studying
the harmonic characteristics of the music of this 13
period. It would be wrong to expect Elizabethan
composers to be acquainted with later harmonic
concepts, as tonic and dominant, or even with
the dual tonality of major and minor keys. They
still thought in the old modality, and conceived
their compositions horizontally rather than
vertically: their music was primarily structured
by the flow of the melodic lines in a polyphonic
texture. However, the harmonic aspect was
certainly an integral part of lute music, and in
practice a certain notion of harmonic progression
was already playing a part in these compositions.
To give a simple example, Wilburn Wendell
Newcomb, who studied the harmonic back-
ground of English lute music, notes that the
progression V-I was already so well established,
that a deviant progression V-VI worked as a
surprise, and was intentionally written as such.68
Wayne Clifford Wentzel, another student of this
repertoire, also stresses that both modal and tonal
implications were present in the harmonic voca-
bulary of the English lutenists.69 Obviously there
are clear signs of a quite developed idea of
harmonic progression, also in Cutting’s music.
For instance, Newcomb found in a galliard by
Cutting (no. 27) an example of a musical phrase
which is repeated in four degrees of the circle
of fifths (see Example 1).70 In the C strain of
this piece a melodic fragment beginning in G
and ending on C (mm. 37-38) is repeated three
times in sequences, the first time from C to F,
then from F to B flat and finally from B flat to E
flat. Also interesting are the tonal implications

60 Nos. 32 and 36 (8-8-10), 27 (10-8-8), 14 (10-12-12).

61 Nos. 25 (8-8), 33 (12-12), 6 (16-16).
62 Nos. 11, 15, 17, 20, 21; of these nos. 15 and 21 were originally composed by others.
63 Nos. 18 (6-6-6), 7 (6-6-7), 9 (7-6-6), 13 (7-6-6½), 1 and 19 (8-6-8), 3 (8-7-8), 5 (9-6-8), 16 (8-10-8, but
based on a pavan by Morley).
64 Of Dowland’s pavans nearly half have 8-8-8 bars, of Holborne’s no more then a quarter. The pavans of
composers for keyboard, such as Bull or Morley, are also not uniform in this respect, as is shown by a
glance at the FWVB.
65 Wentzel, Lute pavans and galliards, the table on p. 15.
66 In galliard no. 30, for example, such a symmetrical structure is found in all three strains, in galliards nos.
24 and 28 in the A and B strains, in galliards nos. 23 and 35 only in the A strain. In pavan no. 20 this
symmetry is in the A strain.
67 Spring, op. cit., p. 148.
68 Newcomb, Englischen Lautenpraxis, pp. 108-109.
69 Wentzel, op. cit., pp. 14, 18-19. He states that tonal features were traditionally part of dance music, con-
trary to the sacred music.
70 Newcomb, op. cit., pp. 109-110. What follows is taken literally from his analysis.
 b œ œ n œ œ œœ œ œ œœ œ œ
&b b œ œ œ œ œ œ
14
œ œ œ @ nœ œ œ œ œ
Œ ˙
? b ˙˙ œ n œ œœ œ œ œ œ œ ˙ œ ˙ n œœ œœ œœ ˙˙ œœ ˙˙
bb ˙ œ œ nœ œ œ ˙ n œœ

b
& b b œ œ œ n œ@ œ˙ œ ˙˙ .. œœ œœ œœ ˙˙ w˙ . œ Œ n ˙˙ . œ ˙˙
Óœ œw n œ n œ ˙@
? b œœ œœ ˙˙ ˙˙ w ˙ œ Ó
w ˙ ˙˙
bb œ

Example 1. Galliard no. 27, mm. 37-44

of this passage. Here we have a first phrase
which begins and cadences in C minor. The
second phrase ‘modulates’ to F minor, the third
to B flat major, and the fourth briefly to E flat
major, which is expected psychologically.
Without doubt this constitutes an early example
of a planned modulation over four degrees of
the circle of fifths. Moreover, the term ‘modu-
lation’ could be used here in a modern sense,
because the progression through the different
keys is bridged seamlessly by the sequences.
This example notwithstanding, English lute
music was of course not yet acquainted with the
modern conception of dual (major-minor)
tonality. To illustrate that point, Newcomb again
gives an example from Cutting’s music, from
pavan no. 13.71 In modern terms, the A strain of
that piece is completely in D major, after which
the B strain starts off in the dominant A major.
Immediately, however, with a repeated tone c
natural the keys of G major and C major
infiltrate unexpectedly the music (mm. 15(4)-
17), after which the return to A major, with c
sharp, (m. 18) is even more abrupt. By way of
an (unstable) D major chord the music cadences
in an unprepared E major harmony (m. 19) back
to A major. In terms of modern dual tonality this
progression from ‘tonic’ D to ‘dominant’ A seems
rather stiff and strange. In this passage, as in most
English lute music, there is no ‘modulation’ in
the sense of dual harmonics. Although it is clear
that the fifth degree is used systematically to
reach a harmonic goal, these ‘modulations’ in
lute compositions mostly give the impression of
cadential formulae glued to each other.72
In English music the evolution to a modern
major-minor harmonic system was hampered
also by the common device of the false-relation.73
As in many of the contemporary English pieces
for lute and keyboard, these are present in
Cutting’s music; see for instance pavan no. 5 m.
34 (f natural against f sharp), galliard no. 35 m.
5 (a natural-a flat), almain no. 39 mm. 2-4 and
6-7 (b natural-b flat), Walsingham no. 48 m. 26
(d natural-d flat) and m. 50 (e natural-e flat), or
pavan no. 3 m. 2 (f natural-f sharp together with
e natural-e flat!). Occasionaly Cutting seems
ambivalent about the tonality of a piece, judging
from some rather erratic alternations between
major and minor thirds. See for instance the C
strain of galliard no. 28b, where the notes a
natural and a flat keep following one another.

71 Newcomb, Englischen Lautenpraxis, pp. 108-109. Again the following is cited from this study.
72 Wentzel, Lute pavans and galliards, pp. 14, 18-19, gives Dowland’s Haselwood’s Galliard (Dowland, Lute
Music, no. 84, a doubtful work) as an example of a piece which is ‘as clearly in the “key” of D minor as any
Baroque or classical example’, but he is perhaps slightly overstating the point: there are not many pieces
with such a ‘modern’ harmonic scheme, and the chord progression A-F, with a false-relation c sharp-c
natural (mm. 4-5), detracts from this modern appearance.
73 Newcomb, op. cit., pp. 110-113.
Likewise, the A strain of galliard no. 31 wavers
between C major and C minor harmonies. Pavan
no. 20, to give another example, opens with a
full chord in F minor, to shift immediately to a
major harmony, which is kept further on.
Although he had no notion of modern har-
monics, it is obvious, however, that as a com-
poser Francis Cutting had a clear perception of
the overall (harmonic) construction of his pieces.
In many of his dances there is a fast harmonic
pulse,74 especially towards the end of the strains,
where Cutting is inclined to speed up the
movement, as a result of which the ‘dominant’
chord of the closing cadence is often not longer
than a minim, both in pavans and galliards, thus
in the pavans attained on the – weak – forth beat.
See for instance Mrs. Anne Markham’s Pavan
and its paired galliard, nos. 1a and 2. In the pavan
the harmonic movement of the A strain is rather
slow, with two or three chords in a measure, but
in m. 6 the pulse becomes quicker, and in the
penultimate m. 7 there are chords on B flat major,
C minor, D major and G minor before the
dominant D is reached which leads to the closing
chord on the tonic G in the last measure. In the
B strain the harmonic pulse in the penultimate
measure is just as fast; only in the C strain the
dominant is reached in the middle of the
measure, on the strong beat. In the paired galliard
the dominant D in the final cadence of the A
strain is likewise reached only at the third minim
of the penultimate measure, as is the case in the
C strain; in this piece it is in the B strain that the
dominant comes earlier, at the second minim of
the penultimate measure, and thus on a strong
beat. Incidentally, this harmonic acceleration
towards the final cadence results in a few awk-
ward moments in some galliards, where the final 15
chord falls in the penultimate rather than the last
measure of the strain, as a result of which the
last measure, obviously only written to make full
the number of eight measures per strain, feels
somewhat redundant.75
The same acceleration of the harmonic move-
ment is clear in pavan no. 3. In the A strain the
harmonic pulse, which starts slowly in mm. 1-
2, speeds up in m. 3 in a cadence on F to reach a
first full close on B flat on the first beat of m. 4.
Then again the harmonic movement slows down,
the quicker movement of the bass in mm. 5-6
being partly broken chords, which do not change
the harmony. In m. 7 bass and harmonic
movement accelerate towards a cadence on D,
leading to the final chord G in m. 8.
This A strain of pavan no. 3 also gives a clear
view of the most important constituent element
of Cutting’s music: the polyphonic fabric of
interweaving melodic lines, executed with more
precision than in most works of other lutenists.76
As a composer, Cutting is skilled in handling
this ‘learned’ technique, as is evident from the
fact that forbidden consecutive intervals are
rather seldom found in his works, and when they
do occur it is as parallel octaves between bass
and tenor, which are not very conspicuous and
even inaudible when a lute with octave stringing
is used.77 Cutting’s skill as a polyphonist is
especially manifest from the many instances of
imitation in his works.78 It is no exaggeration to
say that that imitation plays a leading role as a
constructive element in his music. To make this
clear we may take a look at the A strain of pavan
no. 3 (see Example 2).
The strain starts off with a descending and

74 Also noticed by Carpenter, ‘Lute Music of Francis Cutting’.

75 Nos. 4 (C strain), 29 (B strain), 32 (C strain). Also in nos. 33 (A and B strains) and 36 (C strain) the final
chord is in the penultimate bar, but here we do not have the feeling that it is premature; these are probably
works by Dowland, re-arranged by Cutting (in Dowland’s galliards the final chord is often spread over
two bars). In Cutting’s pieces nos. 6 and 14 all strains come to a close in double final bars, but here it
works naturally, as these galliards have a slower harmonic pulse, perhaps because they are modelled
closely to their paired pavan.
76 As is also stated by Spring, Lute in Britain, p. 148, and Wentzel, op. cit., p. 146: ‘Cutting is the expert
contrapuntalist’.
77 See for instance no. 4 m. 33, no. 20 m. 20(3-4), no. 24 m. 17(2-3). Consecutive octaves between bass and
tenor in no. 17a m. 5(1-2) have been considered a copyist’s error (see the Commentary to no. 17), as could
be the parallel octaves between treble and tenor in no. 19 m. 35(1-2): the note 3a in m. 35(1) should
probably read 3d (compare m. 43). On octave stringing see above, footnote 36.
78 Also noticed by Wentzel, op. cit., pp. 77, 146-147; Spencer, ‘Francis Cutting’.
 b ˙. œ œ˙ œ œœ œœ œ ˙ . ˙
&b C w œ œ œ œœ n œ œœ b œœ # œœ n œ œÓ n œ œ ˙œ œ œœ œœ Ó
16

Œ
w œ œ œ œ
? bC w w w ˙. œ œ œ ˙ œ œœ œ ˙
˙ œ
b w

b w Ó. œ . j œ œ . j
& b ˙. œ œ œ œ
œ œ œ œ œ œ œ œ œ. œ œ #˙ œ œ
œ œ ˙. œ œœ œ
œ J œ ˙ Œ œ
Ó Ó œ Œ œ
? b ww ˙ œ œ œ ˙ Œ œ
˙
˙
b ˙ œ œ œ #œ
œ œ
b
& b œ œ # œœ ˙ w œ œ œ w œœœ ww
Ó œ n œœ ..
J œœ w
œ. j
? b ˙ œ ˙œ ˙
œ
˙˙ Œ˙. Œ ˙.
b œ
œ . J w ˙ ˙
Example 2. Pavan no. 3, mm. 1-8

then ascending phrase in the treble, which at a
distance of a semibreve is imitated a fifth below
in the alto voice. In m. 2 the treble then resumes
the theme, now shortened (just the descending
notes) and lowered a tone, which is answered
by the bass at the original pitch. The polyphonic
texture thickens in m. 3, with melody lines in
the treble and tenor voices that are derived from
the second part of the theme. All this leads to a
cadence on F and a full close on B flat. Now (m.
4) the alto resumes with a new descending
theme, derived from the first one, which is
imitated at a distance of a semibreve in the treble,
a fourth higher, and immediately after that, in a
stretto, in the bass, at the lower octave. After a
half close on D major in m. 5(4) the bass
instantly resumes with a related descending
theme, which is answered in the treble (m. 6).
This in its turn is transformed without interrupt-
ion into a new phrase, strikingly starting with a
new element, an upward leap of a fourth, and
ending with a dotted descending line, which
motive is imitated at close quarters in the tenor.
Again the polyphonic texture is thickened, and
with a bass line that is related to this last phrase
the cadence on D is reached, leading to the close
on G major.
It is thus clear that Cutting deliberately and
skilfully constructed the strain, by combining
polyphonic imitation and harmonic direction.
The music grows from a long phrase that first is
imitated at a slow harmonic pulse, then develop-
ed further with close imitation of shorter phrases
in a thickened polyphonic texture, and finally
leads to a cadence which is introduced by imi-
tation of a new distinctive motive, and enhanced
by a speeding up of the harmonic movement.
Another example of a careful over-all construct-
ion of a piece by means of imitation and the
repeating of longer phrases can be found in
pavan no. 13, where the whole of the A strain is
built on an ascending fifth, and the C strain on
the same interval, now descending.79
The contrapuntal techniques that are found
in no. 3 occur in many of Cutting’s pavans:
imitation of a head-motive at the start of a strain

79 Also mentioned by Wentzel, Lute pavans and galliards, p. 38.

 bb ˙. Œ œ
&b b w œ ˙ ∑œ 17
˙ ww ˙ œ ˙ ˙
w ˙˙ n ˙˙
? bb b ˙. œ ˙˙ ˙˙ ˙w. œ œ
œ ˙
˙
˙. ˙
b œ ˙
b j˙
& b bb œ œ w œ ˙
37

œœ . œ ˙ w ˙ œ n˙ ˙ w
Œ œ ˙. œ œ ˙ n ww ..
? bb ˙ ˙. Œ ˙ œ w w.
n www ...
bb œ ˙ ˙ œ ˙ œ

Example 3. Galliard no. 26, mm. 33-40

(reminiscent of the technique used in fantasias80),
and imitation of shorter phrases in the further
development. Almost always the head-motive
is an ascending or descending phrase beginning
with a dotted minim and a crotchet followed by
minims or crotchets, which phrase is stated first
in the treble voice at the opening of the piece.81
An exception is pavan no. 9, which starts with
an opening chord of a semibreve in length, after
which begins a descending phrase with a dotted
minim stated first in the bass and only then in
the treble. In pavan no. 20 this phrase (here
ascending) is not found in the A strain, but at
the beginning of the B strain. In pavan no. 1 the
ascending phrase starts with the rhythmic variant
of a dotted crotchet. In other pavans this version
is found in the varied repeat of the phrase with
the dotted minim.82 The melodic line is the same
in all cases: the dotted minim in an ascending
line is broken with a descending quaver after
the dotted crotchet, after which the following
crotchets ascend again, and vice versa in a
descending line (in no. 3). The dotted head-
motive is nearly always imitated once or twice,
mostly in bass and/or alto; pavan no. 11 is the
only one where this is not the case. Sometimes
the B or C strains also have this dotted phrase as
a head-motive,83 here often with one or more
leaps in the melody, as opposed to the stepwise
ascending or descending lines in the A strains.
In Cutting’s galliards we find the same
structural use of polyphonic imitation as in his
pavans, but here the head-motives are shorter,
obviously because of the faster pace of this
dance. Many strains begin with a dotted crotchet,
mostly in an ascending line (an alternative being
ascending crotchets without a dotted rhythm),
varied in the reprise with a turn of four quavers.84
Compared with the pavans, the galliard’s imita-
tion is spread rather more evenly over the whole
of the piece, and is less often concentrated at
the beginning of the strain. The polyphony is
often somewhat simpler than in the pavans, al-
though complicated imitation can be found in
the galliards as well. In the C strain of no. 26,
for instance, the same motive is found up to ten
times in eight measures, mm. 35-38 being one
long stretto (Example 3). Other examples are
the B and C strains of no. 4 (the C strain exploit-
ing the same motive as the one in Example 3),

80 See Newcomb, Englischen Lautenpraxis, pp. 56-58.

81 The only exceptions being nos. 1, 9 and 20 (not taken into account are the pavans nos. 15, 16 and 21,
which were originally composed by others). On this rhythmic pattern see Wentzel, op. cit., pp. 30-31.
82 See the A’ strains of nos. 3, 5 (in the tenor voice), 13, 18. This identical ornamentation was also noticed by
Wentzel. op. cit., p. 78.
83 Nos. 1, 3, 5, 7, 17 and 19.
84 See for instance no. 32 (A and C strains).
 b ˙ j ∑
&b b œ œ ˙ œ. nœ ˙ ˙˙ œ ˙œ œ
18
œ œ œ œ œ œ ˙.
˙˙˙ . ˙ n œ ˙˙ ˙œ œ ww n ˙˙w
? b b w˙ .. œ œ œ ˙
b

b
& b b œw œ n w ˙ ˙œ . œ n œ ˙
œ œ ˙ ˙ ˙w. œ Œ n ˙˙ . œ ˙˙
˙˙ ˙w n ˙ Ó
? b ˙.
bb œ œ œ w ˙ w w ˙

Example 4. Galliard no. 29, mm. 33-40

# ˙ j ˙@
& C ˙˙ .. œ ˙˙ ˙˙ ˙ ˙˙ ˙˙ ˙
˙ ˙˙ . œ œ
w . œ
˙. œ #˙
? # C ww ˙ ˙ ˙ ˙ ˙ ˙ ˙ w˙
w ˙ ˙ ˙. œ ˙. œ w˙ . œ

# .
& ˙œ œ ˙ œ ˙œ œ ˙ œ ww œ œ œ œ ˙˙ ˙˙ œ˙ . œ œ œœ
@ œ
?# ˙ ˙ ˙ wœ œ œ œ w˙ . œ
Œ˙ œ œ˙ œ ˙ .
˙. œ
˙ ˙ œ

Example 5. Pavan no. 5a, mm. 1-6

and the A and B strains of no. 27 (in which
extended use is made of canonic imitation: the
A strain is built as a canon at the octave between
treble and bass). A good illustration of Cutting’s
ability to use imitation also as a structural device
in his galliards, can be found in the C strain of
no. 29 (Example 4). In the first three measures
the melodic lines are all ascending, with treble
and bass in loose canonic movement. The
tension, which is built up also by a harmonic
acceleration in a hemiola, reaches a breaking
point on the chord on g in m. 36, which is kept
up in the air at the length of a dotted rhythm,
after which all melodic lines are descending.
Tension is not allowed to slacken, however,
because of imitation in three voices at close
intervals, leading to another hemiola and the
final cadence.
As in the beginning of no. 3 (Example 2),
Cutting frequently transforms his motives by
writing rhythmic variants or inversions of the
basic pattern, as is made clear by Wentzel.85 In
the first strain of pavan no. 5, for instance, the
dotted motive is first imitated, then inverted,
diminished, and then the original version re-
appears in the bass (Example 5). Often the
original motive reappears in many forms: aug-
mented, condensed, inverted, and with dotted
rhythms flattened out into strings of crotchets
(Example 6). Occasionally two different motives

85 Wentzel, Lute pavans and galliards, pp. 38-40. What follows is taken literally from his analysis.
& 23 . œj œ œ ˙ ˙.
œ œ ˙ ˙˙
? 3 ˙w. ˙ w˙ œ œ œ ˙
2 œ ˙ .
Example 6. Galliard no. 32, mm. 1-5
b
& b 23 ˙˙ ˙˙ ˙˙ ww ˙˙ ˙ ˙
˙. œ
˙ ˙
˙
? b b 23 # w˙ . œ ˙˙ ˙ ˙
˙ ˙ ˙ ˙ œ
Example 7. Galliard no. 4, mm. 1-6
are presented within the same strain, but even
then the first motive can be hidden in the second:
see the first strain of galliard no. 4 (Example 7),
where the first motive is treated as a simple
sequence in the treble in mm. 1-4 and the second
appears in imitation in mm. 4-6, but here the
first motive seems to be hidden in the top voice
(see the asterisks).
Identical or related motives are also used by
Cutting to connect the musical content of
different strains, thus strengthening the overall
cohesion of the composition.86 In pavan no. 3
for instance, the B strain starts with a motive in
the treble (m. 17) which is imitated in the alto
and bass voices in m. 18, and the material of
this measure reappears in the alto and bass at
the beginning of the C strain (m. 31) in a slightly
varied form and with a different treble. In pavan
no. 7 the head-motive of the piece, a dotted
descending line, imitated in mm. 1-3, reappears
several times in mm. 15-16 in the B strain and
also once in the C strain, in the bass of m. 27. In
pavan no. 5 the head-motive, a dotted ascending
line (see Example 5), is used inverted at the
beginning of the B strain (m. 19-20, three times),
and, in setting 5b of the piece, several times in
86 Wentzel, op. cit., pp. 40-45. Again much of the following paragraph comes from this study.
87 Wentzel, op. cit., p. 147.
88 As is also noticed by Carpenter, ‘Lute Music of Francis Cutting’.
˙ # ˙˙ ˙˙ .. œœ ˙˙ œ œ œ œ ˙
19
˙ ˙. œ
˙ ˙ w œ˙ œ
˙. œ œ œ ˙ . œ
* * *
˙ œ œ œ œ œ œœ œ œœ œœ ˙˙ œ œ wœ œ n œ ˙œ œ
œ w œ œ
˙ œ œ œ œ ˙ Ó. œ œ œ œ œ œ ˙
diminished version at the beginning of the C
strain (mm. 31 and 33). Sometimes the pre-
dominant motives of the A and B strains are used
again in the C strain, thus summarizing the first
two strains in the third. See for instance pavan
no. 19, where in the first half of the C strain
(mm. 29-31) the dotted descending motive from
the A strain reappears, while in the second half
of the C strain (mm. 32-34) the short descending
motive of a crotchet followed by quavers of the
B strain (mm. 19-21) is used again. In this
manner, motivic relationship in much of Cut-
ting’s works is rather complex: ‘he expands
motives, inverts them, and otherwise modifies
them producing a kind of unity unparalleled by
the other composers’.87
In Cutting’s music imitation is not only
important as a structural device, but it is also
used extensively as an ornamental element.88
This is the case when short rhythmical motives
appear rapidly after each other in different
voices, as in pavan no. 1, mm. 33-35 (Example
8). The same feature is used also as a variation
technique in varied repeats; see for instance
pavan no. 5a, mm. 13-17 (Example 9), where
two different small motives are strewn through
 b j
& b œw. œ ˙ ˙œ œ œ œœ œ œ œ œ œ œ ˙œ n œ œœ œœ œ œœ œœ œœ œœ œœ ˙˙ ˙œ
20

j
œ
œ . œ ˙ n œ œ˙ . œ œ ˙ Œ
? bb ˙
. œ wœ œ Œ ˙. œ œ nœ ˙
œœ˙ œ œ ˙ ˙ # œ n œ ˙˙
Ó
Example 8. Pavan no. 1a, mm. 33-35

# . @
& ˙‰ œ œ œ œ œœœ œ˙ œ œ ˙œ œ œ œw n œ œ œ œ ˙ œ œœ # œ œ œ œ œ ˙˙ ˙˙
J J œ œ œ œœ˙
@ ‰œœ œ œ œ œœ œ œ œ
?# ˙ ˙ ˙ ˙ ˙˙ ˙œ œ ˙
˙ ˙ ‰ œ œ œ ‰ J Ó

# @@ ˙ œ
& œ œœœœœ œ œœœ œ œ œ œ œœ @œœ ˙œ œ œ œ œ@œ ˙˙ ˙w ˙ œ ˙ œœ
? # ˙. ˙ œ ˙ œ œ œ # œ ‰ œ n œ œ œ œ œœ
œœ ˙ ˙ ˙ œœœœ˙ w
‰œ œ
Example 9. Pavan no. 5a, mm. 13-17

b
& b w˙ . œ Ó
œ. œ œ œ œ œ œ
Œ œ œ . œ œ œ œ œ œ œ œ œ . œj œ # ˙
œ ˙ œ œ. œ œ ˙
J
? b b ww ˙ ˙ œ œ œ ˙ Œ œ œ
œ

b œ˙ . œ œ œ œ œœ œ œ œ œ œ œ œ # œ œ œ œ œ n œ œ œ œ # œ n œ œ œ œ œ
& b œ œœ
Œ œ
Ó Ó œ Œ. j œ œœœ œ œ œ ˙
? b ˙ ˙ œ ˙ œ œ œ. œ˙
b œ œ œ #œ œ œ J

Example 10. Pavan no. 3, mm. 12-15

the music. Here these imitations occur in places
where there was no imitation in the first state-
ment (mm. 4-8). However, when there is imita-
tion in the first statement, in the reprise this
imitation is mostly maintained, and often even
highlighted by means of embellishment. See for
instance again pavan no. 3 (from Example 2):
in the second half of the A’ strain the motives
are broken up in smaller notes, as a result of
which the imitations are even more pointed than
the first time (Example 10). Another example is
found in pavan no. 5, where a simple motive of
stepwise descending crotchets in mm. 34-36 is
effectively brought out by means of its divisions
(mm. 42-44). Introduction of imitation in the
varied repeat occurs in a remarkable way in
 b œœœ œ
& b ˙w. œ œ œ˙ œ ˙w.. œœœ œ ˙. 21

? b w ww ww ˙
b ˙ ˙
Example 11. Galliard no. 2, mm. 17-19

b
& b b Œ œ œ œ ˙˙ Œ œ œ œ ˙ Œ œ œ œ ˙ œ
Œ
w
? b w
˙˙ ww ˙˙ ˙. œ ˙
bb
Example 12. Galliard no. 30, mm. 21-23

pavan no. 20, where in the beginning of the A’
strain (mm. 9-12) not only a beautiful imitative
counterpoint is introduced, which was totally
absent in the first statement, but also in mm. 9-
10 the harmony is changed: chords in C major
in the A strain (mm. 1-2) now appear in C minor
(we shall return to this feature later).
To structure the polyphonic flow of his music,
Cutting also often uses sequences, that is repeti-
tion of a motive in a single voice, at a different
pitch (and not in a different voice, as with imita-
tion).89 He makes much use of this technique in
his galliards, with motives that are repeated once
or twice, often in an ascending progression. See
for instance no. 2, where in mm. 17-19 the same
motive is found three times in the treble voice,
every time one step higher (and it is imitated in
the alto in m. 21) (Example 11). Sequences are
used mostly in the treble, but they sometimes
occur also in other voices: see for example
galliard no. 25, with a motive in the bass voice
recurring three times in mm. 18-20. In galliard
no. 37 sequences are used in a masterly way to
structure the music: in the B section in the treble
(mm. 12-14, including some imitation in the
alto), and in the C section in the bass (mm. 20-
22). Frequently treble and bass (and sometimes
also middle voices) move in sequences together,
resulting in a harmonic sequence; see for in-
stance no. 30 mm. 21-23, with two repeats of
their motives (Example 12), and no 28a mm. 5-
7, with one repeat in the treble and two in the
bass. 90 Already mentioned is the extended
sequence in galliard no. 27 (see Example 1). An-
other example is found in a pavan, no. 1 mm.
18-19. Cutting thus uses sequences to structure
the composition, and, especially in his galliards,
to give impetus to the movement, to thrust the
music forward.91
In his varied repeats Cutting likes to con-
centrate the divisions in the upper voice. Wentzel
has studied the division style of the prominent
lutenists, and he found that Cutting was the one
to write in his pavans the most smoothly arti-
culated passages of semiquavers, moving nearly
always in a stepwise manner, with occasional
thirds which are immediately filled in from the
opposite direction.92 The movement in semi-

89 As defined by Newcomb, Englischen Lautenpraxis, pp. 69-70. Carpenter, ‘Lute Music of Francis Cut-
ting’, also mentions Cutting’s use of sequential repetition.
90 This strain is quoted in Wentzel, Lute pavans and galliards, p. 35, as an illustration of the typical sequence
in lute music.
91 These sequences are used also by other lute composers: less commonly by Dowland, more frequently by
Holborne and very often by John Johnson.
92 Wentzel, op. cit., p. 53.
 b œ nœ œ œ œ œ œ œ œ
22
& b œœ œ œ œ œ œ œ˙ œ
œ œ œœœœœœœ œ
? b w
b ˙ w ˙
Example 13. Galliard no. 2, mm. 25-27
quavers mostly starts with a quaver, and here
Cutting regularly allows an interval, favouring
a lower third, but also writing larger leaps (for
an illustration of these features see the divisions
in pavan no. 1a). In his galliards, in which the
flourishes are shorter than in his pavans, Cutting
allows more skips and leaps.93
As in his first statements, so in his varied
repeats Cutting uses sequences to drive the music
on. In many instances repeated motives in the
first statement return in the reprises, the divisions
lending even more speed to the movement. See
again galliard no. 2, where the sequence of mm.
17-19 is embellished in mm. 25-27 (Example
13). Sequences are also introduced when in the
first statement there is no sequence at all, for
instance in galliard no. 29 mm. 14-15(1) (nicely
bringing out the hemiola), pavan no. 21b m.
11(1-2), and almain no. 38b mm. 26-27. As in
the last two examples, sequences in divisions
are in most cases repeats of short rhythmical-
melodic fragments. In English lute music this is
a widespread technique, found extensively in the
music of John Johnson, and also in the works of
Dowland.
From this common stock of patterns, a few
are used regularly by Cutting. In the divisions
of his pavans we often find a scale figure of a
quaver followed by six semiquavers œ œ œ œ œ œ œ ,
mostly in an upward direction, and frequently
followed by another eight (or more) semiquavers
(for instance in no. 1, mm. 10, 11-12, 38). A chain
of eight semiquavers is seldom used as a separate
entity (as in no. 5a, m. 37). Cutting has a certain
predilection for the rhythmical patterns œ œ œ œ œ
(in galliards œ œ œ œ œ ) and also œ œ œ œ œ œ (in
galliards œ œ œ œ œ œ ); see for instance pavan no.
93 Wentzel, Lute pavans and galliards, pp. 60-61.
94 Wentzel, op. cit., pp. 21-24.
ww ˙
13, galliard no. 35 and almain no. 38bc. He
writes them sometimes in sequences or in
polyphonic imitation (see almain no. 40b, mm.
41-48). These patterns were also favoured by
John Johnson. In galliards we find regularly a
short upward scale œ œ œ œ œ œ (for instance in no.
34, mm. 12-14, in the treble no. 50, mm. 39-42,
and also in pavan no. 5, mm. 14-16, 43-45). In
longer scale figures we often see groups of four
semiquavers (in pavans and almains; quavers in
galliards), with a falling third as the first or last
interval: œ œ œ œ and œ œ œ œ . These patterns are
frequently used in sequences. Another regularly
featured group, mostly at the end of a chain of
(semi)quavers and consequently often in
cadences, consists of a falling and rising second
followed by a falling third: œ œ œ œ (see for
instance pavan no. 18, mm. 9, 11, 18).
Of course these melodic-rhythmical patterns,
although important for the structure of Cutting’s
divisions, do not set them apart from those of
other composers, because all lutenists are wont
to use generally the same material. This is also
the case with cadential formulae. There exist a
limited number of them, stereotypes more or less
in use by all, but Wentzel has shown that most
composers have a predilection for one or two of
those.94 He made a list of eight cadential for-
mulae, types a to h, and found that the lutenists
he studied – John Johnson, John Dowland,
Francis Cutting, Anthony Holborne and Daniel
Batcheler – preferred one or two patterns. A
distinction can be made between the figuration
on the leading tone over the dominant chord,
and the figural prolongation of the tonic chord.
Concerning the patterns over the dominant
chord, in Cutting’s works are found two distinct
& b œ˙ œ ˙˙ œ˙ . œ œ œj œ œ œj œ œ œ œ œ œ œ b œ œ œ œ œ œ ww
23
˙ w œœ
w Œ ˙.
? b w˙ w w Ó ˙
œ œ
Example 14. Pavan no. 20, mm. 7-8

& b œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙˙

? ˙
w w ˙˙
b

Example 15. Galliard no. 37b, mm. 47-48

j b
& b # wwœ . n œ œ œ œ œ www &b w w
n œœ .. n Jœ œ œ œ œ ww
Œ ˙. ? b Œ ˙. Œ ˙.
? b ww ˙ b w
ww ˙ ˙ ˙
Example 16. Pavan no. 19, m. 8 Example 17. Pavan no. 16, m. 18

formulae which are used frequently. Often he
writes one with a ‘gap’ before the last leading
note, which gap is filled by a note in a different
voice, in a V-I cadence usually the seventh
degree (see Example 14, from pavan no. 20).95
The other, written less often, is characterised by
a falling third in the middle of the last group of
(semi)quavers (Example 15, from galliard no.
37b). Both formulae are found in pavans as well
as galliards.96 Incidentally, in cadences Cutting
also likes to write a free-standing dominant in
the bass, with the other voices suspended above
it, especially in a cadence D-G (see for instance
no. 19, Sir Fulke Greville’s Pavan, mm. 19 and 25).
In the stereotypical figural patterns over the
final chord of a strain, some formulae can be
detected that are typical for Cutting’s style. In
the first statements of his pavans he often (30
times) writes florid passages, not (or just loosely)
related to these formulae, but in many instances
(19 times) we see a pattern which Wentzel called
type d: a dotted crotchet on the fifth degree of
the chord, followed by a quaver above it and a
downward scale of four quavers to the third
degree (see Examples 16 and 17). Wentzel
identified this formala too as one favoured by
Cutting, finding it less in pieces by others.97 In
his pavans Cutting also uses frequently (six

95 In Wentzel, op. cit., p. 21, this is formula a, extensively used by all lutenists exept John Johnson. Wentzel,
however, does not make any distinction between the variant forms of this pattern as used by different
composers (see the following footnote).
96 The first formula is characteristic of John Dowland as well, and is found also in Richard Allison (but with
the ‘gap’ not filled) and Anthony Holborne (often in a middle voice, sometimes also with the gap left
open). Of the second formula very few instances are found in the pieces of Holborne and Allison; there are
more in Dowland’s works, especially in his pavans (see for instance Dowland, Lute Music, no. 17, al-
though that is an exceptional case), however on the whole less often than in Cutting’s music.
97 Wentzel, op. cit., pp. 23-24.
 #
& b # wœ œ œ œ œ œ www & ˙œ . œ ˙ œ œ œ www
24

Œ ˙. Œ ˙.
? b ˙œ . ˙ ˙ ?# w
œ ˙ ˙ Œ ˙. ˙ ˙
J
Example 18. Pavan no. 19, m. 36 Example 19. Pavan no. 5b, m. 38

# b
& Œ ˙˙ . œ ˙˙ & b Œ ˙˙ . œ ˙˙
n˙ ˙
? # Ów ˙ ˙˙ ? bb Ó w
w ˙
Example 20. Galliard no. 25, m. 8 Example 21. Galliard no. 2, m. 8

b b
& b Œ ˙˙ .. ˙˙ & b b Œ œ. œ n œ œ ˙˙
w
? b Œ nœ. ˙ œ œ œ ˙ ? b w˙ ˙ ˙˙
b ˙ ˙ bb

Example 22. Galliard no. 33, m. 11-12 Example 23. Galliard no. 27, m. 20

times) Wentzel’s pattern type c, consisting of an
off-beat dotted crotchet on the fifth degree,
followed by a scale of three quavers to the third
or the first degree (see Examples 18 and 19). In
contrast, the pattern of a downward scale of an
octave starting on the first degree, a favourite
formula in Dowland’s pieces (Wentzel’s type b),
is found only once in a Cutting pavan.98 Like his
pavans, Cutting’s galliards also frequently end
with a florid figuration, or, in contrast, with a
simple breaking of the final chord (16 times).99
However, stereotypical formulae are here found
often, not only in the first statements of the
strains, but in the varied repeats as well. The
preferred closing formula is an off-beat minim
on the third degree, followed by a crotchet on
the fourth and again a minim on the third (see
Examples 20 and 21). This is formula h in
Wentzel, who also identified it as Cutting’s
favourite galliard pattern.100 Found eight times
each are a pattern like the b formula of the pavans
(a downward scale of an octave) and a variant
of the c pattern of the pavans: an off-beat dotted
crotchet on the fifth degree, followed by three
downward quavers to the third or first degree
(see Examples 22 and 23). Finally there is
Wentzel’s formula g, which is written eleven
times, but only in four pieces.101 This formula, a
dotted minim on the third degree followed by
three descending crotchets leading back to the
third (see Example 24), is used by Cutting when
he wants to protract the final chord over two
measures, for which this pattern offers an easy
solution. It is written mostly on D major chords;
we find it two times on a G major chord (in no.
6) and once on an A major chord (in no. 14).

98 No. 1b m. 36.
99 Broken chords are found exceptionally often in no. 30, mm. 4, 8, 12, 20, 24 (also in mid-strain cadences).
100 Wentzel, Lute pavans and galliards, p. 23.
101 Nos. 4, 6, 14 and 33. These are somewhat special cases: nos. 4, 6 and 14 are galliards which are based on
pavans, and no. 33 is a galliard based on a piece by Dowland.
 #
& # Œ ˙œ w œ œ œ ww .. 25

? ## Ó w w˙ .
w. w
Example 24. Galliard no. 33, mm. 11-12

Furthermore, Carpenter and Spencer noticed
Cutting’s habit of connecting one strain to the
beginning of the next by means of a scalar
passage.102 There are many occurrences of this
in his works (see for instance galliard no. 10),
and it can be said to be a distinctive trait of his
style, although the same technique is used
regularly by other composers, notably by Hol-
borne and John Johnson.103 In the flourishes on
the final chord of strains in Cutting’s dances we
sometimes find a leap rather than the obligatory
scale figures, suggesting polyphony (see the
closing measure of pavans nos. 15 and 19, and
for instance galliard no. 26 m. 16, and almain
no. 38c m. 16).
A characteristic trait of Cutting’s style is the
occurrence now and then of harmonies in varied
repeats which differ from those of the first
statement. In pavan no. 7 the bass line of m. 5 is
altered slightly in m. 11, as a result of which
here the dominant d is reached only at the last
crotchet before the bar line. In pavan no. 17b
there are two instances (mm. 31 and 44) of a
changed bass line, the first time introducing and
the second time omitting a intermediary har-
mony (compare mm. 23 and 36 respectively).
As we saw before, in pavan no. 20 some har-
monies in the divisions are adapted for the sake
of polyphonic imitation, which Cutting obvious-
ly considered more important: compare mm. 1-
2 and 9-10 (a major harmony is turned into minor
one in the repeat), mm. 38 and 46 (a bass note is
omitted in the repeat) and mm. 6 and 14. Some
instances of this altering of the harmonies in
varied reprises are found also in galliards,
almains and other pieces.104
There remain two small melodic features
which are also characteristic of the music of
Francis Cutting. The first is a short phrase of an
ascending fifth beginning with a leap of a minor
third. This we find regularly in his works, in
dances as well as variations: see for instance no.
1 Mrs. Anne Markham’s Pavan m. 19 (four
times, in bass and alto), galliard no. 4 mm. 4-6
(seven times in different voices; see Example
7); no. 46 My Lord Willoughby’s Welcome Home
m. 9 (twice in the alto); no. 48 Walsingham mm.
53-54 (twice in the bass). This phrase is used
also in divisions, for instance in pavan 5 mm.
14-17 (five times, in the bass, tenor and alto
voices; see Example 9). The second feature is,
to my knowledge, found almost exclusively in
the divisions of Cutting’s pavans, always in the
A’ strain. It is a flourish (one quaver followed
by a chain of fourteen semiquavers) above a
minim bass note e flat, which flourish consists
of a descending and then ascending scale of the
octave g’-g-g’, with in the second (ascending)
part a false-relation e’ natural.105 Exactly this
same figure appears in no. 1 m. 12, no. 15 m.

102 Carpenter, ‘Lute Music of Francis Cutting’; Spencer, ‘Francis Cutting’.

103 See also Wentzel, op. cit., pp. 17-18, who finds that Holborne is the one to use this device most often.
104 See galliard no. 30 mm. 7 and 15, where a major third is introduced in the F chord, and changed bass lines
in almain no. 38 (versions b and c) mm. 34 and 42, almain no. 39 mm. 5-6 and 13-14, and no. 44 Cutting’s
Comfort mm. 11 and 15.
105 This same flourish is found once in Holborne, Music for Lute & Bandora (ed. Spring), nos. 13a and c
(pavan Last Will and Testament), m. 90 (in version no. 13d, m. 45, there is no note e’ natural in the flourish,
and therefore no false-relation). Perhaps Holborne here deliberately cited Cutting, as this piece shows
some similarities with one of Cutting’s more popular works, Mrs. Anne Markham’s pavan (no. 1, in which
this flourish is found also): compare the opening of the C strain of Holborne’s piece with the beginning of
Cutting’s B strain, and the rhythmically distinct figuration in mm. 13 and 28-31, especially m. 30 (in no.
13d) with mm. 13-14 of Cutting’s pavan.
26 11, no. 16 m. 14 and also in no. 51, the Barley
version of Dowland’s Lachrimæ Pavan, m. 14,
thus making it very likely that this version, so
deviating from the standard one, was composed
by Cutting.106 In other works by Cutting flourish-
es are found that are reminiscent of the one on e
flat: see pavan no. 9 m. 21, and no. 46 My Lord
Willoughby’s Welcome Home m. 14; compare
also the bass line in no. 48 Walsingham mm.
28-29(1).
When analysing the characteristic features of
Cutting’s works, we see that they are not in a
uniform style. In his pavans, and to a lesser
extent in his galliards, distinct differences can
be discerned. These differences probably
represent a development of Cutting’s musical
style. It is therefore possible to reconstruct a
– tentative – chronology of his works on the
basis of their stylistic traits.
Starting with the pavans, first of all we see
that the density of their polyphonic texture
varies. There are pavans, for instance nos. 1a
and 9 and in part also no. 3, with a rather thin,
basically three-voiced texture. No. 9 especially
(notably the A and B strains) is essentially in
the older ‘linear’ style, with a top voice on a
bass which is filled out with chords; there is also
little trace here of the imitative counterpoint of
Cutting’s other pieces. This pavan must be an
early work.107 The other pavans have a fuller
texture, often in four voices; nos. 5, 7, 11, 13
and 19 are clear examples; these must be later
works.
Furthermore, there is a marked difference
between the divisions of no. 9 and those of
pavans like nos. 13 and 19. In no. 9 we have
long chains of semiquavers (which trait is also
known from the divisions in the ‘linear’ style),
while in the others the semiquavers are grouped
in smaller numbers, thus forming shorter chains.
In his late works, Cutting likes to keep the
intricate four-part polyphony intact in the varied
repeats, often enhancing it by adding small
ornaments in the various voices, using the
106 Erik Ryding, ‘Cutting’s “Lachrimae”?’, reached the same conclusion, also on the basis of this characteristic
scale figure.
107 This also goes for Quadro Pavan no. 52, if Cutting really did write that; this piece is completely in the
‘linear’ style.
rhythmic patterns described earlier or intro-
ducing syncopated movement. These techniques
result in a somewhat fragmented, ‘nervous’ style
in these late reprises. The difference between
the early and late divisions can be made clear
by simply counting the semiquavers which occur
in groups of five or more (excluding the
flourishes in the final measure of the strains),
and then taking the average by dividing the sum
by the number of counted groups. Thus in no. 9
we find an average of 14.1 semiquavers per
group, which is the highest outcome of all
pavans, while the lowest average is found in no.
13b with 2.5 notes per group (3 in no. 13a). Other
pavans with extended chains of semiquavers are
nos. 1b (an average of 13.9; 1a has 13.5), 16
(11) and 7 (8.9). Pavans with small numbers of
semiquavers per group, obviously later com-
positions, are nos. 3 (an average of 5.3), 19 (5.3)
and 20 (4.2).
Now that we have established this rough
chronology of the pavans, some additional
observations can be made. First, the outcome is
confirmed by the use that is made of the seventh
course D in them: from not at all in no. 9, via
optional (it is used, but is not essential in the
voice-leading or the playing technique) as in no.
1a, to integrally in pieces like nos. 11, 13 and
19. In the second place, it seems that in his
earliest and latest pieces Cutting makes less use
of intricate imitative counterpoint, which is
found most extensively in the other works, from
his middle phase so to say. In late pavans like
nos. 11 and 19 the polyphony is dense, but it
mostly involves long, quasi-vocal lines, rather
than shorter and closely imitated points, such as
we find in a pavan as no. 3 (as analysed before).
This is not to say that imitation is absent in these
late works: see for instance, in the Groninge
Pavan no. 18, the complex double counterpoint
at the opening of the C section, or in pavan no.
11 the long line in the tenor (derived from a
theme in the treble) imitated in the treble (mm.
9-11). In the third place, in the later works
Cutting’s harmonic sense has developed. The
harmonic pulse seems to be faster than in the
earlier pieces, and the works make a more
deliberate use of features like suspensions,
appoggiaturas and dissonant passing notes. See
for instance, in no. 11 E. Porter’s Pavan, the
chains of appoggiaturas in mm. 13 and 14-15.
Some of these differences between early and
late characteristics can be found in the two
versions of no. 1 Mrs. Anne Markham’s Pavan.
Version no. 1a is probably a quite early work,
taking into account its rather thin, essentially
three-voiced texture, and its long rows of semi-
quavers in the divisions. The seventh course D
is used a couple of times, and in some places
(mm. 1, 19) it seems to be integral part of the
voice-leading, but probably in its earliest stage
the piece was for a six-course instrument (see
the Commentary to this work). Version 1b of
this pavan must be of a later date. Although the
divisions have not changed very much (there are
even some more flourishes of semiquavers than
in 1a), the texture has thickened, at places up to
four voices (see for instance mm. 1-4). Also, the
seventh course now plays an integral part in the
music. This version 1b probably should be
classified as a late work. Perhaps the ‘baroque’
breaking of the chords in m. 7 is a indication of
the direction in which Cutting’s music might
have gone, had he lived longer.
All things considered, it seems that the order
in which Cutting’s pavans were composed, is
roughly as follows. The earliest one would be
no. 9: partly in the old ‘linear’ style, with a thin
texture and a small amount of counterpoint and
imitation, and with long flourishes in the varied
repeats.108 A next phase could be represented by
no. 1a, with a rather thin, three-voiced texture,
now including polyphonic voice-leading and
more imitation, and with long chains of semi-
quavers in the reprises. This last characteristic
we find also in nos. 15 and 16, based on composi-
tions by Ferrabosco and Morley respectively, the
divisions of which were made by Cutting. No.
15 probably was composed in this early period;
it is perhaps significant that the first measures
of no. 9, which is very unlike the openings of
other pavans by Cutting, seem to be inspired by
108 Certainly older is Quadro Pavan no. 52, but as is stated before, it is doubtful if Cutting did write that.
the beginning of no. 15. Also, the piece is for 27
six-course lute, while in the C strain a seventh
course is sorely needed to keep up the imitative
voice-leading (see the Commentary). No. 16,
however, with its integral use of the seventh
course, probably belongs to the late phase, which
can also be deduced from some stretches of
‘nervous’ divisions, leaving the polyphony intact
(see mm. 27-29, 32-35, 48-49). A next group
consists of nos. 3, 17, 7, 5, 18, 13, 1b and probab-
ly no. 20, of which the last four or five, with
their fuller texture, are perhaps later than the first
three or four. These pieces are characterised by
a development from three to four voices, much
close imitation, and shorter chains of semi-
quavers in the divisions than before. Judging
from the length of the flourishes in their
divisions, nos. 21 and 51, based on works by
Byrd and Dowland, also belong to this phase.
The latest works would be nos. 11 and 19, with
a full four-voiced counterpoint, less imitation,
more advanced harmonic traits, and, in the case
of no. 19, rather short stretches of passagework
in the divisions (no. 11 has no varied repeats).
In the galliards some of the stylistic traits
which we found developing in the pavans can
also be detected. Likewise we see here pieces in
the early ‘linear’ style, with a thin texture, basic-
ally consisting of a treble on a chordal bass line,
and with no imitation between the parts; sequen-
ces are the main structural element. These traits
are found in their most pure form in nos. 24 and
25, which must be the earliest of Cutting’s
galliards that are handed down. In another group
of pieces, probably belonging to the next period,
a somewhat fuller texture can be discerned, with
a more contrapuntal voice-leading and short
spells of imitation. These galliards comprise nos.
22, 2 (to pavan 1), 10 and the identical 34 (with
imitation in mm. 45-47), and 35 (where there is
some imitation in the A strain); perhaps also nos.
36 and 32 belong in this phase. The last mention-
ed galliard, no. 32, shows a further developed
sense of polyphony, and this is the direction in
which Cutting’s galliards seem to go. A fuller
counter-point and a growing amount of imitation
are found in the galliards that could be placed in
28 the next phase: nos. 23, 28, 30 and also 6 (to
pavan no. 5); some more imitation is found in
nos. 8 (to pavan no. 7) and 4 (to pavan no. 3). A
dense contrapuntal texture, with a prominent role
for imitation, is found in nos. 14 (to pavan no.
13), 26, 27, 29, 31 and 33 (on a galliard by
Dowland), representing the late phase of Cut-
ting’s galliards. The latest specimens are probab-
ly nos. 37 and 12 (to pavan no. 11), where we
see the more advanced harmonic traits which
we observed in the latest pavans, with suspen-
sions and appoggiaturas (see for instance no.
37b, mm. 35 and 36), while in no. 12 imitation
gives way to a more free counterpoint with
longer melodic lines, just as is the case in its
paired pavan. Furthermore, it is only the late
galliards nos. 33, 14, 37 and 12, that require a
seven-course lute. 109 In these latest works,
notably nos. 12 and 14 the dance-like rhythmic
characteristics of the galliard, clearly present in
the early and middle phases, somewhat dis-
appear; these pieces are becoming more abstract.
From this stylistic evolution of the galliards
we learn that their development is analogous to
that of the pavans, apart from the shortening of
the chains of small notes in the divisions; this
feature is not found in the galliards (their rows
of quavers even seem to get longer in the course
of time). Furthermore, the stylistic evolution of
the pavans and that of their paired galliards more
or less seem to coincide, lending more credibility
to this hypothetical chronology.110
We may assume that it took some time to
complete this evolutionary process. There are,
however, not many firm data to assign years to
the relative chronology (see the Commentary to
the individual pieces). We know that pavan no.
1, on stylistic grounds assumed to be probably a
relatively early work by Cutting, must have been
dedicated to Mrs. Anne Markham before the
autumn of 1591, when her husband was knight-
ed. The setting of Byrd’s Pavana Bray, no. 21,
judging from its style probably made in a later
109 In some versions of galliards nos. 2 and 4 a seventh course is also written, but these seem to be later addi-
tions (see the Commentary to these pieces).
110 Only pavan no. 9 seems to be in an earlier style than its galliard no. 10, but as we saw that there is no musical
similarity between the two, the galliard being a mere transposition of no. 34, it is very well possible that
Cutting added the galliard to the pavan at a later date.
period, must date from some time after 1591,
when Byrd finished this composition. No. 35 Sir
Walter Raleigh’s Galliard, stylistically another
rather early work, is likely to have been dedicat-
ed after Raleigh’s knighthood in 1585, but before
his influence at court declined after 1588, and
certainly before his imprisonment and sub-
sequent banishment from court in 1592. No. 47
Packington’s Pound was probably composed
before 1587, when the dedicatee was knighted;
no. 49 Lullaby probably dates from after 1588,
when the vocal model was published. The
distribution of the works in the books and
manuscripts is not very helpful either, because
many pieces are found in sources that date from
shortly after Cutting’s death (as is the case with
Barley and Dd.5.38). One can observe, however,
that no. 11 E. Porter’s Pavan, in all probability
made in the latest period of Cutting’s active life
as a composer, is found already in the earliest of
the Holmes books for lute solo, Dd.2.11, albeit
in the latter part of the manuscript (on f. 73v-
74r). Galliard no. 22 and the toy no. 42 are found
in a book which is dated somewhat earlier (Add.
2764, possibly written 1585–1590), so these
pieces probably date back to the eighties. All
things considered, it seems that Cutting made
his earliest extant pieces somewhere in the early
eighties, that his middle period fell in the second
half of the decade, and that his late works must
have been composed in the nineties. Perhaps his
activity as a composer coincided with his life in
London.
Without doubt Francis Cutting’s compositions
for lute rank among the best of the Elizabethan
‘Golden Age’. In quality as well as quantity they
can stand comparison with the works of his most
gifted contemporaries, John Johnson, John
Dowland and Anthony Holborne. He does not
have Dowland’s melodic gift or Johnson’s
rhythmic genius, but his pieces ‘constitute many
of the most perfectly balanced works of the
repertoire’.111 The serious mood of his pavans,
the vitality of his galliards, the gaiety of his
almains and toys, together with his personal
harmonic idiom and his inventiveness in using
counterpoint, imitation and sequences, are all
sure signs of an able and often inspired
composer. Many of his pieces are technically
demanding, exactly because of their contrapuntal
qualities, but Cutting always stays close to the
lute’s idiom as it had developed in England.112
Richard Newton, the first to appraise Cutting’s
works, rightfully stated that the modern player
who is willing to invest time and effort in this
music, ‘will find himself richly rewarded’.113
About the present edition
In this book have been edited all works for lute
and bandora by Francis Cutting. Above each
piece is the ascription as given in the sources.
This is done because two anonymous works have
been attributed to Cutting (in both cases galliards
that probably form a pair with pavans whose
authorship is certain),114 because some pieces
have a conflicting ascription in the sources, and
because some works are arrangements by
Cutting of compositions by others. In the last
two cases one finds two composer’s names at
the head of the piece;115 in the Commentary is
explained whether we are dealing with a
conflicting or a double authorship. In the edition
proper are given the fifty lute works that are
ascribed to Cutting, including the two anonym-
ous galliards. In Appendix A are five pieces of
uncertain ascription; in Appendix B the two
bandora works by Cutting. Appendix C gives a
pavan that is handed down in the form of a viol
duet, but probably was based on a now lost lute
work.
111 Spring, Lute in Britain, p. 148.
112 Carpenter, ‘Lute Music of Francis Cutting’, calls Cutting’s music ‘not really idiomatically conceived for
the lute’, but much continental music from the period, from Bakfark to Molinaro, is much more difficult to
play.
113 Newton, ‘Francis Cutting’, p. 47.
114 Nos. 6, 8.
115 Nos. 15, 16, 21, 33, 35, 36, 46, 49, 50, 51, 53; see also nos. 54, 55.
116 Two versions: nos. 1, 5, 13, 21, 40, 48; three versions: no. 38.
The versions chosen for this publication are 29
of course the ones the editor considers the best:
they have the best musical text and show the
fewest copyist’s mistakes. Always included are
the versions printed in Barley’s A new Booke, as
Cutting probably edited these himself. When
there exist two or more clearly distinct versions
of a work, both are edited; in one case there are
given three variants.116 In the edition the pieces
have been transcribed as faithfully as possible
from the chosen main source, including the
playing signs (finger dots, graces, vertical and
diagonal strokes concerning the position
respectively the holding of bass notes). Editorial
corrections have only been made sparingly,
where there is a clear case of a copying error.
The corrections are based as far as possible on
other existing versions of the same piece, and
all are of course mentioned in the Commentary.
Only the irregularly placed bar lines, occurring
frequently in many sources, have sometimes
been standardised silently.
Apart from this, the Commentary includes: a
list of all the sources in which a piece is found;
the number of the piece in the earlier edition by
Long in Cutting, Selected Works; background
notes to each piece; a justification of the grounds
on which an anonymous work was ascribed to
Cutting, or, in the case of a double ascription,
the editor’s opinion about the authorship; and a
description of the differences between the
various versions and the version(s) printed in
the book. Mentioned are the more important
variant readings: variations in melody lines,
variations in basses and considerable harmonic
variations. Considered less important, and
therefore often omitted in the Commentary, are
copyist’s errors, minor harmonic variants (as
differently spaced chords) and the sometimes
vast array of divisions in the varied repeats.
TABLATURE
32 1a. Mrs. Anne Markham’s Pavan

Add.3056, ff. 48v-49r Francis Cutting

A
b b b b b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b
b b b b b b
b
VII=D

b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b
b b b b b
b b
(4)
A’
b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b

b b b b b b b
b
8

b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b
b b b
b b

10

b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b b b b b b b
b b

12

b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b
b b b b b
b b b b
b b b b b

14
B
b b b b b b b b b b b b
b
b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b
b b b b b

16

b b b b b b b b b b b b
b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b
b
19
 B’
b b b b b b b b b b b b b b

b b b b b b b b b b b
b b b
b
b
b b b b b b b b
33
b b b b b b b b b b b b b b b b b b b b b
b b b b b
b
b b b b b

22

b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b
b b b b b b b b b
b b b b b
b
24

b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b
b b
b b b
b b b
b
(26)
C
b b b b b b b b b b b
b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b
b b b b b
b b b b b

28

b b b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b
b b b b b
b b
(31)
C’
b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b
b b b b b b b b
b b b

35

b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b
b b b
b b
b
38

b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b
b b b
b b b b

40

b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b
b b b b b b b b
b b b b
(42)
34 1b. Mrs. Anne Markham’s Pavan

Dd.9.33, ff. 32v-33r Francis Cutting

A
b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b
b b b b b b
b b b b
VII=D
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b
b b b b b
b b b b b
(4)
A’
b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b
b
b b b b b b
b
8

b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b
b b b
b b
b
10

b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b
b b b b b b b b b b b b
b b
b
12

b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b
b b b b
b b b b b b
b b
14
B
b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b
b b b b b b
b
16

b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b
b b b b b b b
b b
(19)
 B’
b b b b b b b b b b b b b b
b b b b 35
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b
b
b b b b b

22

b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b
b b b b b b b b b
b b b b b b
b
24

b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b
b b
b b b
b b b

(26)
C
b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b
b b b
b b b b
b b b b
28

b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b
b b b b b
b b
(31)
C’
b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b
b b b
b b b b b
35

b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b
b b
b
b b
38

b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b
b b b
b b b b
b
40

b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b
b b b b b
b b b
(42)
b b b
36 2. [Galliard]

Dd.5.78, ff. 24v-25r Francis Cutting

A
b b b b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b
b b b b b b b b

A’
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b
b b b b
b

9
B
b b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b
b b b b b
b b b b b

14
B’
b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b
b b b

20

b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b

26
C
b b b b b b b b b b b b b b b b b
b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b
b b b b b b b b b b b
b b b b

32
C’
b b b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b
b b b b b b b b b
b b b b

38

b b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b
b b b b b b b
b b b b b b b b b
b b b b

44
 3. Pavan 37

Dd.9.33, ff. 9v-10r Francis Cutting

A
b b b b b b b b b b b b b
b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b
b b b b b
b b b b b b b

VII=D

b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b
b b b b b b b b b
b b
5
A’
b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b
b b b b
b b b b b

b b b b b b b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b
b b b b b
b b b b b b b
b b
12

b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b
b b b
b b b b b

15
B
b b b b b b b b
b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b
b b b

17
B’
b b b b b b b b b b b
b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b
b b b

21

b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b
b b b b
b b b b
b
25
 b b b b b b b b b b b b b

38 b b b b b b b b b b b b b b b b

b b b b b b b b b b b b b b b b b b b b b b

b b b b b b b b

b b b b b

b b b b b b

b b b

27
C
b b b b b b b b b b b b

b b b b b b b b b b b

b b b b b b b b b b b b b b b b

b b b b b b b b b b b b b b b b

b b b b b b

b b b b b b b b b

b b b b b b b

(29)

b b b b b b b b b b b b b b

b b b b b b b b b b b b b b b b b b b

b b b b b b b b b b b b b b b b

b b b b b b b b b b b b b

b b b b b b b b b

b b b b b b b b

b b b b

33

b b b b b b b b b b b b

b b b b b b b b b b b

b b b b b b b b b b b b b b b b b b b

b b b b b b b b b b b b b b b b b b b b

b b b b b b b b

b b b b b b b b b b

b b b b b b b

36

4. Galliard

Dd.5.78, ff. 22v-23r Francis Cutting

A
b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b

A’
b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b
b b b b b b b b b b
b b b b b

8
B
b b b b b b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b b b
b b b b b b b

14
B’
b b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b
b b b b b
b b b b b b b b
b b b

20
 b b b b b b b b b b b
b b b b
b b b b b b b b b b b b b b b 39
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b b b
b b b b b

26
C
b b b b b b b b b b b b b b b b
b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b
b b b b b b b b b b
b b b b

31
C’
b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b
b b b b b b

38

b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b
b b b b b b b
b b b b

44

5a. Pavan

Barley (lute), ff. D3r-4v Francis Cutting

A
bb b b b b b b b b bb b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b

b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b
6
A’
bb b b bb b b bb b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b
b b b b b b
10

b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b
b b b b b
(12)
 b b b b b
b b b b b b b b
40 b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b
b b b b b
15
B
b b b b b bb b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b
b b
(17)

b b bb b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b
b b b b
21
B’
bb b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b
b b b b b
b
25

b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b
b b b
b b b
(27)
C
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b
b b b b b
(29)

b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b
b b b
33

b b b b b b b b b b b
b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b
b b b b
37
C’
bb b bb b b b b bb b b bb b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b
b b b b b b b
39
 bb b b bb b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b 41
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b b
b
42

b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b
b b b b
45

5b. Pavan

Dd.5.78, ff. 10v and 20r Francis Cutting

A
b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b
b b b b b b b b b b

VII=D

b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b
b b b b b

6
A’
b b b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b
b b
b b b b b

10

b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b
b b b b b b
b b b b b

(12)

b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b b
b b b b b b

15
B
b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b
b b b b b

18
 B’
b b b b b b b b b b b b b
b b b
42 b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b
b b b b b
b b
b
22

b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b
b b b b
b b

26

b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b
b b
b b b

28
C
b b b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b
b b b b b b b

30

b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b
b b b

34
C’
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b
b b b b b b b b b

38

b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b
b b

(41)

b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b
b b b b
b b b b b

(44)
 6. [Galliard] 43

Dd.5.78, ff. 20v and 11r [Anonymous]

A
b b b b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b b
b b b b b b b
b b b b b b b b

b b b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b
b b b b b b b

9
A’
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b
b b b
b b b b
b b b b b b

17

b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b
b b
b b b b b b b
b b b b b b

22

b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b
b b b
b b b

28
B
b b b b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b
b b b b

33

b b b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b
b b b b b b
b b b b b b b b b

41
B’
b b b b b b b b b b b
b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b
b b b b b b
b b b b

49
 b b b b b b b b b b b b b b
44 b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b
b b b b b b b
b b b b b b b
54

b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b
b b b
b b b
b b b b b b
60

7. Pavan

Dd.5.78, ff. 60v-61r Francis Cutting

A
b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b
b b b b b b b
b
VII=D
A’
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b
b b b
b
5

b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b
b b b
b b b b b

b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b
b b b b b

(10)
B
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b
b b
b
13
B’
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b
b b b
b b b
b b
17
 b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b 45
b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b
b b

20

b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b
b b b
b b b
b
(22)
C
b b b b b b b b b b b
b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b
b b b
b

25

b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b
b
28
C’
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b

b b b

31

b b b b b b b b b b b b b
b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b
b b b
b

33

b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b
b b b b b b b
b b b b b b b

35

b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b
b b
b b b b b b
b b
37
46 8. [Galliard]

Dd.5.78, f. 24r [Anonymous]

A
b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b
b b b b b b b b b
b b b b b b

A’
b b b b b b b b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b
b b b b b b
b b b b b b b

8
B
b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b
b b b b b b b b
b b b b b b

14
B’
b b b b b b b b b b b b b b b b b
b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b
b b b b

20

b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b
b b b b b b b
b b b b b

26
C
b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b
b b b b
b b b b

31
C’
b b b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b
b b b b b b b b

37

b b b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b
b b b b b b b
b b b b b b b b b b

43
 9. Pavan 47

Barley (lute), ff. D1v-3r Francis Cutting

A
b bb b b b b b b b b b bb b b b b b bb b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b
b b

A’
b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b
b b
6

b b b b b b b
b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b

b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b
b b b b
b b
11

b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b
b
13
B
bb b b b bb b b bb b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b
b b
15
B’
b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b
b b b b
19

b b b b b b b b b b
b b b b b b b b b b b b b b b b b bb b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b
b
b b
22
 b b b b b b b b b b b b b
48 b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b
b b b b b
b b
24
C
b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b
b b b
26

b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b
b b
29
C’
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b
b b b b b b
b b
32

b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b
b b
35

b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b
b
37

10. [Galliard]

Dd.5.78, f. 15v Francis Cutting

A
b b b b b b b b b b b b
b b b
b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b

A’
b b b b b b b b b b b b b b b b b b
b b
b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b

8
 B
b b b b b b b b b b b b b b b b b
b b b b b b b 49
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b

13
B’
b b b b b b b b b b b b b b b b b b
b
b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b
b

19

b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b
b b

26
C
b b b b b b b b b b b b b b b
b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b

31
C’
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b

37

b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b

44

11. E. Porter’s Pavan

Dd.2.11, f. 73r Francis Cutting

A
b b b b b b b b b b b b
b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b
b b b b b b
b b b b
VII=D

b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b b
b b b b b b b b b
b
5
 B
b b b b b b b b b b

50 b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b
b
9

b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b
b b b b b

14
C
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b
b b b b b b b b
b b b
17

b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b
b b b b b
21

12. Galliard

Dd.5.78, f. 55r Francis Cutting

A
b b b b b b b b b b b
b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b
b b b b b b b
b b b b b

VII=D
B
b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b
b b b b b
b
7
C
b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b
b
13

b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b
b b b
b
19
 13a. Pavan Sans Per 51

Euing, ff. 32v-33r Francis Cutting

A
b b b b b b b b b b b
b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b
b b b b b b b b b
b b
b b b
VII=D A’
b b b b b b b b b
b
b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b b b b
b b b b
b b b
5

b b b b b b b b b
b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b
b b b b b b
b b
b b
9

b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b
b b b b b b
b b b b
b b
12
B
b b b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b
b b b b b b
b b b b b
b b
15
B’
b b b b b b b b b b b b
b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b
b b b b b b b
b b b
b b
(18)

b b b b b b b b b b b
b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b
b b b
b b b b b

22

b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b
b b b b
b b b

(24)
 C
b b b b b b b b
52 b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b b b
b b b b b b b b
27 b b b b
C’
b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b
b b b b b b b b
b b b b b
31 b b b b

b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b
b b b b b b b b b b b b
b b b b b b b b b b
35 b b b b b b

b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b
b b b b b b
b b b b b b
38
b b b b b

13b. Pavan Sans Per

Dd.2.11, f. 84v Francis Cutting

A
b b b b b b b b b b b
b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b
b b b b b b b b b b
b b
b b
VII=D
A’
b b b b b b b b b b b
b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b
b b b b b b b b b b b
b b b b
b b b
5

b b b b b b b b b
b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b b
b b b b b
b b b
9
B
b b b b b b b b b b b b b b
b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b
b b b b b b
b
b b b
13
 b b b b b b b b b b b b b
b
b
b b
b
b
b
b b b
b
b
b
b b
b
b b b b b
b
b b
b
b
b
b
b
b b b
b
b
b
b
b b
b b b b b b b
53
b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b
b b b b b

16
B’
b b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b
b b b b
b b b b
b b
20

b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b
b b b b b

(23)
C
b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b b b
b b b b b b b b
b b b b
27
C’
b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b
b b b b b
31 b b b b b

b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b
35 b b b b b b

b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b
b b b b b b b b b
b b b b b b
38 b b b b b b
54 14. Galliard

Dd.2.11, ff. 73v-74r Francis Cutting

A
b b b b b b b b b b b b b
b
b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b
b b b b b b b b b b b b
b b b b b b
b b b b
VII=D B
b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b
b b b b
8

b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b
b b b b

15
C
b b b b b b b b
b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b b b
b b b b b b b
b b b
22

b b b b b b b b
b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b
b b b b b b b b b b b
b b b b b b b b b b
b b b b
29

15. Pavan

Dd.2.11, f. 72r Alfonso Ferrabosco / Francis Cutting

A
b b b b b b b b b b b b b b
b
b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b

A’
b b b b b b b b b b b b b b
b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b
b b b b b b

6
 b b b b b b b b
b b b b b
b
b
b b
b b
b b b b b b b
b
b b b b b b
b b b b b
b b b b b b b b
55
b b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b
b b b

10

b b b b b b b b b b b b b b
b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b
b b b
b b b

(12)

b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b
b b b b
b b b b

(14)
B
b b b b b b b b b b b b b b b
b b
b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b

17
B’
b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b

22

b b b b b b b b b b b b b
b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b
b b b b b b b

26

b b b b b b b b b b b b b
b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b

29
C
b b b b b b b b
b
b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b
b b b b

32

b b b b b b b b
b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b

36
 C’
b b b b b b b
56 b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b
b b b b b b
b b b

41

b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b
b b b b b b b b

(43)

b b b b b b b
b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b
b b b b b

46

16. Pavan

Dd.9.33, ff. 11v-12r Thomas Morley / Francis Cutting

A
b b b b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b
b b b b b b
b b
VII=D

b b b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b
b b b b b

5
A’
b b b b b b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b
b b b b b
b b
9

b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b
b b b b b
b b b

12
B
b b b b b b b b b b b
b
b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b
b b b b b

15
 b b b b b b b b b b
b b b b b b b b b b b 57
b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b
b b b b b b b
b b b b b
b b b b b b
18

b b b b b b b b b
b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b
b b b b b b b b b b
b b b b b
22
B’
b b b b b b b b b b b b b b b b b b b b b
b
b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b

b b b b b b
b b
26

b b b b b b b b b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b
b b b b b b b b b b b b b b
b b b b b
b b b b
29

b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b
b b b b b
b b b b b b b b
b b b
(31)

b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b
b b b b b
b b b b b b
b b
34
C
b b b b b b b b b b b b b b b
b b
b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b

36

b b b b b b b b b b b b
b
b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b
b b b b
b
39

b b b b b b b b b b b b
b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b
b b b b
b
42
 C’
b b b b b b b b b b b b b b

58 b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b
b b
b b b

45

b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b
b b b b
b b

47

b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b
b

49

b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b
b b
b b b
b
51

17a. [Pavan]

Dd.5.78, f. 17v Francis Cutting

A
b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b b
b b b

VII=D

b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b
b b b b b b b b b
b
5
B
b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b
b b b b b b b b b b b
b b
8

b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b
b b b b b b b b
b b b b b b b b b b b
b
12
 C
b b b b b b b b b b b b
b b b b b b b b b b b 59
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b
b b b b b b b b

15

b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b
b b b b b b b b b b b b b b b
b b b b b b b

18

b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b
b b b b b b b b b b

22

17b. [Pavan]

Dd.2.11, ff. 11v-12r Francis Cutting

A
b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b
b b b
b b
VII=D

b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b
b b b b b b b b b b
b
5
A’
b b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b
b b b b b
b b b

b b b b b b b b b b b
b b b b
b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b
b b
b b b
(11)

b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b
b b b b b
b b b b b

(13)
 B
b b b b b b b b b b b b
b
60 b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b
b b b b
b b b b b b

16

b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b
b b b b b
b b b b b b b b
b b b b b
19

b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b
b b b
22
B’
b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b
b b b b b
b b b b b b
b b b b
25

b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b
b b b b
b b b b b b b b b b
b
28

b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b
b b b b b b b b
b b b b b
b b
(30)
C
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b
b b b b b b b b b b b
b b b b b b b

33

b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b b b b
b b b b b b b

37
C’
b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b
b b
b b b b b b b

40
 b b b b b b b b b b b b b b b b b b
b
b
b b b b b
b
b
b b
b b b b
b
b
b b b
b
b
b
b b b b
b b b
b b b b
b
b
b b 61
b b b b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b b
b b b b

43

b b b b b b b b b b b b b b
b b b
b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b

46

18. Groninge Pavan

Hirsch, f. 12r Francis Cutting

A
b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b
b b b b b b b b
b b b b b b b

A’
b b b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b
b b b
b b b b b
b b b b

b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b
b
b b b b
b

b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b
b b b
b b

11
B
b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b
b b b b

13

b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b
b b b

(16)
 B’
b b b b b b b b b b b b b b b

62 b
b
b b
b
b
b b b
b
b
b
b
b
b b b
b
b
b
b
b
b
b b b b
b
b
b b b
b b
b
b
b
b b

b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b
b b b

19

b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b
b b b
b

22
C
b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b

(24)

b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b
b

28
C’
b b b b b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b
b

31

b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b
b

34

19. Sir Fulke Greville’s Pavan

Dd.9.33, ff. 18v-19r Francis Cutting

A
b b b b b b b b b b b b b
b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b

VII=D

b b b b b b b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b b b b b b
b b b b b b b b
b b b b b
5
A’
b b b b b b b b b b b b
b
b b b b b b b b b b b b 63
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b
b b b b b b

b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b
b b b b b
b
12

b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b
b b b b b b b b b
b b b b
b
14
B
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b
b b b b b b b
b b
16

b b b b b b b b b b b b b
b
b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b
b b b b
b
20
B’
b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b
b b b b b
b
23

b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b
b b b b b b
b
(25)
C
b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b
b b
b b
28

b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b
b
31
 b b b b b b b b b b b b b b
b
64 b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b
b b b b
b b b b b b b b
b b b b
34
C’
b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b
b b b

37

b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b
b b b b b b
b b
b
39

b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b
b b b
b b b b b b b
b
41

b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b
b b b
b b b b
b b
43

20. Pavan

Dd.2.11, f. 6v Francis Cutting

A
b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b
b b b
b b b b
VII=F
A’
b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b
b b b
b b b
6

b b b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b
b b b b b b b
b
10
 b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b 65
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b
b b b b b b
b b b
b b
14
B
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b
b b b

17

b b b b b b b b b b b b
b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b
b b b b b b b b b b b b b
b b
21
B’
b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b
b b b b

25

b b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b
b b b b b b b b b

27
C
b b b b b b b b b b b b b b b b b b
b b
b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b
b b b b b b b b b b
b b b
31

b b b b b b b b
b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b
b b b b b b b

35
C’
b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b
b b b
b
39

b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b
b b b
b b b
b b
(41)
 b b b b b b b b b b b

66 b b b
b b b b
b
b
b b
b
b
b b
b b
b b b
b
b

b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b
b b b b b b
b
44

b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b
b

b b
47

21a. Pavan (Pavana Bray)

Barley (orph.), ff. D3v-4v William Byrd / Francis Cutting

A
bb b b b b b b b b bb b b b b
bb bb b b b b bb b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b
b b b b b
b b b
b b b
VII=F
b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b

5
b b
B
bb b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b bbbbb b b b b b b b b b b b b b b b b b b b b
b b bb b b bbbbb b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b
b b b b b b
8 b b b b b

b b b b b b b b b b
b b b b b b b b b b b b bb b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b
b b b b b b b b
b b b b b b b
12
C
b b b b bb b b b b bb b bb b b bb b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b
b b b
b
16

b b
b b b b b b b b b b b bb b bb b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b
19
 b bb b b b b b b b b b b b
b b b b b b b b b b b b b b b b 67
b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b
b b b b b
b b b b
22

21b. Pavan (Pavana Bray)

Dd.9.33, ff. 12v-13r William Byrd / Francis Cutting

A
b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b
b b b b b
b b b
b b b
VII=F
b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b
b b b b b

b b
5
A’
b b b b b b b b b b b b b b
b b
b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b
b
b b b
b b b b b b
8

b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b
b b b b b

11

b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b
b b b b b

b b
(13)
B
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b
b b b
b b b b
b b b b b
16

b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b
b b b b b b b
b b b b b b b

20
 B’
b b b b b b b b b b b b b

68 b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b
b b b
b b b b
b b
24

b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b
b b b

27

b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b
b b
b b b b b
b b b b

30
C
b b b b b b b b b b b b b b b b b b b b b b
b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b
b b b b b

33

b b b b b b b b b b b b b b b
b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b
b
(36)
C’
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b

b
b b
40

b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b
b b b

42

b b b b b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b
b b b b b

(44)

b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b
b b
b b

b b b
47
 22. Galliard 69

Euing, f. 29r Francis Cutting

A
b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b
b b

A’
b b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b
b b b b b

7
B
b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b
b b b b b b b b b b b

13

b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b
b

19
B’
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b
b b b

25
C
b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b
b b b b b b b
b b b b

31
C’
b b b b b b b b b b b
b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b
b b b b b b

37

b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b
b b b

43
70 23. [Galliard]

Dd.5.78, ff. 37v-38r Francis Cutting

A
b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b
b b b b b
b b b b

A’
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b
b b
b b b b

b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b
b b b b b
b b b b b b

12
B
b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b
b b b b b b b b
b b b

17
B’
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b
b b b b b b b b
b

23

b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b
b b b
b

28
C
b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b
b b b b b b
b b b b b b

33
C’
b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b
b b b b b
b b b b b

39
 b b b b b b b b b b b b b b
b b b

b
b b b
b
b b b b b b
b
b
b
b
b
b
b
b b b b b b b
b b b b b b b
b
b b b b
71
b b b b b b b b b
b b b b b b b
b b b b b
b b b

44

24. [Galliard] (on Go from my Window)

Dd.2.11, f. 53v Francis Cutting

A
b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b
b
b b b b
b b b b b b b b

A’
b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b
b b b b
b b b
b b b b

b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b
b
b b b
b b b b

11
B
b b b b b b b
b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b
b b b b
b b b b b b
b b b

15

b b b b b b b b b b b
b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b
b b b
b b b b b b b b b

19
B’
b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b
b b b b b b b b
b b b b b b b b b b

25
C
b b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b
b b b b b

31
 b b b b b b b b b b b b b b
b b b
72 b
b b
b b b
b
b
b
b
b
b
b
b
b
b
b b b b b
b
b
b
b b
b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b
b b b b b b

36

25. [Galliard]

Dd.5.78, f. 23r Francis Cutting

A
b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b
b b b b b b b b b b
b b b b b b b b b

A’
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b
b b
b b b b b b b
b b b b b b b b

9
B
b b b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b
b b b b b b b b b b b b
b b b

15
B’
b b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b
b b b b
b b b b b b b b b b
b b b b

21

b b b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b
b b b b b b b b
b b b b b b b b b b b b b b
b b

27

26. [Galliard]

Dd.9.33, f. 36v Francis Cutting

A
b b b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b
b b b b b b b b
b b b b b

VII=D
 A’
b b b b b b b b b b b b
b
b
b b b
b
b b b b
b b b b b b b b b b b b b b b b b b
b
b b b b b b b b b
73
b b b b b b
b b b b
b b b b
b b b b

b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b
b b
b b b b
b b b b b

12
B
b b b b b b b b b b b b b
b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b
b b b b b b b b b b b
b b b

17
B’
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b
b b b b b b
b b b b b b b
b
b
23

b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b
b b b b b
b b b b b b b b b
b b

28
C
b b b b b b b b b b b b b b b
b b
b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b
b b b b b b

33
C’
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b
b b b b
b b b b

40

b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b
b b b
b b b b b
45
74 27. Galliard

Barley (lute), ff. F4r-G1r Francis Cutting

A
bb b b b b bb b b b b bb b b bb b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b

A’
b bb bb b b b b b b b b b bb bb b b
b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b b b
b
7

bb b b bb bb b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b

13
B
b b b b b b b b b
b b b b b b b b
b bb b b b bb b b b b b b b b b
b b b b bb b bbbb b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b

19
B’
b b b b b b b b b b b b b b
b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b
b b b b b b b
25

b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b
b b b b b b b b b
b b b b b b
31
C
b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b
36
C’
bb b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b
b
42
 b b b b b b b b b b b
b b b b b b b b b b 75
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b
b b b b b

48

28a. [Galliard]

Dd.5.78, f. 41r Francis Cutting

A
b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b
b b b b b b
b b

B
b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b
b b b b b
b b b b b b b

7
C
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b
b b b b b b b
b b b b

13

b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b b
b b b b
b

19

28b. [Galliard]

Dd.9.33, f. 74r Francis Cutting

A
b b b b bb b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b
b b b

A’
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b
b b b b b b
b b
8
 B
b b b b b b b b b b b bb b b
76 b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b
b b
13

bb b b b b b bb b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b
b b b b
b b b b
18
B’
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b
b b b
b b b b b b
24
C
b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b
b b
30

b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b
b b
34
C’
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b
b b b b b b
b
40

b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b
b b

45

29. [Galliard]

Dd.5.78, ff. 33v-34r Francis Cutting

A
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b
b b b b b b
 A’
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b 77
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b
b b b b
b

b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b
b b b b b
b b b b

13
B
b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b
b b b b b b b b b b b
b b b b b

17
B’
b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b
b b b b b

23

b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b
b b
b b b b
b b b b b

28
C
b b b b b b b b b b
b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b
b b

32
C’
b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b
b

38

b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b bb b
b b b b
b b b b b b
b b
44
78
30. Galliard

Dd.9.33, f. 10v Francis Cutting

A
b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b
b b b

A’
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b
b b b b b b b
b b b

8
B
b b b b b b b b b b b b b
b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b
b b b

14
B’
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b
b
b b b b

20

b b b b b b b b b b b b b b
b
b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b

26
C
b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b
b b b b b

31
C’
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b
b b b b b

38

b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b
b b b b b b b b
b b b b b

44
 31. [Galliard] 79

Dd.5.78, ff. 19v and 22r Francis Cutting

A
b b b b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b
b b b b
b b b b

A’
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b
b b b b b
b

b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b
b b b b b
b b b

12
B
b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b
b

17
B’
b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b
b b

23

b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b
b b b
b b

28
C
b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b
b

33
C’
b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b

39
 b b b b b b b b b b b
80 b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b
b b
44

32. [Galliard]

Dd.5.78, f. 16r Francis Cutting

A
b b b b b b b b b b b
b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b
b b b b b b b b b b
b b b

A’
b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b

b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b
b b b b b b b b
b b b b

12
B
b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b
b b

17
B’
b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b
b b
b b

23

b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b
b b

28
C
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b
b b

33
 b b b b b b b b b b b b b b
b b b
b
b b b
b
b b b
b
b b b b b b
b b b
b b b b b b b b b b b b
81
b b b b b b b b b b b b
b b b b b b
b b b b b b b b
b

38
C’
b b b b b b b b b b b b b b b b b b b b b b b b b
b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b
b b

43

b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b
b b b b b b b b b

48

33. Galliard

Dd.5.78, f. 63r John Dowland / Francis Cutting

A
b b b b b b b b b b b b b b b b
b b b b
b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b
b b b b b b b
b b b b
b b b
VII=D
A’
b b b b b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b
b b b b b
b b b b b
b b b b b
9

b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b
b b b b b b b

16
B
b b b b b b b b b b b b b b b b b b
b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b b b
b b b b b b
b b b b b b
b b
23

b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b
b b b b b
b b b b b
b b
30
 B’
b b b b b b b b b b b b b b b b

82 b
b
b
b
b b b
b
b b b b b b b b
b
b
b b b b b b b
b
b
b
b b b b
b b b b b b b
b b b b b
b b b
b b b b b
b b b b b b b
b b b b b

37

b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b
b b b
b b b b
b b
43

34. [Galliard]

Dd.5.78, ff. 29v-30r Francis Cutting

A
b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b
b

A’
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b

8
B
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b
b

13
B’
b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b
b b b b

19

b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b
b b

26
C
b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b
b b

31
 C’
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b 83
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b

37

b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b

44

35. Sir Walter Raleigh’s Galliard

Dd.5.78, f. 46r Francis Cutting / Richard Allison

A
b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b
b b b

A’
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b
b b b b

8
B
b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b
b

14
B’
b b b b b b b b b b b b
b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b
b b b b b b b b
b b b

20

b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b
b b b b b b b b b
b b b

26
C
b b b b b b b b b b
b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b
b b b b

32
 C’
b b b b b b b b b b b b b b b b b b

84 b
b b b b b
b
b
b b b b b b b
b
b
b b b b
b
b
b b b
b
b
b
b b b b b b
b b b b b b b b b b b b b
b b b b b b
b

38

b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b
b

44

36. Galliard

Dd.9.33, ff. 22r and 21v John Dowland / Francis Cutting

A
b b b b b b b b b b b b
b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b
b b b b b b b b b b b
b b b

A’
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b
b b b b b b
b b b b b b

8
B
b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b
b b b b b
b b b

13

b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b
b b b b b
b b b b b b b
b

19
B’
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b
b b b b b b
b b b b
b

25
C
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b
b b b b b b b
b b

30
 b b b b b b b b b b b
b
b
b b
b b b b
b b b
b b
b
b
b
b
b
b
b b
b
b
b
b
b
b
b b b b b b b
b
b
b
85
b b b b b b b
b b b b b b b b
b b b b b b b
b b

36
C’
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b
b b b b b
b b b b b b b b b b
b b b b b

43

b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b
b b b b

48

37a. Galliard

Barley (orph.), f. C1r Francis Cutting

A
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b
b
VII=F
B
b b b b b b b b b b b
b b b b bb b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b
b b b
7
C
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b
b b b
13

b b b b b b bb b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b
b
19
b
86 37b. Galliard

Dd.5.78, ff. 30v-31r Francis Cutting

A
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b

A’
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b
b
b

b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b

12
B
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b

17
B’
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b
b
b

23

b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b
b b
b

28
C
b b b b b b b b b b b
b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b

33
C’
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b
b

39
 b b b b b b b b b b b b
b
b
b b
b
b
b b b b
b b
b
b
b
b
b
b
b
b b b b b b b b b b b
b b b b
b
87
b b b b b b b b b b b
b b b b b b b b b

44

38a. Almain

Dd.5.78, f. 31r Francis Cutting

A
b b b b b b b b b b b
b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b
b

A’
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b
b b b b b b b b b b b b
b

8
B
b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b
b b b b b
b b b b b b

15
B’
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b
b b b b b b b b
b b b b b
b b b b b b b

22
C
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b
b b b b b b b b
b b b b

29
C’
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b
b b

36

b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b
b b

43
88 38b. Almain

Dd.2.11, f. 100r Francis Cutting

A
b b b b b b b b b b b b b
b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b
b

A’
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b
b b b b b b b
b b

b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b
b b b b b b
b b b b b b b b
b

13
B
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b
b b b b b b
b b b b b b b b

17
B’
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b
b b
b b b b b

25
C
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b
b b b b b
b b b b b b
b b b b

29

b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b
b b

34
C’
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b
b b b b b
b b b b b
b

41
 b bb b bb bb b bb b b
bb b b b b b bb bb b b b b bb b b b b 89
b b b bb b b b b b b b b b bb b bb bb b b
b b b b b b bb b b b bb b bb b b
b b b b b b b
b b
b
45

38c. Almain

Barley (lute), ff. F1v-2v Francis Cutting

A
b b bb b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b

A’
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b
b
9

b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b
b b b b b b b b b
b
13
B
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b
b b b b b b b
17
B’
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b
b b b b
25
C
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b
b b b b b b
b b b b
29

b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b
b b
34
 C’
b b b b b b b b b b b b b b b b
90 b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b
b b b b b
b
41

b b b b b b b b
b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b
b

45

39. Almain

Dd.9.33, f. 9r Francis Cutting

A
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b

A’
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b
b b b

b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b
b b
b b b b b b
b

13
B
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b
b b b

17
B’
b b b b b b b b b b b b b b b
b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b
b

24

b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b

29
 40a. Almain 91

Barley (orph.), f. C2r Francis Cutting

A
bb b b bb b b b b b b b b b
b b b b b b b b b b bb b
b b b b b b b b b b b b b b b b b b b b b b b
bb b b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b
b b b b
b b b
VII=F
B
b b b b bb b b b b bb b b b b
b b b b b b b bb b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b
b b b
7 b b b b
C
bb b b b bb b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b
13 b b

b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b
19 b b b b b

40b. Almain

Dd.9.33, f. 8v Francis Cutting

A
b b b b b b b b b b b b b
b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b
b b b b
b b
VII=F
A’
b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b
b b
b b b b b b b
b b
b b
7

b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b
b b b
b b b b
b b
12
 B
b b b b b b b b b b b b b
b b
92 b b b b b
b
b b b b b
b b b b b b
b
b
b b b
b b

b b b b b b b b b b b
b b b b b b
b b b b

b b b
16
B’
b b b b b b b b b b b b b b b b
b b
b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b
b b b b b b b b b b
b b

21

b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b
b b
b b b
b b
b b b
26
C
b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b b
b b b b

30

b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b
b b b b b b b
b b b b b b

35
C’
b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b
b b b b b
b b b b b b b
b b
40

b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b
b b b b
b b b
b
45

41. Jig

Dd.2.11, f. 98r Francis Cutting

A
b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b
b b b
b b b b b b b b
b b
A’
b b b b b b b b b b b b
b b b b b b
b
b
b
b
b
b b b b b b b
b
b
b b b b b b
b b b b b b b b
b b
93
b b b b b
b b
b b b b b b b b b
b b

5
B
b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b
b b b b b b b b b b b
b b b b b b

42a. Toy

Add.2764(2), f. [7]r Francis Cutting

A B
b bb b b b b b b b b b b bb b b bb bb b b bb b b b b bb b b
b b b b b b b b b b b bb b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b
b b b b

C
bb b b b bb b b b b b b bb b
b b b bb b b b b b b b b
b b b b b b b b b b b b b bb b b b
b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b
b b b b b
7

42b. Toy

Dd.2.11, f. 80r Francis Cutting

A B
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b
b b b b b b
b b b b b b b b b
b b b b

C
b b b b b b b b b b b b b b b
b b
b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b b b b
b b b b b b b

7
94 43. The Squirrel’s Toy

Dd.2.11, f. 77r Francis Cutting

A
b b b b b b b b b b b b b b b b b b b b
b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b
b b b b
b b b b b b b b b b
b b b

B
b b b b b b b b b b b b b b b b b b b b b
b b b b b
b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b
b b b b b
b b b b b b b b b b b b b
b b b

(4)

44. Cutting’s Comfort

Barley (orph.), f. D1v Francis Cutting

A A’
b b bb b b bb b b bb b b b b bb b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b
b b b b
b b
VII-F
B
b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b b b b
b b b b
7 b
C
b b b b b b bb
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b
b b b b b
b b b
12 b b

45. Greensleeves

Add.31392, f. 29r Francis Cutting

1
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b
b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b b
b b
 b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b 95
b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b
b b b b b b
b b b b

b b b b b b b b b b b b b b b b b b b b b b b
b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b
b b b b

12
2
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b
b b b b b b b b b
b b

(16)

b b b b b b b b b b
b b b
b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b b
b b b b

22

b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b
b b b b b b b b b b
b b b b b

27

46. My Lord Willoughby’s Welcome Home

Dd.5.78, f. 28v John Dowland / Francis Cutting

1
b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b
b b
b b b
b b b b b b b

b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b
b b b b b b b b b b
b b b

5
2
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b
b b b
b b b b

9
 b b b b b b b b b b b b

96 b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b
b b b b b
b b b

(12)
3
b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b
b b b b b b
b b b b

15

b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b
b b b
b b b b b b b b

18

b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b

21

47. Packington’s Pound

Barley (orph.), f. C4v Francis Cutting

A
bb b b b bb b b b bb b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b
b b b b
b
VII=F
B
b bb b bb b b b b b b bb
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b

b b b b b b b b
b b b b b
9
C
bb b b b bb b b b bb b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b
b b b b
b b b b
17 b b b
 48a. Walsingham 97

Dd.2.11, f. 96r Francis Cutting

1
b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b
b b b b b

VII=F
2
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b
b b b b

7
3
b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b b b b b
b b b b b
b b b b b
b
13

b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b

18
4
b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b
b b b

23

b b b b b b
b
b b b b b b b b b b b b
b b b b b b b b b
b b b b b b
b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b
b
27
5
b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b
b b b
b b b
b b
31

b b b b b b b b b b b b b b b b
b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b
b b b b
b
b b b b b

35
 6
b b b b b b b b b b b b b b b b
b b
98 b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b
b b
b b b b b
b b
39

b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b
b b

43
7
b b b b b b b b
b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b
b b b b
b

48

b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b
b b b b b b b b b b b
b b b b b b
b b b
52

48b. Walsingham

Barley (orph.), ff. D2r-3r Francis Cutting

1
b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b
b b b b b
VII=F
2
b b b b b b b bb b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b
b b b
b
7
3
b b b b b bb b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b
b b b b b
b b
13

b b b b b b b b b b b b b b b b bb b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b

18
 4
b b b b b b b b
b b b b b b b b b b b b b b b b 99
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b

23

b b b b bb b
b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b
b
27
5
b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b
b b b
b
31

b b b b b bb b b b bb b b bb b b bb b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b
b b b b b b

35 b
6
b bb b b bb b b b b b b bb b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b
b b
b b b b b b
39
b b b b

b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b
b b b
43 b
7
bb b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b
b b b
48 b

b b b b b b b bb b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b
b b b b b b b b b
b b b b
53
b b b
100
49. Lullaby

Dd.9.33, ff. 4v-5r William Byrd / Francis Cutting

b b b b b b b b b b b b b b b b b
b b
b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b
VII=D
b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b
7

b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b
13

b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b
18

b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b
b
b b b b b b b b b b b b
b b b b b b b b b b b
b b b b
23

b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b
28

b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b
32

b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b
b b b b b
36
 b b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b b b 101
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b
40

b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b
44

b b b b b b b b b
b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b
48

b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b
53

50. [Short Almain]

treble
Dd.3.18, f. 59r John Johnson / Francis Cutting

1
b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b

b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b

8
2
b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b
b b b b b

15

b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b

22
 3
b b b b b b b

102 b b b
b b b b b b b b b b b b b b b
b
b
b b b b b b b b
b b b b b b b b b b
b
b b b b b b
b b b
b b b b b
b b b

29

b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b
b

36
4
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b

43

b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b

50

b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b
b
b

57

ground

Pickeringe, f. 14r [Anonymous]

b b b b b b b b b b b b b
b b
b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b
b b b b

b b b b b b b b b b b b b
b b

b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b
b b b b

9
 APPENDIX A

Works of uncertain ascription

104 51. Lachrimæ Pavan

Barley (lute), ff. E1v-2v John Dowland / [Anonymous]

A
b b b b b b b b b b b b bb b b
b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b
b b b b b

b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b
b b b b b
5
A’
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b
b b
b b b b b
9

b b b b b b b bb b b
b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b
12

b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b
b b b
15
B
b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b
b b b b b b b
17

b b bb b b b b b b b b bb b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b
b b b b b b
b b
21
B’
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b
b b b b b b b
b b b b b b b b
25
 b b b b b b b b b b b b b b b b b
b b b b b b b b b b b 105
b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b
b b b b b b b b b b b
b b b b
28

b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b
b b b b

31
C
bb b b b b b bb b bb b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b
b b b b
33

b bb b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b
b b b b b
38
C’
bb b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b
b
42

bb b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b
b b b
45

bb b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b
b b b b
48
106 52. Quadro Pavan

Dallis, pp. 28-29 F. C.

A
b b b b b b b b b b b b b
b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b
b b

b b b b b b b b b
b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b
b b b b b b

b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b

b b b b b b b b b b b b b b b b b
b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b b b
b b b b

13
A’
b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b
b

17

b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b
b b b b

21

b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b
b

25

b b b b b b b b b
b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b
b

29
B
b b b b b b b b b b b b
b
b b b b b b b b b b b b b b 107
b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b

33

b b b b b b b b b b b b b b b b b
b
b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b
b

37
B’
b b b b b b b b b b b b b b b b b b b b
b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b
b b b b

41

b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b

45

53. Passion Galliard

Trumbull, f. 19r Anthony Holborne / Francis Cutting

A
b b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b
b b b b b b b
b

B
b b b b b b b b b b b b b
b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b
b b b b

7
C
b b b b b b b b b b b b b b b b b
b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b
b b b b b b b

13

b b b b b b b b b b b b b b b
b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b b b b b
b b b b b

19
108 54. Galliard

Welde, f. 8r William Byrd / [Anonymous]

A
b b b b b b b b bb b b b b b b b b b b
b b b bb bb b bb bb b b b bb b b b
bb b b b b b bb bb b bb b b b b b b b b b bbbb b bb
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b bb b b b bb b b b b

VII=D
A’
b b b b b b b b b b b
b bb b b b b b b b b b b b b b b b b b b b b b b b b b
bb b b b bb bb b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b

9
B
b b b b b b b b b b bb b b bb b bb b b b
b bb b b bb b b b b b bb b b bb b b bb
bb b b b b b b b b b bb bb b b b b b b b b bb b b b b b b b b
b b b b b b b b b b b b b b b b b bb
b b b b b b b
b b b b
b
14
B’
bb b b b b b b bb b b bb bb b bb b bb b
b b b b b b b b b b b b b bb b b bb b
b b bb b b bb b b b b b bb b b b bb b b b bb b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b

20

b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b bb b b b b b b b b b b b b
b b b b b b b b b b b b bb b b
b b b b b b b b b
b b b b b

27
C
b b b b b bb b b bb b b b b b b b
b b b b b b b b b b b
b b b bb b b b b b b b b b b b b b b
bb b bb b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b

32
C’
b b b b b b b b b b bb b b bb b b b b b
b b b b b bb
b b b b b b bb b bbbb b b b bb bb b b b b bbb b b bb b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b bb b b b

38

b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b

44
 109
55. The Woods so Wild

Euing, ff. 33v-34v William Byrd / [Anonymous]

1
b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b
b b b b b b b

VII=D
2
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b
b b b b b b

7
3
b b b b b b b b b b b b b b b b b b b b b b b
b b b
b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b
b b b
b b b b

13

b b b b b b b b b b b b b b b b b
b b b

b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b
b b b b b

19
4
b b b b b b b b b b b b b b b b b b b
b
b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b
b b b b b b b
b b b b

24
5
b b b b b b b b b b b b b b b b b b b b b
b b b
b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b
b b b b b

29

b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b
b b b b b b b

34
6
b b b b b b b b b b b
b
b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b
b b b b

39
 b b b b b b b b b b b

110 b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b b b
b b b b b b
b b b b b

43
7
b b b b b
b
b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b

47

b b b b
b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b

51
8
b b b b b b
b
b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b
b b b b b
b
55

b b b b b
b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b
b b b

60
9
b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b
b b b b

65
10
b b b b b b b b b b b b b b b b b b b
b
b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b b b b b b b b b b b
b b b b b

70

b b b b
b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b

75
11
b b b b b b b b b b b b b b
b b
b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b
b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b
b
79
 b b b b b b b b b
b b b b b b b b b b b 111
b b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b

83
12
b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b
b b b b b b b b b b
b b b b

88

b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b
b b b b
b b b b

93
13
b b b b
b b b b b
b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b

97
14
b b b b b b
b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b
b b b b

101

b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b
b b b

106

b b b b b b b b b b
b
b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b
b

111
 APPENDIX B

Works for Bandora

114 56. Galliard

Dd.2.11, f. 64r Francis Cutting

A
b b b b b b b b b b b b b b b b
b b
b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b
b b b b
b

B
b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b
b b b

9
C
b b b b b b b b b b b b b b b b
b
b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b

17

57. The New Hunt sundry Ways

Barley (band.), ff. B3v-C1r Francis Cutting

1
b b b bb bb b b bb b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b bb b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b
b b b b b

bb b b b bb b b bb bb b b b bb b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b
b b b b b b b b b b
b b b b
9
2
b b b b b b b b b bb b b b bb b b
b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b
b b b b
16

b b b b b b b b b bb b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b
b b b b b b
b b b
b
24
3
b b b b b b b b b
b b b b b b b bb b b b b b b 115
b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b
b b b b
33

b b b b b bb bb bb b b bb b b b bb bb
b b b b bb b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b bb
b b b b b b b b b b b b b b b
b b b b b b b
b b b b b b b
b b
40
4
bb b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b b b b b b
b b b b b b
b b b b b b b
47

b b b b b b b
b b bb b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b
b b
b
52

b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b
b b b b b b b b b
b b b
56
5
b b b b b b b bb b b b b b
bb b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b b b b b b b b
b b b b b b b
b b b b
61

b b b b b b b b
b b b b bb b b b b b b
b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b
b b b b b b b b b b b b
b b
b b b
67

b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b
b b b b b b
b b b b b
b b b b b b b
74
APPENDIX C

Lost lute work

118
58. [Pavan]
tenor viol
D.245, pp. 212-213 Cutting

b b b b b b b b b bb b b b b b b b b b b
b
b b b b b b b b b b b b b b b b
b b b b b b b b b b
b

bb b b b bb b b b b b b b bb b bb
b b b b b b b b b b b b
b b b b b b b b b b
b b b b

b b b b b b b b b b b b b bb b
b b b b b b b b b b b
b b b b b b b b
b b b b b b b b
b b b b b b
b b

b b b bb b bb b bb b b bb b b b b b b b b b
b b b b b b b b b b b b b b b b
b b b b b b b b b b b b
b b

b b b b b b b b bb b
b b
b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b

bass viol
D.246, p. 230 Cutting

? bb w n˙ ˙ œœ œœ
˙ œ œ œ œ b˙. œ ˙ œ œ ˙. œ œ œ b˙ ˙ ˙ œ œ ˙. œ b˙ ˙

? b œ w
b œ ˙ w œ œnœ œ œ w œ œ œ œ œ ˙. bœ œ ˙ œ œ b œ ˙ œ . Jœ œ . Jœ
bœ

? bb œ ˙ w w ˙
œb˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ œ bœ w w

? b b œ œ œ œ b œ œ œ ˙ ˙ œ œ b œ . Jœ œ . œ œ œ
J ˙ b˙ œ œ ˙ ˙ ˙ bœ œ œ œ œ ˙ w
 119

partial reconstruction of the lute exemplar

A
b b b b b b b b b b b b b b b b b b b b b b
b
b
b b b b b b b b b b b b b b b b
b b b b b b b b b b
b b b
b b b b b b b
b b b b b b b b b b b b
bb b b bb bb

B
b b b b b b b b b b b b b b b b
b b b b
b b b b b b b b
b b b b b b b b
b b b b b
b b
b b b b b b b b b b
b b b b b b b b b b b b b b
bb bb b b bb b
6

b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b b b b b b b b b b
b b b b b b b b b
b b b b b b b b
b b b b b b b b b b
b b b b b b b b b b

11
C
b b b b b b b b b b b b b b b b b b b b b b b
b b b b
b b b b b b b b b b b b b b b b b b
b b b b b b b b b b b b b
b b b
b
b b b b b b b b
b b b b b b b
bb b bb bb b bb
16

b b b b b b b b b b b
b b
b b b b b b b b b b b b b
b b b b b b b b b b b b b b b
b b b b b b b b
b b b b b b b b
b b b b b b b b
b bb b b
20
 COMMENTARY

Measure numbers are given after a single or double letter ‘m’, for ‘measure(s)’; a number between
brackets following a measure number means the beat under discussion. Thus ‘m. 5(1)’ means: fifth
measure, first beat. Beats are counted in minims, a pavan having four beats to a measure, a galliard
three. Small italics refer to tablature letters. These are given after an Arabian numeral referring to a
course on the lute, which is assumed to have a tuning in g: 1 stands for the highest course g’, 2 for the
second course d’, and so on. Hence ‘6d’ means: sixth course, third fret, which will give the tone B
flat.

1. Mrs. Anne Markham’s Pavan
i Add.3056, ff. 48v-49r: A Pauan.
ii Dd.9.33, ff. 32v-33r: Mrs Anne Markhms
Paven Fr Cuttinge
iii Add.31392, ff. 36v-37r: a pavyn.
iv Add.38539, ff. 28v-29r: a pauin
v Pickeringe, ff. 21v-22r: A pavine by Franns
Cuttinge
vi Euing, f. 33r
Cutting, Selected Works, no. 1.
One of Cutting’s most popular works, preserved
in more sources than his other pieces. It reminds
one somewhat of a famous piece by another
composer: John Dowland’s Lachrimæ Pavan.
Cutting’s pavan has a similar tonal scheme as
Dowland’s, and there are also similar passages:
cf. the beginning of the C strains; m. 4 by Cut-
ting and m. 2 by Dowland; mm. 17-18 by Cut-
ting and mm. 36-37 by Dowland. Perhaps Cut-
ting was inspired by the Lachrimæ Pavan.
Martin Long, Cutting, Selected Works, no. 1,
remarks that the piece cannot have been written
later than 1594, when Mrs. Anne Markham be-
came Lady Markham, while at the other hand
‘the integral use made of a seventh course in D
suggests it could not have been written much
before 1590’. The DNB (and also Newton,
‘Francis Cutting, p. 44-45) gives more full in-
formation on the dedicatee. She probably can
be identified with Anne, daughter of Peter Roos,
of Laxton, Nottinghamshire, who married Grif-
fin Markham (?1564–1644). He was a profes-
sional soldier, serving with Essex before Rouen
in the autumn of 1591, where he was knighted.
So Mrs. Anne Markham became Lady Mark-
ham in 1591, not 1594 (Craig-McFeely, Lute
Manuscripts and Scribes, App. 5, ‘Dateable el-
ements’, is also confused about these dates).
Consequently the pavan must have been dedi-
cated before 1591. Moreover, Long’s conjectural
dating of the piece in connection with its use of
the seventh course seems a bit off the mark, be-
cause, as we shall see, some versions of the pa-
van suggest that the piece was originally com-
posed for six-course lute. It is therefore prob-
able that the work originated in the eighties, the
more so as it shows the traits of Cutting’s ear-
lier style (see the Introduction).
The existing versions of this piece are not
very different, although it seems there is some
real development detectable in them. No. i, an
almost flawless and a musically satisfying ver-
sion, is chosen as the basic text for the edition,
as no. 1a. It corresponds also very closely to the
other versions: only the scale figure in the ca-
dence in m. 16(1-2) is different from all the other
sources, which have here for the first time the
figure as it is repeated in m. 44(1-2). The ver-
sions ii and vi represent, as we shall see, prob-
ably the latest stage of this piece. This is the rea-
son why no. ii, in one of Matthew Holmes manu-
scripts, which are important for Cutting’s mu-
sic, is also printed in our edition, under no. 1b.
Of the other sources no. iii (which lacks mm.
19(3)-21(2) and 23(3)-25(2)) is much like no. i.
Only occasionally its text is concordant with that
of nos. iv and v. These versions iv and v, although
both late sources (with in iv much graces and
playing signs), seem to represent an earlier stage
of the piece, which probably was written first
for six-course lute. (A seventh course D is used
122 in iv, in mm. 2(3), 11(3), 27(1), 29(1 and 3), octave. In versions ii and vi, representing prob-
31(3), 37(1 and 3), 39(3), but at these instances ably the latest stage of the piece, this sequence
it is only doubling a note d at the lower octave, is augmented by adding a note a in the middle
or (in mm. 11, 27, 31 and 39) replacing an easy voice, which (obvious) note is lacking in all the
to play d; these could very well be later addi- other sources.
tions by a copyist.) That the piece in the first There are some other variant readings found
instance was without a seventh course, is evi- in one or both of the early versions iv and v (and
dent from the first measure, where in iv the bass sometimes also in iii). In nos. v and iii m. 3 is
is an octave higher: simpler than in the other versions:
bb b b bb b b b b
b b bb b b b b b b
b b b b b bb b b b
bb b b b b b b b b b b b b
b b b b b b b b b
b b
b b b b
iv, mm. 1-2(1) v, m. 3

It is even possible that in version v here is In m. 14(1) the bass note 5c of no. i reads 4c
preserved the earliest text, with a bass note f in- in nos. iv, v and iii; however, at the first state-
stead of f sharp: ment (m. 6) this note reads 5c in nos. iv and v. In
m. 30(2) in no. iv the bass and middle voices are
bb b b bb b b b
b b b b b b different from other versions (but the same as in
b b b b b nos. ii and vi!):
b b b b
b b b
b b
b b b b b bb b b
v, mm. 1-2(1) b
b b
This note f is not so strange as it may seem at b b
b
first sight: it provides a perfect imitation in the
iv, m. 30(1-2)
octave with the treble voice in m. 1(1-2). Possi-
bly Cutting only later changed it to f sharp, for Only in iv is there in m. 31(4) on the last
harmonic reasons. (Incidentally, there is a par- crotchet a bass note d (5c), giving a rhythmic
allel of such a procedure in John Johnson’s De- pulse to the harmonic leap D-g. In nos. iv and v
light Pavan (Johnson, Collected Works, no. 5), m. 43 is, unlike the other versions, unornament-
where in m. 3(3) we find a bass note B flat in the ed, with a literal repeat of. m. 35.
oldest version later changed to B.) It is worth Nos. ii and vi are almost identical, apart from
noticing that in versions ii and vi, in which we the fact that vi lacks the varied repeats and has a
find the latest stage of Cutting’s pavan, there is few errors. The text of these sources is in some
an f sharp not only in the bass, but also in the aspects different from all other versions, and
treble voice, obviously to make the imitation these differences make it probable that in ii and
perfect once again. vi the latest stage of the piece is preserved. We
Evidence of the early, six-course text of the have already seen that in mm. 19 and 25 in these
piece is found also in no. iv in m. 19(1-2) and in versions the sequence was augmented by add-
its repeat, m. 25, where a note F is lacking in ing a note a in the middle voice. Furthermore,
the bass, which in the later versions is added, here the seventh course is used more than in i
there resulting in a sequence with m. 19(3-4): (mm. 3-4, 7(4), 13, 15, 21, 29, 30, 35, 37, 38).
Some different figuration also suggests a fur-
b b b b b b
b b b b bb ther development of the piece: see in m. 11(2)
b b bb b b b b bb b b b an added tenor voice 4e3bd under the alto 3d2ac,
b b b b b
b and in m. 39(3)-40(2) an added figuration, where
b b b
b b b b i repeats the unvaried first statement. Note also
iv, m. 19
the ‘nervous’ style of these scale passages in mm.
In no. v this note is also missing in the re- 39(3) and 40(1), typical for Cutting’s later pieces.
peat, m. 25, but in m. 19 there is an f at the higher This same kind of divisions we find in v in m.
23. Also the broken chords in mm. 7(3) and 20(1)
could be an indication of a later date for this
version.
Unique for no. ii is the figuration in the final
measures, mm. 43-44, as far as it can be recon-
structed (with the aid of m. 35): mm. 43(2)-44
are written in the bottom margin of the page,
and have partly disappeared because the margin
has been trimmed and all tablature beneath the
fourth line is gone. We have made white the part
of the tablature which is lost:
b b b b b b b b b
: b b b b b
b b b b b b b b b
b b b b
b b b
b b b
ii, mm. 43(2)-44
Possibly the abrupt ending of the piece, con-
trary to Cutting’s style, in m. 44 was introduced
by the copyist, caused by the lack of space that
was troubling him here. At the bottom of f. 32v
he therefore wrote an alternative ending, meant
to replace m. 44: he placed a sign (two dots) at
the beginning of this measure, and the same sign
at the beginning of m. 44 on f. 33r. In the edi-
tion we have printed this alternative ending. As
that passage is also damaged in the manuscript,
we give here a transcription of the tablature that
is still visible, making white the part of the tab-
lature which is gone now:
: b b b b b b b b b b b b b b b
b b b b b
b b b b b b b b
b b b b
ii, m. 44 (alternative ending)
Editorial changes in i:
m. 1(1) the rhythm signs from a dotted minim
and a crotchet;
m. 20(4) 5d from 5c;
m. 32(3) 7d from 7a;
m. 33(2) 5a from 5c;
m. 33(3) quavers from semiquavers;
the barring has been standardised to four beats
in a measure (in all sources except v and vi the
measures have a length of two beats).
Editorial changes in ii:
m. 15(3) 7e added;
m. 20(4) 5cd and 4c added, from no. vi (the
end of the bar is written in the inner margin of
the manuscript and partly torn away);
m. 25(1) 3d added; 123
m. 35(4) 1c added (it is however also lacking
in no. vi!);
m. 41(4) 3a added. Here in m. 41(4), as in m.
33(4), one could think that the notes 4ac should
read 3ac, as in the other versions. No. vi, how-
ever has 4ac, as no. ii, so this could be an au-
thentic variant.
Mm. 43(2)-44: see above.
One would expect the chord in m. 1(1) to be
a full six voices, as in no. vi and in ii m. 9; the
scribe, however, crossed out a note 3b here,
b which note was perhaps corrected from 3c. A
cross under the next note 1a is probably also a
correction sign, as are crosses in mm. 23 and
b 28.
Perhaps in m. 26(4) the minim 5a should be
divided in two crotchets 5ad, as in no. i.
2. [Galliard]
i Dd.5.78, ff. 24v-25r: Fr Cutting
ii Add.31392, ff. 37v-38r
Cutting, Selected Works, no. 1b, with a facsimile
of i.
This galliard is in ii found after pavan no. 1, and
both pieces have the same tonal scheme: strain
A in G minor, B in B flat major and C in D mi-
b b b nor-G minor. Moreover, mm. 4-5(2) of the pa-
b b
b van are similar to mm. 3-5(1) of the galliard;
b
b compare also m. 19 of the pavan with mm. 36-
37 of the galliard. Also the ascending bass line
connecting mm. 1-2 of the pavan becomes the
opening bass line of the galliard. These pieces
probably form a pair (see Wentzel, Lute pavans
and galliards, pp. 101-103, 105-106).
Version ii is largely identical to i. In ii much
use is made of a seventh course D, in mm. 5,
12-14, 19, 27 (in mm. 19(3) and 27(3) a D is
written where i has an F harmony), 33-35, 38,
41, 43, 46; in m. 5 and mm. 12-14(1) all bass
notes are an octave lower than in i. As is the
case with the paired pavan no. 1, one has the
impression that the piece originally was written
for a six-course lute, the seventh course being a
later addition, either by the composer or by a
copyist. Version ii has some notes that in i are
missing, mostly 2a in g chords and 3a or 4e in
124 chords in d (mm. 6(3), 12(1), 12(3), 14(1), 21(3),
42(1), 43(1)); other extra notes are in m. 1(1) 5c
and (probably corrupt) 1a, m. 26(1) 2b and 3b.
At places ii misses notes that are present in i:
the same notes 2a and 3a or 4e in the chords in
g and d (mm. 13(1), 17(3), 29(1), 46(3)), and in
m. 2(3) 4c, m. 8(3) 6a, m. 13(2) 5c, m. 15(3) 2f,
m. 29(3) 5c, m. 35(2) 6d, m. 36(2) 3b, m. 42(1)
5c. Many of these omissions, especially in the
bass notes, probably are corrupt, as are the wrong
notes in m. 4(3) 3a instead of 2a and m. 27(3)
6a instead of 7a. In a few places we find more
substantial variant readings in ii: in m. 34(1) a
dotted rhythm, which in mm. 36(1) and 44(1) is
missing, in m. 13(3) in the middle voice a figu-
ration 3babd in quavers, and a different figura-
tion in mm. 16, 28 and 47-48 (which is in m. 47
simpler than in i, in m. 28 more elaborate):
b b
b
b b b b b
b b b b b
3. Pavan
i Dd.9.33, ff. 9v-10r: Paven. Fr Cutting
Cutting, Selected Works, no. 2a.
This pavan has no varied repeat for the third
strain; this section should be played twice.
Editorial changes:
m. 3(3) 4a and 3b added in order to fill a gap
in the tenor voice (cf. the corresponding m. 11);
m. 12(3) the dotted quaver and the semiqua-
ver from a dotted crotchet with a quaver;
m. 17(4) 3a added (cf. m. 24);
m. 28(3) 5d from 6d (cf. m. 21);
some irregularly placed bar lines have been
standardised.
In m. 12(4) the letters 1f-3d are unclear be-
cause of corrections by the copyist, and have
been reconstructed after m. 4.

b 4. Galliard
ii, m. 16

i Dd.5.78, ff. 22v-23r: F C

b b b b
b b b b b b b b b b
ii Euing, f. 48r: A Galliarde by Mr Cuttinge
iii Dd.2.11, f. 53v
b
b
b Cutting, Selected Works, no. 2b, with a facsimile
ii, m. 28
of i.

b b b b b b
b
b
b b b
In none of the sources this galliard is found to-
b b b b b b gether with pavan no. 3, but probably these
b b b b
b b b b pieces form a pair: both works open with the
b b b b
b same chord, their strains have identical tonal
ii, mm. 47-48
schemes, and especially in their B sections the
Editorial changes in i, on the basis of the chord progressions are similar, with the same
readings in the corresponding places in i and ii: Phrygian cadence in mm. 22-23.
m. 7(1, second crotchet) 1a omitted; Version ii is very similar to i. In ii there are
m. 14(3) 6a added (also lacking in ii); some grace signs and fingering dots, and much
m. 19(3) 4a added (after i m. 27; ii has a D use is made of a seventh course D (mm. 2, 7, 15,
harmony in these places); 17, 24, 25, 32, 44-47); sometimes a whole bass
m. 20(2) 3a added; line is lowered an octave (mm. 44-45(1), 46).
m. 34(1) dotted rhythm from two crotchets; The fact that this low D sometimes doubles a d
m. 42(2) 1d from 1a; in the upper octave, and that in one instance in a
m. 44(1) 1a from 1e. varied repeat a low D is not written, while it
was there the first statement (mm. 2 and 10),
indicates that this seventh course is possibly an
addition by a copyist. Other differences between
i and ii are few and minor: in the first chord 4f
instead of 3f (in m. 1 wrongly 5f, but see the
corresponding m. 9); some other chords with
slightly different notes (mm. 10(3), 24(1), 32(3),
33(3), 39, 44(1), 47(1)); in m. 39(1) there is a
(probably incorrect) treble 1a in the chord; in
m. 42(1) 1c instead of 1b. There is no dotted
rhythm in mm. 37-38. Flourishes in cadences
are different in m. 16 and altogether lacking in
m. 48 (here probably because of lack of space
on the page). Different passage work we see in
mm. 44(3)-45(1) (where in m. 44(3) probably a
bass note 6a should be added):
b b b b
b b b b
b b b b b b b b
b b b b b b b
b
b b
ii, mm. 44-45
Version iii is without varied repeats, but oth-
erwise similar to i and ii. With ii it has some
aspects in common: the same first chord, no dot-
ted rhythm in mm. 37-38, a treble 1a in m. 39(1).
It has simpler closing measures than i and ii:
mm. 8 and 40 each have two simple chords on
the first and second beat, and mm. 23-24 in iii
are condensed into one measure: thus here the
B strain has only seven measures.
Editorial changes:
m. 11(3) 5d from 6d;
m. 12(1) 6d added (after m. 4 and ii);
m. 19(2) 4a from 3a (to keep up the imita-
tion, and after ii and the varied repeat, m. 27);
m. 26(1) 4a from 4b (after m. 18 and ii);
m. 28(2) 2e from 2d (after ii);
m. 41(1) 2d-4f from 2f-3f (after m. 33 and ii).
5. Pavan
i Barley, (lute) ff. D3r-4v: A Pauan for the Lute.
/ pauin by F. C.
ii Dd.5.78, ff. 10v and 20: F: C
iii Hirsch, f. 9v
iv Dd.2.11, ff. 57r and 56v
Cutting, Selected Works, no. 3a.
This pavan is handed down in four sources,
which represent two versions of the piece. The
texts of sources i and iii are very much alike,
and those in ii and iv are almost identical. The
difference between both versions are, apart from
some small variants in voice-leading and chord 125
breaking and spacing, found mostly in the first
half of the C strain. Here we see in i and iii an
opening that consist of a straightforward chord
progression (m. 31), which in the varied repeat
(m. 39) is slightly embellished by passing notes
in a dotted rhythm. In the version in ii and iv the
text of this varied repeat is used as the first state-
ment, and in the C’ strain there is some passage
work in quavers, which is not found in the other
version (mm. 39 and 40). This re-using a varied
b
repeat as a first statement is a procedure of which
we see some instances in the works of John
b b b b
Johnson; there this was taken as an activity by
b the composer himself (Johnson, Collected
Works, p. 20). It is possible that Francis Cutting
used the same device, and is thus responsible
for both stages of the piece. We therefore give
an edition of both versions, although they are
for the most part very much alike. From the way
in which the reworking took place, can be con-
cluded that the version in i and iii is perhaps the
oldest, which conclusion is enhanced by the fact
that in the version in ii and iv a seventh course is
used; i and iii are written for six-course lute.
In this edition setting i is given as no. 5a, ii
as no. 5b. No. i, from the authoritative Barley
print, with ornaments and playing signs, was
chosen as the basic source for no. 5a, notwith-
standing the fact that it is corrupt at places; worst
of all a complete measure, m. 33, is lacking. All
deficiencies could however easily be restored
from iii and the other sources. The differences
between i and iii are mostly of minor importance:
small changes in the spacing of chords or in a
rhythm. Different are two D major chords, in
mm. 5(3) (3a-4b-5c) and 23(1) (1c-2a-3a-4b-
5c), which are played in the second position in
all other sources. Also unique for iii is the scale
figure in m. 38(1-2):
b b
b
b b b b b b
b b b b b b b b b
b
b
iii, m. 38(1-2)
No. iii has other differences from i in com-
mon with the version ii-iv, which suggest that in
iii an intermediate stage of the piece is preserved.
The most important of these is found in m. 27(1-
2), where iii has a voice-leading as in ii and iv,
126 against i. In the corresponding place in the first
statement, m. 21(2), iii also has the same chord
as nos. ii and iv, also against i. Other instances
where iii follows the second version: extra bass
notes in mm. 5(2) (6a) and 41(4) (6c), an extra
note in the treble (1c) in m. 24(1), the chord
breaking in m. 46(3-4), 3d instead of sharpened
3e in m. 17(2).
The sources ii an iv are both copied by Mat-
thew Holmes. However, he used for these two
copies three examplars: iv, with A, B and C
strains only, was first written by him on f. 57r,
and later he copied the varied repeats on empty
staves on the bottom of this page and f. 56v next
to it. The differences between ii and iv are few
and of minor importance. In iv in m. 17(2-4) the
seventh course is used three times (7caa); in m.
21(1) there is 2a instead of 2e and in m. 21(2)
6a instead of 6e (both probably errors); in m.
31(2) there is no dotted passing note 6e, while
in the corresponding m. 39(2) this note is dot-
ted.
Editorial changes in i:
the complete m. 33 is missing; it was supple-
mented from iii.
M. 6(1, first crotchet) 3a omitted (after all
other sources);
m. 11(2) 6e added;
m. 21(2) 6e corrected from 6a (after the other
sources, and the corresponding m. 27);
m. 21(4) 5c from 4c;
m. 23(1) 5c from 4c;
m. 26(3) in the chord 3d from 2d;
m. 26(3) in the scale figure 2acd from 3acd;
m. 37(4) last two notes 2ce added;
m. 39(1) 4e-5c from 4c-5e;
m. 41(4) 6c from 6e;
m. 43(3, on the beat) 1a omitted (it is lacking
in the corresponding m. 35);
m. 43(4) 5a added;
m. 44(1) 1c from 2c;
m. 46(3) 6a added (in i there is an open space
between 4c and 3d).
In i there are a number of mistakes and omis-
sions in the rhythm signs. Missing rhythm signs
have been supplemented, in mm. 25(4) (crotch-
et), 29(2) (quaver above 1f), 37(3) (crotchet and
quaver) and 46(4) (minim above last note; i has
only a fermata). Misplaced rhythm signs in i
have been corrected, in m. 16(3) (the quaver on
the 1e of the following beat), 25(1) (the quaver
on the following 1c) and 26(3) (quaver and semi-
quaver from crotchet and quaver).
Misplaced fingering dots have been corrected
in mm. 12(2), 15(3-4), 26(1-2), 27(3-4), 28(2),
38(4), 41(3), 43(3).
Bar lines have been standardised (in the var-
ied repeats of i many measures have a length of
two minims).
In m. 13(2) the note 6c is misshapen in the
print and not wholly readable.
In m. 18(3) 6a is straight beneath 3d, but the
other solution (first 3d, then 6a) is not likely.
Editorial changes in ii:
m. 29(4) 6a added;
m. 32(3) 2f added;
m. 33(4) 3e added;
m. 34(1) under 1h a note 2a omitted (cf. the
varied repeat, m. 42);
m. 41(3) 1a from 1e (after all other sources);
m. 45(1) 1f from 1c (after all other sources).
In m. 44(2) the note 1a is very uncertain in ii,
but it is present in all other sources.
6. [Galliard]
i Dd.5.78, ff. 20v and 11r
Not in Cutting, Selected Works.
An anonymous and untitled piece in the only
source, where f. 20 was displaced when the
manuscript was re-bound in 1893. This galliard
clearly is linked to the pavan no. 5: compare mm.
1-2 of both pieces, mm. 13-16 of the galliard
with mm. 8-9 of the pavan, mm. 33-34 of the
galliard with mm. 19-20(1) of the pavan, mm.
41-43(1) of the galliard with mm. 31-32 of the
pavan, and mm. 43-45(1) of the galliard with
m. 34-35(1) of the pavan. Apart from the last
instance, all similarities occur at the beginning
of the strains of both pieces.
This brings us on the very remarkable con-
struction of this galliard. It consist of two strains,
each with a length of sixteen measures, and each
with a varied repeat. Each strain is subdivided
in two parts of eight measures. In the A strain,
the second part (mm. 9-16) is a variation of the
first part (mm. 1-8), with only the end (mm.
13(2)-16) diverging. So, with the varied repeat
A’, the beginning of the first part of this strain is
heard four times. This A strain is derived from
the A strain of the pavan. The B strain is also
divided in two parts of eight measures each, but
here the second part (mm. 41-48) is not a repeti-
tion of the first part (mm. 32-40). As a matter of
fact, the first part is derived from the B strain of
the pavan, the second part from its C strain.
It is clear that the galliard has been composed
after the model of the pavan, but as the piece is
not attributed in i, it is not certain that Cutting
was the composer. However, from the style of
the galliard we can conclude that it is likely he
made this piece. From Cutting’s paired pavans
and galliards, nos. 13 and 14 show the same
manner of reworking a pavan to a galliard, by
resetting the same chords in duple time in a tri-
ple time scheme, as we see in the already men-
tioned instances in this piece. Also, the style of
the divisions is definitely very much like Cut-
ting’s. There is imitation: in mm. 43-44 and its
varied repeat, mm. 59-60 (taken from the pa-
van); in mm. 27-28, between treble and alto, with
the characteristic motif of an ascending fifth
beginning with a leap of a third; and also simi-
lar flourishes in the closing cadence, mm. 63-
64. We see six times the rhythmic figure
œ œ œ œ œ , in mm. 19-20, 21-22 (bringing out the
hemiola) and 61-62 (also in a hemiola, the last
time the variant ending with two quavers). See
also the groups of four quavers beginning or
ending with an interval of a third (mm. 20, 26,
30, 54, 62). Furthermore, we note in m. 32 the
flourish that connects the A’ strain with the fol-
lowing B section. The cadential formula that is
written four times in this piece, in mm. 7-8, 15-
16, 39-40 and 47-48 (type g, see the Introduc-
tion) is used often by Cutting when he wants to
protract the final chord over two measures.
Editorial changes:
7. Pavan 127
i Dd.5.78, ff. 60v-61r: A Pauen Fr. Cutting
ii Dd.5.78, f. 45v: F. C
Cutting, Selected Works, no. 4, wit a facsimile
of i.
This pavan is found twice in the same source.
No. ii is without varied repeats, but the A and B
strains resemble version i closely. Apart from
some errors (m. 4(1) 3f instead of 3h; m. 15(2)
1a instead of 1e) and some differences in chords
(m. 4(3) 3f added, m. 5(1) 3f omitted), we see a
few more important notes omitted (m. 1(3) 5c;
m. 3(2) 1a) or added (m. 5(3, second crotchet) 3e).
However, much more differences are found
in the C strain. Here in m. 25(4) no. ii has a sharp-
ened note 1e, and in m. 30 much of the middle
voices is missing, as are the bass notes 5a in m.
28(1) and 6a in m. 30(1) and a note 4e in the
chord in m. 27(1). Moreover, mm. 27(3)-29(3)
are rather different from i: in mm. 27(3)-28(1)
two and a half beats are shortened to two, and
the first beat of m. 28(2) is skipped, while the
one beat of m. 28(4) is elongated to two beats,
to make up for those missing beats. Also, much
of the voice-leading in these and following bars
is different. We give the text of the complete C
strain in ii (with a few irregular bar lines stand-
ardised):
b b b b b b b
b b
b b b b b b b
b b b
b b b b b b
b b b b b b
b
b
b
b
b
b b b b b
b b b
b
b
b
b
b b b b

m. 4(3) 5c added (cf. m. 20); b b b

m. 26(3) 6a from 5a (cf m. 10); b b

m. 28(3) 2e from 2d;

m. 32 double bar line added (in i at the end of b b b b b
b
b b b
b b b b b b b b b
a stave); b b b b b b b b b b b
b b b b b
m. 35(3) after 6e a note 6c omitted, and the b b
b b b b b
rhythm changed from two crotchets to one b b b b

minim (cf. m. 51).

In m 45(2) the note 2a is unclear: it reads 2e, b b b b b b

or the copyist already corrected it to 2a. b

b b
b
b
b b
b b b
b
b b
b
b b b b b
b b b b b
b
b b
b b b b
b
128
b b
b b
b
b b b b
b b b b b
b
b
b b
b b
b b
ii, mm. 25-31
Editorial changes in i:
m. 5(2) 5e added (after m. 11 and version ii);
m. 11(4) 3c from 3e (the 3e gives a chromatic
scale going nowhere);
m. 12(1) the first notes 2dc added (there are
two notes missing in the flourish, and this seems
the most logical solution);
m. 16(3) 7a added (after m. 22 and version
ii);
m. 17(1) 2f from 2e;
m. 24 between the second and third beat a
bar line omitted;
m. 26(3) 3e from 3a (the resolution of a sus-
pension from the preceding 3f; see also ii);
m. 28(2) 3f added (after m. 35);
m. 28(3-4) the rhythm signs changed from a
dotted crotchet on the second half of the third
beat (on the G chord), followed by three qua-
vers;
the bar line between mm. 37 and 38 added.
8. [Galliard]
i Dd.5.78, f. 24r
Not in Cutting, Selected Works.
This piece has no title or composer’s name at-
tached to it in its only source, but it is without
any doubt the galliard to Cutting’s pavan no. 7:
it has the same tonal scheme as this pavan, and
in both pieces the A and C sections begin with
identical melodic and harmonic progressions. In
particular the poignant harmony of the opening
of the C strain (mm. 25-26(1) in the pavan and
mm. 33-34(1) in the galliard) show with certainty
that these works form a pair. It is therefore prob-
able that Cutting is also the composer of this
anonymous galliard, the more so as many of his
works are found in this part of Dd.5.78. Fur-
thermore, it is clear that the quality and stylistic
traits of this galliard put it firmly in Cutting’s
camp. The whole piece is built on short phrases
that are imitated (mm. 1-2, 6-7, 46-47) or
chained in sequences (mm. 4-6, 12-13, 17-20
b b
per two measures, and in addition m. 22); see
b
b
b
also the whole of the C strain, where most meas-
ures begin with an ascending dotted figure,
b which is used also in mm. 18, 20 and 22. The
varied repeat of this figure is often beginning
with a turn (mm. 26, 28, 30, 41). Some of these
phrases are in the rhythm œ œ œ œ œ œ (mm. 12-13,
42-45). We find groups of four quavers begin-
ning or ending with a leap of a third, also in se-
quences (mm. 14-16, 31). Furthermore, in m.
15 is the cadential formula over the dominant
chord with a falling third, and in mm. 8 and 40
his favorite pattern on a final chord in a galliard
(the ‘h formula’; see the Introduction). The open-
ing of this piece is very similar to that of Cut-
ting’s galliard no. 33, which is built on a galliard
by Dowland, and resembles also the beginning
of Dowland’s Lady Rich’s Galliard (Dowland,
Lute Music, no. 43).
Editorial changes:
m. 12(2) 2e from 2d (cf. m. 4);
m. 12(3) 4a added (also after m. 4);
m. 24(1) the dotted rhythm from two crotch-
ets (to stay in line with the rhythm of the whole
strain);
m. 26(3) 1a omitted (after m. 18);
m. 38(1) 6a from 6c;
m. 38(3) 6a added (after m. 46; movement
of the bass in crotchets in the second half of the
measure is a characteristic of this galliard).
9. Pavan
i Barley (lute), ff. D1v-3r: A Pauan for the
Lute. / F. C
ii Dd.5.78, ff. 14v-15r: F. C.
iii Hirsch, f. 10r
iv 31392, ff. 29v-30r: a Pavyn by maister
Cuttinge
v Browne, f. 19r: Cuttings Pauan (bandora
consort part, in D minor)
Cutting, Selected Works, no. 5, with a facsimile
of i.
One of Cutting’s more popular works: it is found
in four versions, and there obviously also ex-
isted a consort setting, of which only the bandora
part is extant (no. v). There is no indication that
Cutting had something to do with this setting.
The pavan is probably in Cutting’s early style
(see the Introduction), and is perhaps modelled
on a pavan by Alfonso Ferrabosco I, which was
re-worked by Cutting (see no. 15): both pieces
have very similar opening bars.
As the basis text for the edition of this pavan
we have chosen the one in no. i, the authorita-
tive Barley print. No. ii, in a manuscript equally
important as a source for Cutting’s works, gives
a text which is much like that of no. i. In version
ii there are passing notes in the melody in m.
2(3) (crotchets 2bd) and m. 18(2) (a crotchet 2b
above 5a). In no. ii we find a few fuller chords
(added notes in m. 1(1) 4c, m. 15(1) 5c-6a, m.
15(2) 1a, m. 20(3) 3f, m. 26(3) 2f-3f) and some
thinner chords (lacking notes in m. 4(1) 3b, m.
8(3) 1a, m. 21(1) 2a-3c, m. 22(1) 2a-3b, m. 26(2)
2f). The note 3d in m. 23(1) is lacking in all
sources except no. i, as are the bass notes 6a in
mm. 19(2) and 25(2). Some passages in the di-
visions of no. ii are simpler as no. i, as they re-
peat the first statement: m. 10(1-2) is like m. 3,
m. 11(3-4) like m. 4, m. 12(1-2) like m. 5, m.
36(3) like m. 30; m. 9(1-2) is like m. 2(1-2), with
only a small flourish in the middle voice. In other
places, in mm. 6(3)-7, 26, 31(3)-32 and 34(3-4)
the figuration in no. ii differs from no i:
b b bb
bbb bbbbbbbb bbbb
bbb bbb
b b
b b
b b
In no. ii some different figuration appears also 129
in m. 12(4) (1abda), m. 14(1) (the same notes,
but a different rhythm: first four semiquavers
2cacd, then a quaver 1a), m. 35(3) (the last note
1a instead of 1d) and m. 37(2) (above the bass
4a four semiquavers 1c2d1ac). In a few places
the bass note in no. ii is an octave higher or lower
than in no. i (mm. 6(3), 19(3 and 4), 37(4)). M.
27(1-2) is not played in the third position, as in
the other sources, but in the first: a chord 1a-2b-
3b-4c-5d and a following note 3b instead of 4f.
In m. 23(3) no. ii has 2b instead of 2c.
Version iii is very much like no. i. In some
places it follows the text of no. ii: the figuration
in mm. 7(1-2), 26(1); the lacking notes in mm.
19(2) and 25(2) (6a), m. 22(1) (3b) and m. 33(3)
(2a); the single note 4c in m. 6(3). In the chord
in m. 10(3) the note 2b is lacking, in the chord
in m. 11(1) the notes 2b-3b are added. In m. 35(1-
2) there are no divisions.
We find more differences in version iv. In
places the figuration here is simpler than in the
other sources: m. 8(2), 10(1) (text as in m. 3),
m. 26(3-4) (just broken chords), mm. 32-35(2)
and 36(3-4) (no divisions, text like mm. 27-29,
30), and also in mm. 10(3-4) and 37(1-2):
b b b b b
b b b b
b b b b b b
b b b
b
b
bbbb
iv, m. 10(3-4)

ii, mm. 6(3)-7

b
b b b b b
b b b
b b b b b b b b
b b b b b b b b b b b b
b b b b b
b b b b b b b b
b iv, m. 37(1-2)

b b A different figuration occurs in m. 38(1-2) (a

ii, m. 26
scale figure very much like the one in m. 32)
and in m. 25(3-4):
b b b b b
b b b b b b
b b b b b b b b
b b b b b b b b b b b b b b b b b b
b b b b b
b b
b
ii, mm. 31(3)-32(1)

iv, m. 25(3-4)
b b b b b
b Apart from some other small changes, ver-
b b b b b b b
b b sion iv has, like no. ii, just a single bass note
b b under the scale figures in mm. 21(1) and 22(1),
b no bass note 6a in mm. 19(2) and 25(2), and no
ii, m. 34(3-4)
130 note 3d in m. 23(1).
Editorial changes (after no. ii and mostly
also after nos. iii and iv):
m. 5(4) 5a added;
m. 9(3) 5a from 4a;
m. 11(1) 2b added;
m. 12(4) 5a added;
m. 26(3) 2f added (in i there is a vertical tie
between 1e and the double cross);
m. 35(2) 3b from 3c.
Misplaced rhythm signs have been corrected
in mm. 24(4) and 38(1) (in both cases in no. i
the semiquaver is one position too far to the right,
in m. 24 above the note 2a, in 38 above the sec-
ond note 3c); in m. 38(4) the rhythm sign of a
minim was added (in i is only a fermata).
Fingering dots have been corrected in mm.
22(3), 25(1), 25(4) and 38(1-2).
The bar lines have been standardised; in no. i
the bars sometimes have a length of two min-
ims, and the bar line between mm. 33-34 is mis-
placed one minim to the left.
In the print some tablature letters are mis-
shapen and therefore barely readable: m. 11(3)
6f, m. 12(2) 2d.
10. [Galliard]
i Dd.5.78, f. 15v: F. C.
Not in Cutting, Selected Works.
This galliard is in the source immediately pre-
ceded by Cutting’s pavan no. 9, and it has the
same harmonic scheme as that work; probably
both pieces are meant to form a pair. However,
this galliard is almost exactly identical to Cut-
ting’s galliard no. 34 in F minor. In comparing
both pieces it becomes clear that this version in
C minor is probably a transposition of no. 34,
and that it is not the other way around: this would
explain the low tessitura of the piece, the melody
of which never reaches c” (1f), and also a rather
unusual feature as the scale figure in the final
cadence in m. 40(1-2). From this one can con-
clude that this galliard was not written expressly
as a companion piece to the pavan no. 9, which
can also be deduced from the fact that pavan
and galliard do not share some thematic mate-
rial, as do other paired dances by Cutting.
Formally it is not even certain that it was Cut-
ting himself who coupled the pieces, or, for that
matter, made the transposition. As this galliard
is nearly identical to no. 34, there is no basis for
a stylistic analysis. In a few instances figuration
in the varied repeats differs from that in no. 34,
in mm. 9(2-3), 25(1-2), 29(2-3) and 32(1-2), and
especially the variant in m. 32, in a rapid move-
ment in which a falling fourth and third occur,
is in Cutting’s style; but that could have been
taken from the unknown exemplar from which
the transposition was made. The only thing that
can be said with confidence, is that the transpo-
sition was made by an able lutenist. As this piece
is ascribed to Cutting in i, it is a fair assumption
that he was responsible for this transposed ver-
sion of an other piece from his hand.
Editorial changes:
m. 44(1) 1a from 2a (after m. 36, and con-
firmed in no. 34);
after m. 24 the bar line doubled.
11. E. Porter’s Pavan
i Dd.2.11, f. 73r: Cutting E. Porters Pauen
Cutting, Selected Works, no. 6, with a facsimile
of i.
The identity of the dedicatee E. Porter is not
known. Martin Long, in Cutting, Selected Works,
takes over the suggestion made by Richard New-
ton, ‘Francis Cutting’, p. 45, that he could be
Edmund Porter, of Aston-sub-Edge, Gloucester-
shire, father of the 17th-century diplomat Endy-
mion Porter. The son, known to have a marked
interest in the arts, cannot be meant, because he
was born in 1587, and thus was probably less
than ten years old when the piece was copied in
i (see also Craig-McFeely, Lute Manuscripts and
Scribes, Appendix A). In Dd. 3.18, ff. 48v-49r,
there is a consort lute part of a pavan (a recorder
part is in Dd.5.21, f. 11r) wich is directly fol-
lowed (f. 49r) by a probably paired Porters
galliard (see Nordstrom, ‘Cambridge Consort
Books’, p. 94-95, nos. 83 and 84), but this pa-
van has no relation with Cutting’s piece. Stewart
McCoy suggested, in a personal communication,
that this lute pavan possibly began life as a five
part consort piece.
 Above the first double bar, between mm. 8
and 9, there is a number 2 written, to indicate
that the preceding strain should be repeated. As
written-out varied repeats are missing, all strains
should be played twice.
In m. 14(4) the chord is rather messy in the
source, because of corrections in it (probably
from a chord 1e-2f-4c-6a). The chord in m. 12(2)
was also corrected by the copyist, probably from
1h-2e-4e-6h. In two instances it is unclear
whether a tablature letter a or e is written: in m.
19(4) maybe 2e is written instead of 2a, but a
note f sharp seems out of place in the musical
context; in m. 23(1) maybe 1e is written instead
of 1a, but because 1e would result in rather ob-
vious parallel fifths between the treble and tenor
voices, we assume that 1a is meant.
Editorial change:
m. 2(1) 4c from 3c (to make more sense in
the voice-leading of the alto).
12. Galliard
i Dd.5.78, f. 55r: A Gall. fr Cutting
Not in Cutting, Selected Works.
This galliard probably forms a pair with pavan
no. 11: both pieces have the same tonal scheme,
and the opening bars of the A and B strains of
the galliard show melodic and harmonic simi-
larities with those of the pavan (cf. mm. 1 and 5
of both pieces). Wentzel, Lute pavans and
galliards, p. 103-105, points out that the bass
lines of the A strains of pavan and galliard are
very much the same. Both pieces have another
feature in common, which is rather atypical for
Cutting: the absence of varied repeats. The Por-
ters galliard in Dd.3.18, f. 49r, a lute part for
consort (a flute part is in Dd.5.21, f. 11r), has no
relation with Cutting’s piece.
In m. 24(2) the note 7a is not entirely cer-
tain: in the manuscript mm 23(2)-24 were writ-
ten in the lower margin, and because of the dam-
aged edge of the page here only the top of a let-
ter is visible, but musically 7a is the only possi-
bility.
Editorial change:
m. 8(3) 7a added (there is no tablature letter
under the rhythm sign; a minim rest could be
intended, but it seems more likely that a note 131
was forgotten).
13. Pavan Sans Per
i Euing, ff. 32v-33r
ii Dd.2.11, f. 84v: Sans per. Cuttinge
iii Dd.5.78, ff. 13v-14r: F C
iv Pickeringe, ff. 18v-19r: A Pauine by Francis
Cuttinge
Cutting, Selected Works, no. 7, with a facsimile
of i. Also edited in Lumsden, Anthology, no. 4.
A pavan with a mysterious name. Richard New-
ton (‘Francis Cutting’, p. 46) has pointed out
that maybe Sans pair, French for ‘peerless, with-
out equal’ is meant. Newton also suggested Sans
peur, ‘fearless’, as a possible meaning, but this
is an unlikely interpretation: Brian Jeffery (in
an e-mail to John Robinson, d.d. 13 December
2000) writes that the word per ‘is most unlikely
to come anywhere near the French pronuncia-
tion of ‘peur’ at that time’. He also suggests that
the title might be a device or motto of a family
or person, perhaps of a patron of Cutting’s.
The C section of this pavan is remarkable for
having an irregularity in its measures. When
counting (the for pavans customary) measures
of four minims length, as is done in nos. ii and
iii and in this edition, then in the end of the strain
there remains a measure of six minims (as in ii
and iii) or a measure of two minims and one of
four minims (the solution adopted in the edi-
tion). In versions i and iv the measures are of
two minims length, and there the C strain con-
sequently has an uneven number of measures.
This irregularity is found more often in English
pavans of the period, for instance in Dowland’s
Lachrimæ (see no. 51)
For the edition the good version no. i has been
chosen as the first basis text, printed under
number 13a. The versions ii and iii, both copied
by Matthew Holmes, and nearly identical, show
a number variant readings, which frequently are
found also in the independent version iv. There-
fore, these variants are probably authentic, which
makes it worth while to print this version ii-iii
also in the edition, under number 13b (with no.
ii as the basis text).
132 Version no. iv is at places the same as no. i,
in other instances it is identical to nos. ii and iii.
As i are mm. 4(3-4), 15(2), 28(4), 33; as ii-iii
are mm. 4(1-2), 5-7, 17. In the C strain version
iv shows some individual traits: in m. 30 the bass
note c is sharpened (5b instead of 5a) and in m.
31(4) the G chord has been replaced by a ca-
dence on A, as a result of which the irregular
bar 32 could be skipped; this C strain therefore
is two beats shorter than in the one in the other
versions. At places the first statements of no. iv
are identical to the varied repeats in the other
versions: m. 20 in iv is like m. 26 in the others,
m. 29 in iv resembles m. 36 in ii-iii, and m. 31(1-
2) in iv resembles m. 38(1-2) in ii-iii. The very
florid varied repeats of no. iv are only occasion-
ally (in mm. 8 and 21) identical to those of nos.
ii-iii. For the rest they are very much unlike any
of the other versions, and also very much unlike
Cutting’s usual division style. They were prob-
ably made by another lutenist, on the basis of a
version of the piece resembling nos. ii-iii. Parts
of these divisions remind one of those of Daniel
Bacheler’s pavans (the style of which is decribed
in Wentzel, Lute pavan and galliards, pp. 52-
59, 78-84).
Differences between nos. ii and iii are mi-
nor: no. ii has in m. 1(1) an added note 7a, in m.
7(4) 7a instead of 5c, in m. 8(1) no note 7a, in
m. 13(4, on the beat) an extra note 1c in the tre-
ble, in m. 18(1) two crotchets (no dot), in m.
40(3) an extra note 7a, and in m. 40(4) 7a in-
stead of 5c.
Editorial change in i:
the measures, in i at a length of two minims,
have been brought to four minims.
There is a discrepancy between the notes 2c
in m. 3(2) and 2e in m. 10(3). Perhaps in m. 3
the 2c should be read as 2e. Musically 2c (which
is found in nos. ii and iii in both instances) might
be better, but in no. iv there is 2e in both mm. 3
and 10, so this seems to be an authentic variant.
Editorial changes in ii:
m. 15(4) 3a from 2a (in m. 21 this same note
3a was corrected by Holmes from 2a);
m. 16(3-4) two times 2e from 2d (after m. 22
and no. iii);
m. 23(4) 4c from 4d (the same 4d is in iii,
although it is obviously an error);
m. 24(2) 3e from an unclear (corrected) note
which seems to be 3d;
m. 36(3) crotchet from quaver.
In nos. ii-iii in m. 15(2) the note 2k is a bit
peculiar, as it destroys the imitation between the
treble and alto voices in mm. 15-16. Also, this
variant is not confirmed in no. iv, which has 2g.
The paired galliard, no. 14, has 2k, but see the
commentary to that piece. It is possible that this
variant is introduced by the copyist Holmes.
14. Galliard
i Dd.2.11, ff. 73v-74r: Phs galliarde
ii Dd.5.78, f. 14r: F: C
Not in Cutting, Selected Works.
A galliard which clearly forms a pair with pa-
van no. 13: in ii the galliard immediately fol-
lows the pavan, and both pieces share the same
melodic and harmonic material; ‘the galliard, in
fact, is the pavan suitably transformed in metre’
(Newton, ‘Francis Cutting’, p. 46; see also
Wentzel, Lute pavans and galliards, pp. 99-101).
The galliard fits especially close to the version
of the pavan found in the sources ii and iii, and
edited here under no. 13b: compare m. 5 of the
galliard with m. 4(3-4) of the pavan, m. 11 of
the galliard with m. 15 of the pavan, and m. 32(2-
3) of the galliard with m. 32 of the pavan. Some-
what mysterious is the galliard’s title in i, possi-
bly ascribing the piece to (Peter?) Philips.
Both versions, copied by the same scribe,
Matthew Holmes, are nearly identical. No. i has
been chosen as the basis text for the edition. In
source i the piece was written on the last three
staves of f. 73v, while on the empty bottom stave
of f. 74r the copyist wrote another, untidy ver-
sion of the C strain, with many mistakes and
corrections, but essentially the same as the ver-
sion copied in first instance; it looks like an un-
successful attempt at making a varied repeat of
that strain. In the edition this obviously not au-
thentic repeat has been omitted. An interesting
feature of this version i is the fact that in m. 11
the note 2k was corrected from 2g, possibly an
indication that in Holmes’ exemplar was a 2g,
and that the 2k, which is also found in the paired
pavan in these sources, was introduced by our
copyist. This note 2k, found only in Holmes’
versions of the pavan and galliard, is possibly
not authentic, as it breaks up the imitation be-
tween the treble and alto voices in mm. 11-14
(mm. 15-16 in the pavan).
Differences between nos. i and ii are minor.
In m. 26(3) the chord in ii is 2c-3e-4e-6c, possi-
bly a better reading, because the pavan also has
a melody note 2c at this point (m. 28(4)). In ii in
the final D-chords in mm. 9(1), 33(1) and 34(1)
a note 4e is added; in m. 34 after the full chord
only a semibreve 5c is written. In ii in m. 31(3)
the bass note 6a is omitted.
Editorial change:
m. 16(3) 4c from 4d (in this chord the same
error is found more often in Holmes’ versions
of this pavan and galliard).
15. Pavan
i Dd.2.11, f. 72r: Pauen Cutting
ii Hirsch, ff. 12v-13r
iii Dd.2.11, f. 1v: Alfonso
Not in Cutting, Selected Works.
A pavan in G minor, found in i and ii. Version iii
has the same pavan, without varied repeats, but
here it is in B flat minor and ascribed to ‘Alfonso’
(Ferrabosco the elder). This version is published
in Ferrabosco, Works for Lute, no. 11, and in
Ferrabosco, Opera omnia, IX, no. 10. Both edi-
tors, Nigel North and Richard Charteris, agree
that the B flat minor version was composed by
Ferrabosco; North states that this piece can be
attributed to him on stylistic grounds ‘with some
confidence’. Thus it is most likely that Cutting
borrowed a composition by the elder Ferrabosco,
transposed it down a third, and added his own
divisions to it. Moreover, there is no reason to
doubt the ascription to Cutting in no. i, as many
of his stylistic features are found in the varied
repeats: cadential formulas with a falling third
(m. 47) and a ‘gap’ (m. 7; in the first statement,
but not in the pavan by Ferrabosco); groups of
four semiquavers with a falling third in the last
interval (mm. 8, 13, 14); the rhythmic figure
œ œ œ œ œ (mm. 12, 15, 31); in m. 48 a final flour-
ish with a leap of an octave; above all, in m. 11
the characteristic flourish g’-g-g’ above a bass e
flat.
Cutting’s transcription of the Ferrabosco pa-
van is a rather literal one, keeping the harmonic 133
and melodic outlines intact, including the intri-
cate polyphony of the C strain. Only in some
instances he introduces minor changes in the
spacing of chords or the progression of inner
voices. Probably this is an early work of Cut-
ting, as it is written for six-course lute, where in
m. 35(3-4) a seventh course is sorely needed:
here Cutting was obliged to introduce two awk-
ward intervals as he is forced to move to a higher
octave in the short theme that permeates the en-
tire C strain (the same interval is found once in
the corresponding place in varied repeat, m.
43(3)). As mentioned in the Introduction, the
length of the chains of semiquavers in the divi-
sions also put this work in an early period.
Versions i and ii are almost completely iden-
tical. In ii some notes are absent that are found
in i: m. 15(1) 4a; m. 30(2) 1c and the first 4a; m.
42(1) 4c; m. 44(3) 4c. Notes in ii that are lack-
ing in i: m. 14(3) 3c; m. 44(3, under 2d) 3a. In
m. 29(3) ii has 5a instead of 5b, and in m. 24(3-
4) ii gives on the third beat a chord 2a-3a-4b
and on the fourth beat a single note 5c.
Editorial changes:
m. 4(4) 6d from 6e (after ii and iii; cf. also
m. 12);
m. 44(3) 3a added (after ii; cf. also m. 36);
some irregularly placed bar lines (mm. 13-
14, 32, 41-47) have been standardised.
Grid signs in m. 13(3) under 3d, 24(4) under
4b and 47(3) under 4c are not graces, but crossed
out letters.
16. Pavan
i Dd.9.33, ff. 11v-12r: A Pauen MrBirde set to
lute by fr. Cutting
Not in Cutting, Selected Works. Edition: Byrd,
Music for the Lute, no. 8, with a facsimile of i.
A pavan starting with the famous Lachrimæ -
Flow my tears theme of John Dowland. In i the
piece is attributed to William Byrd, but in
FWVB, no. 153, this pavan is on the name of
Thomas Morley. As in this source the compan-
ion galliard and a directly preceding almain are
also attributed to Morley, and as the stylistic fea-
tures of the pavan point to Morley rather than to
134 Byrd, the connection with Morley seems secured
(see Nigel North’s commentary in Byrd, Music
for the Lute, no. 8).
The keyboard pavan is in A minor, a tone
higher than the lute setting. Cutting’s version
follows its model closely in the A, B and C
strains; only in the cadences he sometimes de-
parts from Morley (in mm. 7(1-2), 8, 44); the
cadential figure in m. 7(3-4) is retained how-
ever, as is the complete cadence of the B strain
(mm. 25-26). Even the middle voices (especially
the alto) are often found in the lute version,
sometimes moved up or down an octave (for
instance m. 39(1); in m. 5(3-4) the alto and tenor
have switched position). In the B section the
polyphonic imitation of a four-note theme in all
the voices is found also in the Cutting’s setting,
with one change: in one instance he has set the
theme one minim later (it moved from m. 18(3-
4) to mm. 18(4)-19(1)). In the varied repeats
Cutting departs from his model, although these
too could as easily have been transposed; clearly
the A’, B’ and C’ strains are of his own compo-
sition, on the basis of his A, B and C sections. In
the divisions there are just a few analogies be-
tween both versions: in m. 14(3-4) the scale fig-
ure in the lute setting mirrors the one in Morley’s
setting, and in the divisions of the B’ strain Cut-
ting took over Morley’s idea to retain the poly-
phonic play on the four-note theme, consistently
reworking it with the same ‘division’; only Cut-
ting’s jerky upward scale figure is very differ-
ent from Morley’s smooth turn.
Editorial changes:
superfluous bar lines have been omitted in
the middle of mm. 7, 21 and 48.
Some notes have been added or changed, on
the basis of the model or the corresponding place
in the lute setting:
m. 17(4) 3b from 2b;
m. 20(1, second crotchet) 4a from an unclear
letter (4e or perhaps 4a);
m. 21(1) 4a added;
m. 22 three times 7b added;
m. 29(4) 4a added (to keep up the imitation);
m. 32(3) the bass note 7b in i a crotchet ear-
lier;
m. 39(4) 2f from 3f;
m. 41(1) 2c from 3c;
m. 51(3-4) 3cdca from 2cdca and 7a from
6a.
In m. 46(4) the note 2d was corrected from
2b and the first note 1c was added; the reading
in i seems corrupt:
b b b b b
b b b
b b b b b
b b b
b
b b
i, m. 46(3-4)
In m. 30(3-4) there is a hole in the middle of
the stave, and of the first note 5a only the bot-
tom half is visible. The note 3d above it is less
certain: visible is only the top of a vertical stroke,
which appears to be a tablature 3d rather than a
vertical tie (cf. the preceding notes 3d in the same
bar). Judging from m. 20, no further notes have
disappeared here.
One could think that in m. 35(4) the note 3a
should be lowered to 4a, in order to avoid the
clash a-a’ flat, but such a false-relation is very
common in English music of the period, and the
note a keeps the melodic sequence in m. 35(3)-
36(1) unimpaired.
A few grid signs in i seem to be corrections
rather than ornaments (crossed out misplaced bar
lines in mm. 17, 39, 48 and a crossed out letter
in m. 51); they are not reproduced in the edi-
tion.
17. [Pavan]
i Dd.5.78, f. 17v: F. C.
ii Dd.2.11, ff. 11v-12r: Fr. Cuttinge
Not in Cutting, Selected Works.
A pavan in G minor, but beginning in D minor.
This piece is handed down in two rather differ-
ent versions. In no. ii it has varied repeats, which
are lacking in no. i. Moreover, there are impor-
tant differences between nos. i and ii in the A
and B strains (in mm. 2(3-4), 5-7(2), 11(3-4) and
15(2-3), bar numbers counted after version i),
as well as many small variants. Both versions
are ascribed to Cutting, and therefore they are
here both edited, under numbers 17a and 17b.
Apparently the text of the A strain of the long
version ii is corrupted: it is clear that there is
something wrong in the awkward mm. 5-7(2),
with the off-beat chords on f and g, and the pro-
tracted pause in the treble just before the ca-
dence. We give this passage as it is found in ii:
b b b b b b b
b b b b b
b bbb b b b b b b b b
b b b b b b b b b b
b b b b b i, mm. 5(1-2)
b b b b
b b b b b b b
b Surely 7e and 6a are alternatives to 4b and
ii, mm. 5-7(2)
When we look at the same passage in the
varied repeat (mm. 13-15), and in version i, we
see that in ii there is a minim missing in m. 5(3),
and a minim too many in m. 7(1). Obviously an
earlier copyist omitted notes in m. 5(3) by mis-
take, which was corrected (possibly by another
scribe) by adjusting the bar lines and doubling
the value of the rhythm signs in m. 7(1) in order
to get the beginning of the cadence D-G where
it belongs, in m. 7(3). Fortunately reconstruct-
ing the text can be done with some confidence,
thanks to the varied repeat and no. i: the bar lines
should be transposed a minim to the left, and in
the first half of m. 7 the four crotchets should
become quavers (see the edition). More diffi-
cult is the reconstruction of the missing minim
in m. 5(3), because precisely in this strain ver-
sion i is rather different. We are guided by cor-
responding passages in the A strain of ii, in mm.
2(3-4) and 4(3-4): a treble with a dotted minim
(where a chord is broken in three crotchets) and
two stepwise descending quavers, above a bass
ascending stepwise in crotchets. We see the same
ascending bass with descending quavers in the
treble in m. 5(3), so probably a copyist here
omitted the broken chord in two crotchets (per-
haps his eye slipped to an identical chord along-
side). Now in no. i we see exactly this broken
chord, so we are justified in copying these notes
into the missing beats of no. ii. In the recon-
struction of ii therefore in m. 5(3) a chord on g
and a note g were added, analogous to mm. 2(3)
and 4(3), as well as a top note g’ to the first and
second chords, to account for the beginning of
the descending treble line, and in order to ob-
tain a perfect sequence with m. 4(3-4).
Editorial changes in i:
m. 21(1) 6a added;
m. 5(1-2) is probably corrupt, as it has an un-
playble chord and a row of consecutive octaves
between the bass and tenor voices:
b 135
b b
b b
b b
b b
b b
b
4c (possibly as a result of a copyist arranging an
originally six-chord piece to a seven-course
lute); the notes 4b and 4c were omitted in the
edition.
In m. 6(4) the two repeated bass notes 6a
seem a bit strange: possibly one of them should
be omitted (the first one being a doubling in the
lower octave of the note g, the second one just a
– rather atypical – re-iteration).
In m. 7(2) perhaps a bass 6a should be added
under the notes 1d-2f.
In m. 13(1) the note 2d should possibly read
3d, as in ii.
Editorial changes in ii:
mm. 5-7(2): see above;
m. 31(2) 6a added (cf. m. 23);
m. 31(3) 3e not visible in ii (obscured by an
ink stain);
some bar lines have been standardised in the
A’ and C’ strains; the double bar line at the end
of m. 16 is not in ii.
In m. 11(4) 3c should perhaps read 3b.
In m. 13(4) 2c should perhaps read 2b (cf. m.
5(4)).
In m. 44(4, last crotchet) perhaps the notes
1c and 5c should be added to 2e, after m. 36
(and also no. i). On the other hand, small irregu-
larities like these are found often in Cutting’s
music (see the Introduction); see also mm. 23
and 31.
18. Groninge Pavan
i Hirsch, f. 12r
ii Dd.9.33, ff. 34v-35r: Groninge Paven f C
Cutting, Selected Works, no. 8, with a facsimile
of i.
The title of this pavan is somewhat mysterious.
The reading of it in ii is not altogether unequivo-
cal, but ‘Groninge’ seems the most plausible one.
One would take ‘Groninge’ to be the Elizabethan
136 spelling for ‘groaning’, but the music is not ex-
b b b b b
ceptionally sad or melancholic (Newton, b b b b b
b b b b b b
‘Francis Cutting’, p. 45; Long in Cutting, Se- b b b b b b b
lected Works, no. 8). Newton suggests the title b b
b b b b b
might refer to the northern Dutch town of
Groningen. In 1594 Sir Griffin Markham took ii, m. 28

part in the (successful) siege of Groningen, and

b b b b b b b b
as Cutting was associated with the Markhams b b b b b
(Sir Griffin’s wife Anne was the dedicatee of b b b b b b b b
b b b
pavan no. 1, which piece in ii is found on ff. b b
b b b b b b
32v-33r, thus separated just one leaf from the b
Groninge Pavan), it is conceivable that this pa- ii, m. 34

van commemorates the said event. If this is the
case, the pavan was composed in or very shortly
after 1594.
The two versions of this piece are very simi-
lar. The reading of i seems best, so this is cho-
sen as the primary source for the edition. The
differences between i and ii are minor. In ii there
are a number of notes lacking which are present
in i: m. 3(3) 4c, m. 8(4) 6a, m. 9(1) 5c, m. 13(3)
the first 3b, m. 14(1) 3b-4c, m. 14(4) 3d, m. 16(1)
3f, m. 21(4) the last note 3i (this bar ends with
the notes 1f-3g, with the time value of a crotchet),
m. 26(1) 4e, m. 29(2) 4d, m. 32(4) 2f, m. 33(1)
4h and 3f. In ii there are found some notes which
are missing in i: notes on the beat in m. 7(1) 4c,
m. 9(1) 2a, m. 20(1) 4c, m. 28(1) 5a, m. 34(1)
5a, m. 35(3) 2f, m. 35(3) 3f beneath the second
1e, and m. 36(3) 1a. Different notes in ii are: m.
30(1) a variant chord 1f-2f-3h-5a, and mm. 15(2)
and 21(2) 5a instead of 6f; clear mistakes are in
m. 2(4) the notes 2f-3f (instead of 3f-4f), and in
m. 24(3-4) the whole scale passage from 5c to
4a, which in ii is a line higher. Different rhythm
signs in ii are found in m. 6(1) (a dotted crotchet
followed by two semiquavers; adopted in the edi-
tion of i) and m. 8(1) (two crotchets).
In m. 23(4) the text in ii is slightly different
from i:
b b b b
b b
b Works, preface). As this dedicatee became
b b b
b b
ii, m. 23(4)
In m. 28 as well as in the varied repeat, m.
34, in ii the middle voices are different from i,
while in the repeat there is also an added bass
note:
Maybe these variants are authentic; the syn-
copated bass C-B flat-C in m. 34 is a nice imita-
tion of the same figure in mm. 32(4)-33(1) and
33(2-3), although one would have expected a
sharpened noteB (6e instead of 6d).
Editorial changes in the edition of i:
the bar lines have been standardised (from
m. 8 onward most bars have two minims, while
there are irregularities in mm. 16-17 and 35-36);
m. 6(1) the dot added to the crotchet;
m. 15(3) crotchets from quavers;
m. 16(1) 3f added, to keep the middle voice
intact (also missing in ii, but cf. m. 22);
m. 22(1) 2a from 1a (as in ii).
19. Sir Fulke Greville’s Pavan
i Dd.9.33, ff. 18v-19r: Sr Fooke Greviles
Pauen. Fr. Cuttinge.
Cutting, Selected Works, no. 9, with a facsimile
of i.
The name of the dedicatee could give a clue to
the date of this composition. There were three
Sir Fulke Grevilles in this period, but the most
likely candidate is the later Lord Brooke (1554–
1628), poet, influential civil servant and MP, and
a known patron of music (Cutting, Selected
Knight of the Bath in 1603, it was formerly
thought that Cutting wrote this pavan in or after
that year. We now know, however, that Cutting
died in January 1596, so this assumption cannot
be correct. Perhaps a copyist added the title ‘Sir’,
or else the pavan was dedicated to Sir Fulke’s
father (1526–1606), who had been knighted in
1565 (Spencer, ‘Francis Cutting’). The pavan is
in Cutting’s late style.
In m. 6(3) a grid between the consecutive
notes 3d is probably not meant as a grace sign,
but as a crossing out of a superfluous bar line
placed before the chord. Another grid in m.
37(4), on the fifth stave under the note 1c, looks
more like a deletion by the copyist than an or-
nament. Both signs have not been included in
the edition. (On the use of these correction signs
in the Holmes manuscripts see Holborne, Mu-
sic for Lute and Bandora (ed. Spring), p. 211.)
In m. 6(4)-7(1) the scribe has corrected several
notes, but there is no doubt about the reading of
them. In m. 13(4) the fingering dots were placed
by the scribe to clarify the position of the notes
in a crammed passage, written in the margin of
the manuscript.
Editorial changes:
m. 13(3) 6a added (cf. m. 5);
m. 17(3) 5c added (cf. m. 23);
m. 25(4) the last two quavers from crotchets;
m. 30(1) 3a from 2a;
m. 34(1) 4f from 3f (cf. m. 42);
m. 40(2) 6f from 5f (cf. m. 32);
m. 41(4) 4c added (cf. m. 33);
m. 42(4) 3d added (cf. m. 34);
m. 43(2) 2a added (cf. m. 35) (the last three
added notes have been included with the pur-
pose of avoiding interruptions of a middle voice).
In many places irregularly placed bar lines
have been standardised.
In m. 35(1) the note 3a should possibly be
read as 3d (cf. m. 43), in order to avoid con-
secutive octaves between the tenor and treble
voices.
20. Pavan
i Dd.2.11, f. 6v: Pauan. Fr. Cutti[ing]
Not in Cutting, Selected Works.
A pavan, although in the ‘key’ of F major, with
an opening in F minor. Another peculiarity of
this piece is found in the varied repeat of the
opening, mm. 9-10, where the C major harmo-
nies of the corresponding mm. 1-2 have been
changed into C minor. Possibly the opening of
the C strain was inspired by the beginning of
the C strain of the keyboard pavan by Morley,
which was set for the lute by Cutting (see no. 137
16).
In places version i seems not altogether reli-
able. The copyist Holmes probably omitted a few
notes (see below) and sometimes corrected
notes. Some of these corrections result in not
unequivocal readings of the text. Unclear are the
following notes: m. 17(3) 3d (probably corrected
from 3c); m. 25(4) in the chord the notes 1c-2d-
3f; m. 27(3) 4h-5a; m. 47(1) 2d-3f, while Holmes
at first in this beat meant to write four notes here,
as is clear from the uncorrected grid of four qua-
vers.
Editorial changes:
m. 12(1) in the chord a note 4d omitted;
m. 17(4) 1c added (cf. m. 25);
m. 19(1) 2g added (cf. m. 27);
m. 22(1) 6a from 5d (cf. m. 30);
m. 25(4) 4a from 4f (cf. m. 17);
m. 27(2) 2d from 2f (cf. m. 19);
m. 34(1) the dotted rhythm from two crotch-
ets (cf. mm. 33 and 35);
m. 40(1) 3a added to finish off the middle
voice of m. 39;
m. 47(1) the rhythm from four quavers (see
above);
m. 47(4, last four notes) demi-semiquavers
from semiquavers.
In m. 6(1-2) the rhythm perhaps should be
b b
, in order to obtain a perfect imitation in
b b
the upper octave with m. 5; see also the corre-
sponding m. 14, where the rhythm is the same
as in m. 13. However, in m. 6 the fingering dot
under 1c also indicates that the copyist, Mat-
thew Holmes, intended the rhythm as it stands.
Grid signs in mm. 10(1) and 42(4), in both
cases beneath the note 1a, are crossed out verti-
cal ties rather than ornaments.
21. Pavan (Pavana Bray)
i Barley, (orph.) ff. D3v-4v: Master Birds
Pauan set by Francis Cutting. / A pauan by
Mr Byrde
ii Dd.9.33, ff. 12v-13r: Pavan Fr Cutting
Not in Cutting, Selected Works. Edition: Byrd,
Lute Music, no. 2, with a facsimile of ii.
A pavan of William Byrd, set for the lute by
138 Francis Cutting. For the model see Byrd, Key-
board Music, II, no. 59a. Here may also be found
a note on the rather obscure title of the piece: it
is ‘perhaps written for a Father William Bray,
of the Jesuit College at Saint-Omer, a place to
which expatriate English Catholics (including
some musicians) used to resort.’ There are sev-
eral references to this Father Bray between the
years 1583 and 1594.
The lute setting of the A, B and C strains fol-
lows the model closely. There is some thinning
out in the texture of the chords and of the inner
voices, especially the tenor; also the flourishes
in the closing cadences are different (mm. 8, 16
and 23-24, counting the bars of i). The varied
repeats (the A’, B’ and C’ strains) are different
from the model, and these must have been com-
posed by Cutting. Only occasionally we hear an
allusion to Byrd’s figuration here (counting the
bars of ii: mm. 13(1), 14(2-3), 25(3-4), 28(1),
29(2), 41(1-2)).
In the edition the text is given after ii, as it is
the only version with varied repeats (no. 21b),
as well as after i, from the authoritative Barley
print (no. 21a). Both versions resemble each
other closely. In various places, where the text
of i differs somewhat from ii, in most cases the
reading of i seems to be better, as it is confirmed
by the text of the model. These better readings
have been incorporated in our edition of ii. Other
differences between i and ii: in i the bars are of
half length, and there are graces, which are lack-
ing in ii. In i in m. 13(3, on the beat) in the chord
there is a note 2d, which note in ii (in m. 21 and
in the corresponding m. 29) has been crossed
out; it is not found in the model.
Editorial changes in i:
the bar lines have been standardised (in i are
measures of two minims);
m. 4(3-4) is missing in i, and is here recon-
structed after ii (and after the model);
m. 9(2) in i the crotchet rhythm sign is placed
above 3d instead of 2d;
m. 22(1) the note 2d in the second chord cor-
rected from 2c (after ii and the model);
m. 24(1) misplaced fingering dots corrected
(dots under the first 2c and 3d omitted and un-
der 2a added).
Editorial changes in ii:
the bar lines, sometimes placed irregularly
in the varied repeats, have been standardised.
Some missing notes have been added from i,
as they are confirmed by the model:
m. 6(1 and 3) 7a added;
m. 14(1) 7a added (cf. m. 6);
m. 22(2) 3h-5a added;
m. 30(2) 5a added;
m. 38(3) 4a added;
m. 39(3) 3d added;
m. 40(1) 7a added;
m. 44(3) 3f added (cf. m. 36).
Other editorial changes based on i and the
model:
m. 3(4) 3c from 4c (also in m. 11);
m. 11(3) 3c from 4c (also in m. 3);
m. 19(4) 5e from 5d (cf. also m. 27);
m. 30(2) 3h from 3i (cf. m. 22);
m. 34(4) 3d from 2d;
m. 35(4) 5f from 4f (see below);
m. 37(2, second crotchet) a superfluous re-
peated note 5a omitted;
m. 38(1) 5f from 4f (see below);
m. 45(2, second crotchet) 5a omitted (as in
m. 37);
m. 46(1) 5f from 4f (see below);
m. 46(3) 4a from 5a, cf. m. 38.
In mm. 35(4), 38(1) and 46(1) 5f was changed
from 4f (after i and the model), because the 4f
interrupts with the voice-leading of the tenor,
which in m. 35-36 even is imitating the theme
from the treble (see also the varied repeat, mm.
43-44). As the chord 1h-2d-4f-6d is much more
idiomatic on the lute than 1h-2d-5f-6d, this read-
ing with 5f changed to 4f can easily have been
introduced by a copyist.
Two grid signs in the tablature, in m. 12(4)
on the fourth stave, under the note 1a, and in m.
31(3) on the fourth stave, between the notes 2a
and 6a, are corrections by the copyist rather than
ornaments.
In m. 46(4) the note 3c possibly should be
read as 3b.
It seems strange that in i m. 11(3, on the beat)
and in ii m. 19(3) and in the corresponding place
in m. 27(3) a note 2a is lacking; this omission
interrupts the alto voice, which in the model in-
deed has a note d here. However, as this note is
lacking in both versions, Cutting seems to have
omitted it on purpose.
 22. Galliard
i Euing, f. 29r
ii Dd.2.11, f. 71v: f Cuttings galliard
iii Marsh, p. 386: galliard Alfonsus
iv Add.31392, f. 34r: a galiard by mr Cuttinge.
v Add.2764(2), f. 7r (C strain only, with the
first two minims missing)
vi Thysius, f. 33r: Maister Hayls Gallard
vii Leipzig, ff. 96v-97r (pp. 218-219): Galliarda
Dulandi 39
viii Leipzig, ff. 104v-105r (pp. 234-235):
Galiarda
ix D.246, pp. 259-262: Cuttings Galliard (bass
viol solo)
Cutting, Selected Works, no. 15. Another mod-
ern edition in Lumsden, Anthology, no. 8.
One of Cutting’s most popular works, one that
even found its way into continental manuscript
collections. In the trustworthy source ii and in
sic, no. 85) and viii, which are probably settings 139
by continental lutenists. No. i is the only one
with varied repeats. As these are not found in
any other source, they are perhaps not made by
Cutting. However, these divisions, though rather
simple, are effective, and are not contrary to his
style; see the repeated use of the turn consisting
of four quavers at the start of a phrase (mm. 9,
10, 13, 26-28; in the A’ strain as a division of the
ascending dotted motif). Furthermore, note rep-
etitions as seen in m. 29 are found also in other
divisions of galliards by Cutting: cf. no 30 m.
37 and no. 32 m. 44.
Most differences are found in no. iii, which
has some small variants in the middle voices in
mm. 23 and 36-37:
b
b b b b
b b b
b b
b b b
b
iii, m. 23

no. iv the piece is ascribed to Cutting, and it cer-

b b
tainly in his style: the whole work consists of b b b b b
chains of sequences, and in the A strain we no- b b b b
b b
tice Cutting’s favourite ‘galliard-motif’, a short b b b b b
b b
ascending dotted line, imitated in all voices.
However, in no. iii the piece is attributed to iii, mm. 36-37

Alfonsus (Ferrabosco?). This last setting is not Also, in mm. 38-40, where all versions show
very different from the other English versions, some minor variants, nos. iii and also v and vi
so probably the copyist of iii made an error. Or have the most diverging reading:
could it be possible that Cutting based his piece
b b b b
on a galliard by Ferrabosco? Nigel North, the b b b
editor of Ferrabosco, Works for Lute, preface, p. b b b b b b b b
b b b b b b b b b b
1, thinks that this seems unlikely. There is also b b b b
b b b b
the possibility that this ‘Alfonsus’ is not Ferra- b b b
bosco at all: in the English sources for lute and iii, mm. 38-40

bandora his name is always (19 times) spelled
Alfonso or (in Welde) Alphonso, with an o at the
end (see the commentary in the edition men-
tioned, also in the bandora part; only once, in
Pickeringe, we find the variant Alfonces). The
ascription to Dowland in no. vii and to Maister
Hayls (Robert Hales?) in no. vi, both continen-
tal sources, can safely be discarded.
No. ix is a piece for bass viol solo (Dodd,
Thematic Index, Cutting no. 3), a set of varia-
tions upon the bass of Cutting’s galliard
(AA’BB’CC’A”A”’B”B”’C”C”’).
All lute versions are very much alike, apart
from the nos. vii (printed in Dowland, Lute Mu-
Other differences, which are found in sev-
eral sources: in m. 7 no dotted rhythm and a bass
voice 6acda (in nos. ii, iii), and in m. 33(1) an E
flat chord in root position (in nos. iii, iv, vi, vii);
no. i differs from all others in m. 24, which have
the D chord played in second position.
Editorial changes:
m. 3(1) dotted rhythm from two crotchets
(after all other sources);
m. 36(3) 3e under 2e omitted;
m. 40(3) in the chord 1a omitted (without 1a
the treble voice seems to make more sense, and
in m. 48 the piece ends with a top note 2a);
m. 44(1-2) 4fef from 4efe (also possible is an
140 emendation 4eff, but efe for fef seems a more
‘logical’ scribal error).
23. [Galliard]
i Dd.5.78, ff. 37v-38r: F C
Not in Cutting, Selected Works.
Editorial change:
in m. 30(3) the note 4c has been added, which
is desirable because of the hemiola (cf. m. 22).
A double cross under the last note 4c of m.
48 has been omitted, since the copyist Holmes
uses such crosses to show or correct errors, not
as ornaments (perhaps he meant to show that
the first chord of m. 48 needed filling out, with
3c and/or 4c; cf. no. 24 m. 16).
24. [Galliard] (on Go from my Window)
i Dd.2.11, f. 53v: F C
Cutting, Selected Works, no. 11.
A galliard without varied repeat of the C strain;
that section should therefore be played twice.
From John Ward, Dowland Miscellany, p. 65,
we learn that this galliard is built on the popular
tune Go from my Window: the first strain is based
on the tune, ‘the second strain is based on the
tonic/supertonic harmonies of the tune’s first
half, and the third strain contains echoes of the
tune itself’. Earlier Wentzel, Lute pavans and
galliards, pp. 126-127, already had noticed the
connection between song and galliard.
Editorial changes:
in m. 19(1) and in the corresponding m. 27(1)
the copyist made some corrections. In m. 19(1)
he changed 1a from 1e and (probably) 6e from
6a; in m. 27(1) he again corrected 6e from 6a,
but here he left 1e unchanged. In the edition this
note 1e is also corrected to 1a, in accordance
with m. 19, in order not to change the melodic
line of the treble in the repeat (and to avoid a
rather weak voice-leading).
M. 21(1) 1k from 1f (cf. the corresponding
m. 29).
25. [Galliard]
i Dd.5.78, f. 23r: Fr Cutting
Not in Cutting, Selected Works.
This untitled piece seems to be a galliard, al-
though it is an untypical one, as it consists of
two strains only.
In m. 29(3) the reading in i is not altogether
clear: there is a ‘grid’ rhythm sign of two crotch-
ets, but under it the tablature letters 1f-2c-5a are
vertically aligned. The reading in the edition
seems the most probable one, but it is also pos-
sible that the crotchets are an error and that a
minim was meant (as in m. 21).
26. [Galliard]
i Dd.9.33, f. 36v: Fr Cutting
Cutting, Selected Works, no. 12.
Editorial changes:
m. 13(2) 6d moved from the third beat (un-
der the first 1g) to the second beat (there is a
hemiola here; cf. m. 5);
m. 23(1) 4a from 3a;
m. 28(2) 5b from 5c (cf. the corresponding
m. 20; a note d flat is more logical in this musi-
cal context than d natural);
m. 32(3) the rhythm sign added;
m. 39(3) the rhythm sign added;
m. 48 all rhythm signs added (there are none
in i).
In m. 21(3) one could suspect a copyist’s er-
ror in the note 3a, an augmented fifth a on the
bass d flat, but as the varied repeat has the same
notes (m. 29), this effect must be intended: the a
serves as an (unexpected) leading note to the
following chord of B flat (the actual note b flat
is not written in the tablature, but it heard as the
octave played with the bass note 6d).
 27. Galliard
i Barley, (lute) ff. F1r-[G]1r: A Pauin for rhe
Lute. [sic] / A Galliarde by. Fr. C.
ii Euing, f. 46r
Cutting, Selected Works, no. 13, with a facsimile
of ii.
Version ii has no varied repeat for the C strain
and lacks graces, fingering dots and diagonal
strokes to indicate that a bass note should be
held, but otherwise it is similar to i. It has some
added notes in middle voices, running parallel
with the treble: mm. 6(2-3) 3bd, 24(1-2) 2ad,
25(2, on the beat) 3b, 32(1-2) 2a3d, 36(1) 2a. In
m. 40(1) is 3d instead of 4c. Sometimes notes in
middle voices are lacking (mm. 26(3) 4a, 40(2)
two times 4a, 41(1) 4a, 41(3) 3b). No. ii lacks
figuration in mm. 11(1), 14, 34(1-2), but has
scale figures in mm. 28(1-2), 43(3) and 44(1-2),
where i is simpler. Other differences: in mm. 3(1)
and 13(1) 2b instead of 2a, in m. 8(3) the bass
note 5c a crotchet after the beat, in m. 35(1)
1acda instead of 1adca, in m. 36(3) 4c instead
of 3c, and in m. 2 a different voice-leading:
b b b b b
b
b
b
b
b b
b b b corrections, and some of the crosses in this piece
b b b
ii, m. 2
A difference in m. 40(3), where ii has 3d-4a
on the beat and 6c on the next crotchet, is prob-
ably the result of an error by the scribe, who
began to write the chord on the beat, just as he
had done in m. 39(2), where he first omitted the
solitary note 1a, which he then scribbled in be-
tween the chords.
Editorial changes:
m. 1(2) fingering dot under 1a added and
from under 2d omitted;
m. 15(1) 4a from 5a;
m. 16(1) 4d and 3d from 3d and 2d;
m. 18(1-2) all notes one line higher in i;
m. 20(2) quaver from crotchet;
m. 38(1) 6e from 6a;
m. 43(2-3) rhythm signs added (lacking in
i);
m. 48(3) chord 3d-4a-6c from 2d-3a-5c.
28. [Galliard] 141
i Dd.5.78, f. 41r: C G
ii Dd.9.33, f. 74r: Fr Cutting
Not in Cutting, Selected Works.
It is not clear what the caption to this piece in i
means; perhaps the letters stand for ‘Cutting
Galliard’. Version ii has varied repeats, but the
(earlier?) version i has many interesting vari-
ants in its harmonies as well as in its voice-lead-
ing: see mm. 7, 10, 12, and its C strain, espe-
cially mm. 22-23. Therefore the text of both
versions is printed here: i as no. 28a, ii as no.
28b.
In no. i m. 1(1) the letters 2f-3g are partly
obscured by an ink blot. Two tablature letters
are a later addition by the copyist Matthew
Holmes, using a very fine pen: m. 13(3) 6h and
m. 13(1) 6a under the already present 5a; as the
note 5a is correct, Holmes deleted the addition
(the 6a is smudged) (observations by Ian Har-
wood in CUL, August 2001). In i m. 17(1) the
note 3c possibly should read 3b, as in ii.
In version ii are many double crosses, the in-
terpretation of which poses some problems. The
copyist Matthew Holmes uses crosses to cor-
rect wrong elements in the tablature or to show
could be meant as such: those in mm. 4 (some-
thing crossed out?), 15 (in the next chord 3a is
corrected from 3d), 32(1) (the cross could mean
an ommission; cf. no. 23 m. 48). The other
crosses, however, do not seem to point at cor-
rections or omissions in the tablature, and most
of them are perfectly plausible as ornaments. In
view of this, all crosses have been included in
the edition.
Editorial changes in ii:
m. 13(3) 3b from 3a (cf. m. 5);
m. 22(1) the rhythm sign added.
Two fingering dots were omitted, in m. 6(2)
under 1a and in m. 13(2) under 1d.
In mm. 45(3)-46(1) the manuscript is dam-
aged, as a result of which part of the tablature
(in the middle of the stave) has disappeared, but
it seems that there are no tablature letters miss-
ing.
142 29. [Galliard]
i Dd.5.78, ff. 33v-34r: F. C.
Not in Cutting, Selected Works.
Editorial changes:
m. 19(2) 6a added (cf. m. 27);
m. 37(1) 1d from 1c.
Perhaps in the same m. 37, on the third beat,
a note 3b should be added, as in the correspond-
ing m. 45 in the varied repeat.
30. Galliard
i Dd.9.33, f. 10v: Galliarde. F[r.] Cuttinge
Cutting, Selected Works, no. 14, with a facsimile
of i.
In i a part of the lower margin has been cut away,
as a result of which the lower part of the com-
poser’s name and the lower part of the last meas-
ure have disappeared (see the facsimile in Cut-
ting, Selected Works), but enough was preserved
to identify the composer, and to reconstruct (af-
ter m. 40) the measure with the notes on the
fourth and fifth courses.
In m. 27(1) one is inclined to read the first
note f’ as e’ flat (2b instead of 2d; cf. m. 19), but
similar note repetitions are found in other divi-
sions of galliards by Cutting; see. no. 22 m. 29
and no. 32 m. 44.
31. [Galliard]
i Dd.5.78, ff. 19v and 22r: F C
Not in Cutting, Selected Works.
Editorial changes:
m. 12(3) 1c from 1a;
m. 13(1) 2f from 3f;
m. 14(1-2) the rhythm corrected from b , b b b
to match m. 6;
m. 19(3) 1f from 1c (see the corresponding
m. 27; a note 1c instead of the second 1f in m.
27 seems less probable);
m. 25(3) 5a added;
m. 34(3) 2e from 2d;
m. 44(3) 3a added.
In m. 32(3), in the final chord, the note 1a
should perhaps be omitted, as in m. 24(3), for
the sake of the voice-leading of the treble.
32. [Galliard]
i Dd.5.78, f. 16r: F. C.
Cutting, Selected Works, no. 15.
In m. 6(3) the bass note was corrected by the
copyist, who altered 5e to 5a, or perhaps the
other way around, 5a to 5e; in the edition 5a is
maintained, as it makes a more logical bass line,
and is found in the corresponding m. 14. Fur-
thermore, the copyist corrected in m. 51(3) the
last note, but it is unclear whether het meant it
to be 1e or 1d; 1e is adopted here, being surely
the more typical leading note.
Editorial changes:
m. 1(2) 2c from 2b (musically more logical,
and confirmed in the varied repeat, m. 9);
m. 3(3) 5c added (cf. m. 11);
m. 12(1) 1f from 1h (this strain is built on a
four-quaver turn with intervals of a second (see
mm. 9, 10, 13, 14, 16; cf. especially the figura-
tion of m. 10);
m. 34(1) 3c added (cf. m. 44);
m. 42 double bar line from a single one.
33. Galliard
i Dd.5.78, f. 63r: A Galliarde fr. Cuttinge.
ii Dd.2.11, f. 58r: Fr: Dac: Galliard
iii Add.3056, f. 33v: Galliard J. D.
Not in Cutting, Selected Works. An edition in
Dowland, Lute Music, nos. 24 and 92.
A two-strain galliard, fairly closely identical to
John Dowland’s song ‘Awake sweet love thou
b art returnd’, no. 19 in his First Booke of Songes
(1597). Poulton, John Dowland, pp. 144-145,
has made it clear that the song is based on the
galliard, and not the other way around. This can
be deduced from the ‘modernisation’ of the
melody in the song, where the second note, c in
the lute piece, being the modal seventh of the
scale, is in the song changed into c sharp, the
sharp seventh of the modern major scale.
Poulton, op. cit., p. 241, also points out that in
later editions of the First Booke several passages
of the lute accompaniment were re-written, an
interesting example of which occurs in mm. 1-
2, where the revised lute part was brought much
closer to the lute solo version, by introducing
an imitation of the voice at the lower octave.
All this being the case, it is most likely that
Dowland based his song on a galliard of his own
hand. Dowland’s galliard then is found in sources
ii and iii, both without varied repeats, of which
iii ascribes the piece to him (edited in Dowland,
Lute Music, no. 24). However, version i, a reli-
able source, gives Francis Cutting as the com-
poser. Probably then Cutting re-arranged Dow-
land’s galliard and added varied repeats of his
own invention, thus making it a new composi-
tion. Poulton, op. cit., p. 145, states that these
divisions ‘show unmistakable characteristics of
Cutting’s style’, and again in Dowland, Lute
Music, the commentary to no. 92, calls this ver-
sion ‘an example of the successful marriage of
Dowland’s melody with Cutting’s style’. The
varied repeats indeed do show many character-
istics of Cutting’s style. In the cadences we see
the formula with the ‘gap’ (three times, mm. 22,
39, 46), as well as the ‘free-standing dominant’
(mm. 32, 39, 44). Imitation from the first state-
ment has been retained, in mm. 13-14 and 17-
18 highlighted by means of the lively rhythmi-
cal figure œ œ œ œ œ , which is found also in mm.
21, 34, 38 and 42). In the B’ strain much use is
made of the four-quaver turn (mm. 37, 38, 40,
41, 43), sometimes in sequences (mm. 40-41).
The four-quaver motif starting with a falling
third is found twice in mm. 43, also in a se-
quence. Furthermore it is worth mentioning that
the opening of this pieces is very similar to that
of galliard no. 8 of this edition, unattributed in
the source but probably made by Cutting.
In the first statement of the galliard Cutting
left Dowland’s piece almost unchanged. He
added a bass note G in m. 1(3) and a bass note d
in m. 5(3), thus slightly changing the harmo-
nies, and changed in m. 30(2) a passing note d
in the bass into A; small adaptations, that enli-
ven the rhythm of the piece a bit by giving har-
monic accents.
Editorial changes: 143
m. 42(3) 2c from 1c;
m. 44(2) 6e from 5e (as in m. 32, and in ii
and iii).
Possibly in m. 22(3) the note 1c should be
corrected to 2c, giving a cadential formula more
characteristic for Cutting.
34. [Galliard]
i Dd.5.78, ff. 29v-30r: F C
ii Euing, f. 39r
iii Hirsch, f. 6v-7r
Not in Cutting, Selected Works.
This galliard is a version in F minor of the
galliard no. 10 in C minor. Probably this piece
in F minor is the original work and the piece in
C minor the transposition (see the Commentary
to no. 10).
The three versions of this galliard are very
much the same. Nos. i and ii are nearly identi-
cal. Different in no. ii, apart from a few obvious
errors, are some dotted rhythms (mm. 1(1), 2(1-
2), 3(2), 10(1), 11(2), 23(1), 29(2) and a few
omitted notes (m. 5(3) 2d, m. 18(1) 2b).
No. iii has a few variant readings, all of
minor importance. Some of these are identical
to the version in C minor (no. 10): m. 6(3), 14(3),
15(1), 19(3)-20(1), 26(1), 28(1), 29(1) and 47(2).
Other variants are only found in no. iii, but all
these occur in closing bars of strains: a caden-
tial trill in mm. 8 and 48, and scalar runs in m.
24 and 32. Bar 16 is lacking in iii.
In i the copyist, Matthew Holmes, made a
few corrections, obviously to make a difficult
passage more easy to play: in mm. 3 and 11 the
notes 1ba were changed to 2gf, in m. 38 1b was
changed to 2g, and again in m. 46 1ab to 2fg;
probably then he also added in all four places a
‘holding’ line under the tablature letter 3e. These
corrected notes are not found in any other source,
and were in all probability invented by Holmes,
who obviously found in his exemplar the text
he wrote in the first instance. That original text
is adopted in our edition.
Editorial changes:
m. 3(2-3) 1ba: see above;
m. 9(1-2) the bass note 4a added and the notes
144 7a on the first beat and 4a on the second beat
omitted (the correction after m. 1 and the other
sources);
m. 11(2-3) 1ba: see above;
m. 22(3) 3e added (after m. 30 and the other
sources);
m. 38(2) 1b: see above;
m. 46(1-2) 1ab: see above.
In m. 43(2) a grid sign under 3d is probably a
correction rather than an ornament, and is not
included in the edition.
Perhaps in mm. 6(3) and 14(3) the passing
note 2d (also found in no. ii) should be read as
3d (as in iii and no. 10), but this could well be
an authentic variant.
35. Sir Walter Raleigh’s Galliard
i Dd.5.78, ff. 46r and 45v: F C.
ii Dd.2.11, f. 79v: Galliarde W: Bradbery / Sir
Walter Rawley F. Cutting
iii Euing, f. 40r
iv Board, f. 23v: Gallyard R. A / A Gall: Mr
Allysonn
v Besard, f. 111r: GAlliarda
vi Nürnberg, f. 16v: Gagliarda
vii Aegidius, ff. 150v-151r: Galliarde
viii Dolmetsch, ff. 99v-100r: Galliarde
ix Nürnberg, f. 3v: Galliarda Glaziers (in C
minor)
x Nürnberg, f. 4r: Galliarda Glaziers Aliter (in
G minor)
xi Otley, f. 9r: Gal:4 / Allysons gal:p Ro: Spr
(cittern)
Not in Cutting, Selected Works. An edition in
Allison, Lute Music, nos. 15 and 20.
This galliard is dedicated to the poet, scholar,
soldier and explorer Sir Walter Raleigh (1554–
1618). Raleigh was knighted in 1585, and the
dedication was probably after that date, judging
from the title ‘Sir’. On the other hand, after 1588
Raleigh’s influence at court lessened, which
perhaps made him a less likely dedicatee. It is
improbable that works were dedicated to him
after 1592, when he fell from grace, was im-
prisoned and subsequently released, but banned
from court.
The ascription of this galliard is problematic:
in nos. i and ii it is ascribed to Cutting, in nos. iv
an xi to Richard Allison. Furthermore, in ii in
first instance the name of William Bradbury was
connected to this piece, obviously as a compos-
er’s name, but later the copyist Holmes wrote
the names of Raleigh and Cutting above the first
inscription. As Cutting’s name appears also un-
der i, written by the same copyist, the ascription
to Bradbury probably was a mistake.
The version of this piece as it is found in i an
ii is clearly related to the version in the other
English sources, nos. iii, iv and xi, but there are
some consistent differences between both ver-
sions (nos. iv and xi are printed in Allison, Lute
Music, nos. 15a and 20). These differences are
found not only in the varied repeats, which show
some variant figuration (in mm. 13-16, 25, 27,
29-32, 44-48, so mostly in the second part of
the strains), but also in the first statements: cf.
the melody in m. 7 (and the corresponding m.
15); in mm. 33(3) and 41(3) the melody note 1b
in nos. i and ii and 1c in the others; also in mm.
5(2) and 13(2) the bass note 3a in the first group
and 4d in the second group (here, however, no.
iii follows nos. i and ii). Probably Francis Cut-
ting was responsible for the version in nos. i and
ii, while Richard Allison made the version found
in nos. iii and iv, on which version Robert
Sprignell based his transcription for cittern, no.
xi. It seems that only Cutting’s setting was dedi-
cated to Raleigh, another indication that we are
dealing with two different, albeit closely related
versions.
It is clear that Cutting’s and Allison’s settings
are dependent one way or the other: one of them
rewrote the composition of the other lutenist. It
is hard to decide whether Cutting or Allison
made the first version. Cutting probably was the
older master, and his setting is found in the ear-
liest sources, but both arguments are not deci-
sive in arguing his version came first. Perhaps
more weight can be given to stylistic arguments.
This galliard in many instances resembles other
galliards in F minor to which Cutting’s name is
connected, nos. 34 and 36. See for instance the
beginning of the C strain of this galliard and that
of no. 36, with the sequences in mm. 33-35; cf.
also in m. 38 of no. 34 and this no. 35 the ten-
sion reached in the dotted minim bass note d’
flat, a ‘fa super la’, just before the hemiola lead-
ing to the final cadence (in no. 35 the tension is
very effectively heightened by the ascending se-
quence leading to the d’ flat). In addition, char-
acteristic are the other sequences found in no.
35, in mm. 17-20 and 21-22. In m. 5-6(1) there
is imitation of a small motif, in treble and bass.
In m. 31 is written a ‘free-standing dominant’ in
the cadence, and in m. 47 the cadential formula
probably should be interpreted as the one with
the ‘gap’ favoured by Cutting (the ‘gap’ being
filled by the treble voice). The rhythmical pat-
tern œ œ œ œ œ is found in mm. 15, 29, 38, 39, 46
and three times in a sequence in mm. 41-43. The
four-quaver turn is written in mm. 10 (twice, in
a sequence), 11, 13-14 (in imitation), 30 and 44.
All in all it seems more likely that this is an origi-
nal composition by Cutting, reworked by Alli-
son, than the other way around.
Versions of this piece are found in several
continental sources, nos. v-x. Of these nos. ix-x
have no direct relation to the English settings:
no. x is a duet version, made to fit the (slightly
adapted) solo no. ix (see Allison, Lute Music,
nos. 15b and c, where this duet is printed). The
very similar continental versions v, vi, vii and
viii, however, are clearly related to Allison’s set-
ting, as in them much of the text of Allison’s
version is incorporated, including his varied re-
peats. This continental setting is therefore based
on Allison’s piece, which indicates that Allison
made it some time before 1603, when no. v was
printed.
Editorial changes:
m. 12(1) 2c added;
bar line between mm. 29-30 added;
m. 32(1) 2c added;
m. 47 is confused in i:
b b b b b b b b
b b
b b b
b b b b b b b by Dowland, arranged by Cutting. It is possible
b b
i, m. 47
In the edition the rhythm signs in the second
beat have been changed, and the note 1d has been
corrected to 1a (as a seventh b’ flat is not re-
solved into a third a’ in the following F chord).
In i this galliard is copied on f. 46r, while the
copyist Matthew Holmes some time later added
an alternative reading for the closing mm 45-48
on the opposite page, f. 45v. The text of this al-
ternative division:
b b b b b b b b 145
b b b b b b
b b b b
b b b b b b
b
b b b b
b
b b b b b b b b b
b b b
b
b
i, alternative mm. 45-48
As this later addition gives the divisions as
found in the Allison version of the piece, in our
edition the text is printed as it was written in the
first instance.
36. [Galliard]
i Dd.9.33, ff. 22r and 21v: Dowland F. Cut-
ting
Not in Cutting, Selected Works. Edition: Dow-
land, Lute music, no. 82.
In the only source this piece has two compos-
er’s names attached to it: Dowland’s and Cut-
ting’s. Cutting’s name was written immediately
after the piece was copied into the manuscript,
Dowland’s name was added later (as is also the
opinion of Long in Cutting, Selected Works, p.
52, no. 28 of the inventory of Cutting’s works).
Who was the composer? Poulton and Lam, the
editors of Dowland, Lute Music, commentary
to no. 82, think that the piece is ‘more consist-
ent with Cutting’s style than with Dowland’s’.
Craig-McFeely, Lute Manuscripts and Scribes,
inventory of Dd.9.33, states that this is a piece
that the scribe of i, Matthew Holmes, since he
did not erase Cutting’s name as he added Dow-
land’s, also assumed a dual authorship.
So, when trying to decide whether Dowland
or Cutting made this piece, one must have a sepa-
rate look at the first statements and the varied
repeats, because one lutenist could have added
divisions to a galliard of the other. Regarding
the varied repeats, they could well have been
composed by Cutting. Certain measures are
identical or very similar to ones in other works
by him: compare m. 10 with galliard no. 35 m.
146 10, m. 32 with galliard no. 34 m. 32, m. 12 with
no. 34 m. 13, and also m. 46 with no. 48 Walsing-
ham m. 28. In m. 27 we find one of Cutting’s
favourite cadential formulas, the one with a fall-
ing third, but as it happens this formula is also
found frequently in Dowland’s works. A kind
of a problem is posed by the conspicuous as-
cending sequences of groups of four quavers,
each group beginning with a falling third: in mm.
25 is a chain of three groups, in mm. 48-49 even
of five groups. Of course, sequences are a hall-
mark of Cutting’s style, and sequences like these
are found regularly in other galliards: in no. 27
mm. 18-19, no. 30 m. 13, no. 33 m. 43, and, in
descending order, in no. 4 mm. 9 and 11, no. 8
mm. 14-15, no. 31 m. 29. In all these instances
just two groups are chained in a sequence, never
more. In Dowland’s galliards these sequences
are found too, and as far as I can see, always in
chains of three groups: see Dowland, Lute Mu-
sic, no. 41 m. 9 and no. 44 m. 13, both, how-
ever, in descending order (but see no. 28 m. 10,
an ascending sequence of three groups, each
however ending with a falling third). If Cutting
indeed made these divisions of no. 36 – and
stylistic evidence suggests that he did – he per-
haps wrote them on the basis of the original di-
visions by Dowland (as he probably did in the
case of pavan no. 51).
If Cutting wrote the divisions of this galliard,
then Dowland probably composed the first state-
ments of this galliard. To Dowland as the first
composer point the melodious quality of the
lines, which are more tuneful than Cutting’s,
especially in the first strain. Compare for in-
stance the melodic line of mm. 1-4, arching with
easy grace from c’ to c” and back to g’, with the
melodies at the beginning of galliards nos. 34
and 35, which are closely related but somewhat
rugged in comparison. Speaking for Dowland
is also the final chord of the C strain, that natu-
rally spreads over the two final bars; we saw
that in Cutting’s galliards double final bars of-
ten give an uneasy feeling of superfluity. The
beginning of the C strain is related to that of
Cutting’s galliard no. 35, but in Dowland’s
galliards similar passages can be found (for in-
stance Dowland, Lute Music, no. 26 mm. 17-
18, no. 29 mm. 17, 21). Parallel moving lines
with a syncopated middle voice, as in mm. 17-
18 and 38-39) are a feature of Cutting’s style
(see galliard no. 22 mm. 33-37), but are also
written by Dowland (Dowland, Lute Music, no.
26 m. 13, no. 29 m. 3). The sequence with the
dotted motif in mm. 20-21, however, is not found
in other Dowland galliards, but very similar in-
stances occur in Cutting’s no. 2 mm. 17-19, 21
and no. 31 m. 17-18. Perhaps Cutting in places
adapted Dowland’s model to his taste.
Thus the ascription in the source and the sty-
listic evidence lead to the conclusion that it is
most likely that we are dealing with an original
composition by Dowland, to which Cutting
added varied reprises, perhaps on the basis of
the original ones. Possibly he also made some
changes in the first statements.
Editorial changes:
m. 12(3) 1f from 1d (cf. m. 4);
m. 15(1) 3b from 3d;
m. 26(3) 2b added (the note 3f before needs
to be resolved; cf. m. 18);
m. 36(1) 1b from 1f.
37. Galliard
i Barley (orph.), f. C1r: A Galliard made by
F. C. / A Galliarde by Fr. C.
ii Dd.5.78, ff. 30v-31r: F: C.
Not in Cutting, Selected Works.
This galliard is handed down in two important
sources for Cutting’s music: Barley and Dd.5.78.
The version in ii, possibly written after no. i was
printed in 1596, was not copied from that print,
as it has varied repeats, which are lacking in i.
In the edition both versions are given, as nos.
37a and 37b respectively.
Editorial change in i:
m. 14(1-2) incorrect fingering dots beneath
the notes 2a and 2d omitted, the dot under 2c
added.
Editorial changes in ii:
m. 5(1, on the beat) 2c omitted (this note, in
the treble voice, is not present in the correspond-
ing m. 13 nor in i, and is probably not authentic,
as it blurs the imitation in mm. 3-5);
m. 8 bar line doubled;
m. 12(3) 1a added (cf. m. 4);
m. 41(2) 3a from 4a (cf. m. 33 and no. i).
 38. Almain
i Dd.5.78, f. 31r: F C
ii Dd.2.11, f. 100r: Allmaine. Fr. Cutting
iii Barley, (lute) ff. F1v-2v: A Pauin for the Lute.
[sic] / an Almaine. by. F. C.
iv 31392, f. 26r: an Almaine by maister Cuttinge
v Pickeringe, ff. 31v-32r: Almaine by frauncis
Cuttinge
Cutting, Selected Works, no. 16, with a facsimile
of iv; a modern edition also in Lumsden, An-
thology, no. 18.
One of the more popular works by Cutting, judg-
ing from the number of sources in which this
piece is handed down. The almain appears in
two different versions: in nos. ii and iii the divi-
sions are very elaborate, in nos. i, iv and v rather
simple. The first statements of the strains are
very much the same in both versions. The text
of the simple version is nearly identical in all
three sources i, iv and v, but there are a number
of differences in the divisions of nos. ii and iii,
the latter being still more florid than the first;
these seem to represent two different stages of
the elaborate version of the piece. For that rea-
son in this edition both elaborate settings ii and
iii are given (as nos. 38b and 38c), as well as the
simple version i (no. 38a).
In Cutting, Selected Works, no. 16, Martin
Long states that it seems probable that the sim-
pler version is the revised one, ‘since it occurs
in sources later than ii and iii and there is evi-
dence that Cutting moved towards a less showy,
more melodic treatment of divisions in his later
works’; Long, however, does not indicate the
nature of this evidence. The fact that the elabo-
rate version occurs in the earliest manuscripts,
does of course not prove that it is also the earli-
est one. Furthermore, in ii the piece is found at
the very end of the collection, and could there-
fore have been copied not much before setting
no. i: Craig-McFeely, Lute Manuscripts and
Scribes, thinks it possible that the process of
copying Dd.2.11 was partly contemporary with
that of Dd.5.78. Moreover, as Cutting probably
was involved with the production of print iii,
the version found there, the most elaborate one,
could be the last one he made. Perhaps the florid
and simple versions are not different phases of
one piece, but coexisted at the same time. 147
Differences between nos. ii and iii occur in
the varied repeats, in mm. 16, 25-27, 28, 29, 32
and 42-48. The simple versions i, iv and v are
almost exactly the same. Variant readings in iv:
a few added notes (m. 5(2) 2d; m. 6(2) 3d; mm.
8(1) and 16(1) 4c; all on the beat) and one omit-
ted note (m. 11(2) 2c); m. 3(1) 3d instead of 3a;
mm. 15(2) and 23(2) treble voice syncopated;
m. 24 5g-7a instead of 6h; mm. 41(2, second
beat)-42(1) treble voice, in quavers, 1fd | ca, and
3a omitted; m. 44(1) 3a omitted; m. 45 bass 4c-
3d omitted; m. 47(1) 3c instead of 4c, and a
rhythm of four quavers. Variant reading in v: in
mm. 8(1) and 16(1) 4c added, in m. 8(2) errone-
ously 6a instead of 5a and in m. 47(1) a rhythm
of four quavers, but further completely identi-
cal to i.
Editorial changes in i:
m. 5(2) 4a added;
m. 47(1) quavers above 2ce from semiqua-
vers.
The bars, with a length of four minims, have
been halved.
Editorial changes in ii:
the page is damaged at the top left-hand cor-
ner, as a result of which all of mm. 1-2 and the
first note 2c of m. 10 have disappeared (and from
the first note 2d of m. 3 only traces are visible);
these have been reconstructed from the other
versions.
M. 9(2) 5a and 6a added;
m. 43(2) 3e from 3d (cf. m. 35);
m. 48(2) rhythm sign minim from semibreve;
bar lines after mm. 31 and 33 added.
Perhaps in m. 39(1) on the beat 1a should be
added, as in all other versions.
Editorial changes in iii:
m. 4(2) 4c from 5c;
m. 9(2) 6a from 5a;
m. 12(1) second quaver rhythm sign from
crotchet;
m. 15(2) in iii 6a under 2h;
m. 19 crotchet from quaver;
m. 24 bar line doubled;
m. 33(1) quaver from crotchet;
m. 45(2) 1f added (clearly an error by the
block-maker: the vertical tie between this miss-
ing note and the bass 4e is indeed present).
Fingering dots were corrected: m. 8(2) dot
under 5a omitted; m. 10(1) in iii all dots are mis-
148 placed one note to the right; m. 25(1) a dot un-
der 2c omitted and dots under the adjacent notes
2a and 2d added.
39. Almain
i Dd.9.33, f. 9r: An Allmaine Fr. Cutting
Cutting, Selected Works, no. 17, with a facsimile
of i.
A short almain of two strains of four bars, each
strain with its varied repeat.
Editorial changes:
m. 19(1) 4g from 4f (cf. m. 27);
m. 31(1) 4e from 4d (cf. m. 23);
m. 32(2) the minim from a semibreve.
The bar lines, which in i are rather irregu-
larly placed, have been standardised into meas-
ures of two minims.
40. Almain
i Barley, (orph.) f. C2r: An Almaine by Frances
Cuting. / Allmaine by. Fr. C.
ii Dd.9.33, f. 8v: An Allmaine
Not in Cutting, Selected Works.
This almain is handed down in two authorative
sources: the Barley print and a lute book copied
by Matthew Homes. In i this almain is without
varied repeats. In ii there are repeats, and also
some differences with i. Therefore, both versions
have been edited, as nos. 40a and 40b.
The differences between i and ii, apart from
a number of more or less filled out chords, are
as follows: a changed melody in mm. 6-7; an-
other harmony in m. 36(1) (bar number as in ii),
and a different cadence in m. 39. This cadence
is simpler in ii than in i, and also a bit awkward,
perhaps a reason to suppose ii gives the earlier
version of the piece.
Editorial changes in i:
m. 8(2, last note before the double bar)
crotchet from minim;
m. 16 all rhythm signs added (in i the double
bar line is after the measure);
m. 24(2) crotchet from minim.
Editorial changes in ii:
m 11(1) 4a added;
m. 27(2) 5a added;
m. 31(1) first rhythm sign added (there are
no rhythm signs here in ii);
m. 34(2) 6a added;
m. 44(2, on the beat) 4a added.
In m. 47(2) the tablature letters 2cdcd have
been reconstructed: in ii they are illegible be-
cause the manuscript is damaged (the rhythm
signs above them are still visible).
In m. 48, written in the bottom margin, the
sixth tablature stave has disappeared; any tabla-
ture letters written under the sixth stave have
consequently disappeared too, and the note 7a
is therefore added by the editor.
The bar lines, which are irregular (the meas-
ures partly have four minims and partly two
minims), have been standardised.
41. Jig
i Dd.2.11, f. 98r: A Jigg. fr Cutting
Long, Cutting Selected Works, no. 19, with a
facsimile of i.
A short piece, consisting of two strains of four
measures each. Only the A strain has a written
out varied reprise, but the B strain should also
be repeated.
Of the caption in i the last three letters -ing
run into the gulley.
42. Toy
i Add.2764(2), f. [7]r
ii Dd.2.11, f. 80v: F: Cuttings Toy
Cutting, Selected Works, no. 20.
A short piece of twelve bars, with three strains
of four measures each. All strains should be re-
peated, as is indicated by the number 2 written
above the double bar lines (in i after the A and B
strains, in ii only above the double bar line in m.
8). Versions i and ii show some differences, es-
pecially in the harmonies but also at places in
the melody (mm. 3, 7, 10-12), so both settings Editorial changes in ii: 149
are included in the present edition. m. 4 the first two rhythm signs from minim
The manuscript Add.2764, which contains no. and crotchet;
i, exists only as fragments in the form of a se- m. 9(2) 6a probable but not certain (the manu-
ries of half-pages which had been used by a sev- script has been cropped and only the top of the
enteenth-century binder as waste endpapers letter is visible);
pasted between the clean endpaper and the bind- m. 10(2) 6e probable but not certain (only
ing board (Craig-McFeely, Lute Manuscripts the top of the letter is visible);
and Scribes). Of this setting the upbeat is miss- m. 12 the rhythm signs reconstructed (obscure
ing, so this was reconstructed from version ii. in ii).
Furthermore, the scribe clearly was confused
about the rhythm of the piece, judging from the
many mistakes in the rhythm signs. The strange 43. The Squirrel’s Toy
handling of the upbeats at the beginning and end
of the A and C strains (as a result of which in i Dd.2.11, f. 77r: The Squirrills Toy Fr Cut-
these strains all bar lines are misplaced by a half ting
bar) give the impression that he wrote the piece
down from hearing rather than from an exem- Not in Cutting, Selected Works. Edition: Dart,
plar. In the edition is printed a reconstruction, Anthology, no. 38.
with the upbeats and bar lines standardised as in
no. ii, and here is given a literal transcription of A very short piece of eight bars, with two strains
i, after the copy made in December 2000 by Ian of four bars each; each strain should be repeated.
Harwood at the MS room of Cambridge Uni- Editorial changes:
versity Library: m. 4(1) 5a from 4a, a bass note c being a
more likely progression than f.
bb b b b b b b b b b b bb b b b
b b b b b b b b b b The bar line between the upbeat and m. 1 has
b b b b b b b
b b b b b b been added.
b b b
b b b b
b b
44. Cutting’s Comfort
b b bb b b b b bb b b bb b b b b b b
bb b bb b bb b i Barley, (orph.) f. D1v: Cuttings comfort. / by
b b b bb b b b b
b b b b b b b b Fr. C
b b b
b b b b b
Cutting, Selected Works, no. 21, with a facsimile
of i.
b bb b b b b b b b b b b b b b b b b b
bb b b b b b b b b
b b b b b b b bb b b A short piece, consisting of two strains of four
b b b b b b b b
b b b b b two-beat measures, each strain with its varied
b b b b b repeat.
b
i Editorial changes:
The tablature letters 3d-4c between brackets m. 6(1) 4a from 5a (cf. m. 2);
in m. 4 are illegible because the paper is heavily m. 8(1) 1a added (cf. m. 4);
stained. m. 10(2) 7a added (cf. m. 14);
Editorial changes in i: m. 11(2) the rhythm signs changed from b b b

the upbeat added (see above); to b b

(as is indicated by the fingering dots; cf.
b

the bar lines in the A and C strains standard- also m. 15);

ised (see above); m. 16 the last rhythm sign added (in i there is
rhythm signs corrected in mm. 4, 7, 8 and 12 only a fermata).
(cf. the transcription above); The bar lines after mm. 4 and 12 have been
m. 4(1) 3d-4c illegible in i (see above). doubled.
150 45. Greensleeves
i Add.31392, f. 29r: Greenesleeues by maister
Cuttinge
Not in Cutting, Selected Works. Edition: Eliza-
bethan popular music, no. 7, with a facsimile of
i.
Two variations on the well-known ballad tune;
see Simpson, Broadside Ballad, pp. 268-278.
Three other lute settings, in Ballet-2, p. 104
(greenesleues, in C minor), Thysius, f. 390r-v
(Gruen sleefs ey touiou met all myn here, in C
minor) and Vanden Hove, Florida, f. 107v
(Griensliefs, in F minor), are not related.
Editorial changes:
m. 8 has only one beat; the second beat, with
the note 4c, has been added (after m. 24);
m. 16(2) the minim from a dotted minim.
In m. 7(1) the bass note 4a should perhaps be
on the third crotchet, under the note 2b instead
of under 2d.
46. My Lord Willoughby’s Welcome Home
i Dd.5.78, f. 28v: F: C
ii Dd.2.11, f. 58v: My L Williaghby Tune J. D.
iii Pickeringe, f. 25r: My lord willobes wellcome
home by John dowland
iv Wickhambrook, f. 12r: my lo: willobeis tune
Jhone Doulande
v Euing, f. 38r
vi Mynshall, f. 1r: Mmy lord wilobie / [index:]
my lord wilobies welcom home
Not in Cutting, Selected Works. Edition: Eliza-
bethan Popular Music, no. 9, with a facsimile
of i.
On this tune see Chapell, Popular Music, I, p.
155, Simpson, Broadside Ballad, pp. 467-471,
and Dowland, Lute Music, the commentary to
no. 66a. The tune was first known as ‘Rowland’,
a character in a comedy, which play was per-
formed on the continent by an English troupe of
actors in 1585 and 1586. The tune is found in
several continental lute sources under this title,
and also Byrd’s set of variations (FWVB I, no.
160) is titled Rowland. In English lute sources
the tune is known as ‘My Lord Willoughby’s
Welcome Home’ or ‘My Lord Willoughby’s
tune’. The name of Peregrine Bertie, Baron
Willoughby de Eresby (1555–1601) was prob-
ably associated with the tune on his return from
the Low Countries in 1589, where in 1587 he
was appointed commander of the English forces
in the Netherlands in the place of the Earl of
Leicester.
The setting in D minor is ascribed in i to F. C.,
that is Francis Cutting: Matthew Holmes, the
scribe of i, abbreviates Cutting’s name often that
way, especially in this source. However, the first
eight bars of this piece are identical to a simple
setting, a single statement of the tune, found in
several English sources: nos. ii-vi. In three of
these, nos. ii (also copied by Holmes!) iii and iv,
the piece is ascribed to John Dowland (see Dow-
land, Lute Music, no. 66a). If that ascription is
correct, then Cutting probably used Dowland’s
setting of the tune for his own set of variations.
Editorial changes:
m. 23(2) 3a added;
double bar lines after mm. 10 and 18 have
been omitted.
47. Packington’s Pound
i Barley, (orph.) f. C4v: Bockingtons Pound by
Fr. C. / Bockington. Pound by Fr. C.
Not in Cutting, Selected Works.
A single statement of the tune. The piece is prob-
ably named after Sir John Packington (1549–
1625), in reference to his famous wager to swim
from Westminster to London Bridge. See Simp-
son, Broadside Ballad, pp. 564-570. The
dedicatee was knighted in 1587, and this piece,
where he is mentioned without his title, was
probably written before that. There are a ver-
sions of this tune in C minor in Nn.6.36, f. 21r
(Pack. Pound; ed. in Elizabethan Popular Mu-
sic, no. 12), Westminster (pakingtons pound, ed.
in Lute News 55, Supplement p. 27) and, very
corrupt, Mynshall, f. 8v (packingtons com-
pounds; index: Pactkintons componds), but these
are not related to Cutting’s little piece. Another
setting, like Cutting’s in F minor, in Thysius, f.
401v (Paccetonspon. Chanson Engloise) is also
not very similar to i and has probably no con-
nection with it.
Editorial changes:
m. 13(2) the rhythm sign (crotchet) added;
m. 19 the dot added to the first rhythm sign,
and the third rhythm sign (the crotchet) added.
48. Walsingham
i Dd.2.11, f. 96r: Fr. Cutting
ii Barley, (orph.) ff. D2r-3r: Walsinggam made
by Francis Cutting. / Walsingame by. Fr. C.
iii Dd. 5.78, ff. 50v-51r: F: C
iv Euing, ff. 43v-44
Cutting, Selected Works, no. 18. Also edited in
Lumsden, Anthology, no. 25.
Seven variations on the well-known ballad tune
‘As I went to Walsingham’. Other sets of varia-
tions for the lute were composed by John
Johnson, Edward Collard, Anthony Holborne,
John Marchant and John Dowland. See Simpson,
Broadside Ballad, pp. 741-743; an extended list
of settings is in Ward, Music for Elizabethan
Lutes, p. 100, footnote 306. The melody con-
sists of a four measure section in A flat major,
followed by a section of another four measures,
in E flat major-F minor/major, which in some
settings is repeated. Cutting’s piece shows some
affinity with Johnson’s (Johnson, Collected
Works, no. 34): it is in the same key, and the
opening of both works is very much alike. Per-
haps Cutting borrowed the theme from the older
master. Cutting’s work is in eight measures,
without the repeat (which also is lacking in the
settings by Collard and Marchant).
There are a number of differences between
version ii, the authoritative Barley print, and the
other sources. These differences are not very
important, but none the less we are dealing with
two distinct stages of the piece. For this reason
in the edition both i and ii are given, as nos. 48a
and 48b; the version in ii, printed by Barley, was
probably made by Cutting shortly before his
death. The differences are mostly small variants:
dotted rhythms (mm. 10(1), 16(1), 22(1), 35(1-
2), 50(1)), chords broken in smaller note values
(mm. 4, 12, 48(3)), added or omitted notes in
chords (mm. 15(3), 28, 31(3), 34(3)), added or
omitted notes in a middle voice (mm. 11(2), 151
12(2), 13(2), 53(1), 54(3)-55(1), and a different
last bar. There are also more substantial changes:
added notes in the bass in i (mm. 35(1), 38(2),
39(1), 42(2), 44(3), 55(2)), a different bass line
in mm. 43(1-2), 45(1), an added melody note in
ii in m. 42(2), and an added flourish in the tre-
ble in ii in m. 50(2).
Versions i and iii are nearly identical, as in iii
only two notes are omitted that are present in i:
in m. 10(1) 2d and in m. 32(3) 7a. There are
more differences between versions i and iv: in
iv there is no seventh course F (the missing notes
are replaced by 4a); some chords are thinner
(mm. 5(1), 6(2), 6(3), 7(2), 9(1), 10(1), 13(1),
20(1), 34(3), 42(3)); in mm. 9(1) and 28(1) there
are (probably erroneous) F minor chords instead
of A flat major chords. A bass note 4d is missing
in m. 35(2) as well as m. 49(1). In m. 7(2-3) the
cadence is different, as is the scale figure in the
final bar m. 56:
b
b b
b b b b
b
b
b
iv, m. 7(2-3)
b b b
b b b b b b b
b b b
b b
b b
iv, m. 56
Editorial changes in i:
since the manuscript is damaged, in m. 1(1-
2) the tablature letters on the three top staves
are unreadable, as are the rhythm signs in mm.
1-2(1); these are reconstructed from nos. iii and iv.
In m. 40(3) the dotted minim is changed from
a minim without dot.
In m. 36 the mensural sign 3 is in the source.
The proportion should change h = h. in m. 36,
and change back in m. 41.
Editorial changes in ii:
m. 16(3) rhythm sign minim added;
m. 36 the mensural sign 3 added (see i);
m. 40(3) the last chord of the variation is miss-
ing, and is here supplemented after no. i;
m. 56(3) rhythm sign minim added (in ii there
is only a fermata), and a bar line before the final
chord omitted.
152 49. Lullaby
i Dd.9.33, ff. 4v-5r: Mr Birdes Lullaby set by
fr. Cutting.
ii Add. 31992, ff. 21v-22r: fol. 46. Mr Byrde
Lullaby La. p. al. 3. t.
Not in Cutting, Selected Works. Edition: Byrd,
Music for the Lute, no. 1, with a facsimile of i.
The model of this lute setting in G minor is
William Byrd’s five part song ‘Lullaby, my
sweet little baby’ in D minor, published in 1588
in his Psalms, Sonets and Songs, no. 32. This
was obviously a popular cradle song, and in re-
quest at court. It is also known in contemporary
settings for lyra viol and keyboard (listed in
Byrd, Music for the Lute, no. 1). No. ii, in C
minor, is not a lute solo; in this version the four
lowest parts are intabulated for lute, while the
highest part, omitted from the setting, needs to
be sung. E.H. Fellowes, the editor of Byrd,
Psalms, Sonets and Songs, concludes from the
form in which the complete words of the song
were printed in the original edition that the first
part (in our edition mm. 1-26) should be sung
again after the conclusion of the second section.
This observation is enhanced by the fact that in
i at the double bar after m. 26 there is a fermata,
a sign that generally in this manuscript (and in
the other lute books from the period) designates
the end of a piece, thus also suggesting a Da
Capo. From Fellowes’ edition we further learn
that in the vocal version the last bars of the piece
(from the half of our m. 48, with the upbeat)
should be repeated. For this repeat there is no
sign in i, but a lute player can of course play this
last section twice, in concordance with the
model. In no. ii there is also a fermata over the
chord in m. 26, and a signum congruentiae
above the second chord of m. 48, which con-
firms the repeat of the last eight measures.
Nigel North in his edition of Byrd, Music for
the Lute, no. 1, judges not very favourably on
Cutting’s setting, which he thinks ‘not particu-
larly successful, as the first singing part tends
to get lost on the lute’. However, as this ‘first
singing part’ is the second soprano in the vocal
model, in the full five-voice polyphony this part
is also rather obscured by the other voices. (In-
terestingly, in ii the voice sings the highest tre-
ble part, while the second treble is marked in
the tablature with dots alongside the relevant
tablature letters, to mark which notes were the
original singing part.) As North notes, Cutting
made his setting a fifth lower than the original
song, and in reworking the piece not always re-
tained the full polyphony, but tended to fill out
chords at cadences to six parts. By this free re-
working Cutting thus seems to exploit fully the
resonance of the lute, transforming the original
vocal polyphony to a rich sound on his own in-
strument.
Editorial changes:
m. 36(6, last rhythm sign) minim from semi-
breve;
m. 41(1, the first rhythm sign) dotted minim
from crotchet;
m. 53(2) 2a from 1a.
Missing bar lines (mm. 1-4, 36-37, 55) have
been added, a bar line in the middle of m. 4 has
been omitted, and a misplaced bar line (m. 54
after the first minim) has been corrected.
In m. 16(4) the notes 5g-6h are obscure in i,
where they are corrected.
For the convenience of the player the
mensural sign 3, which is not in i, is added in m.
27, to indicate the change from duple to triple
time. Here the proportion should change: h = h. .
50. [Short Almain]
i Dd.3.18, f. 59r: Fr Cutting
ii Pickeringe, f. 14r: the grownd to the treble
Not in Cutting, Selected Works.
A treble and ground duet, Cutting’s only duet as
far as we know. The ground is found in ii, where
it is connected with a treble by John Johnson,
the Short Almain 2 (Johnson, Collected Works,
no. 58). The ground was probably composed by
Johnson, because he wrote another treble on it,
the Short Almain 1 (ibid., no. 57). Holborne also
used this ground: he wrote a set of variations
for lute solo on it (Holborne, Music for Lute and
Bandora (ed. Spring), no. 57). Cutting not only
used Johnson’s ground, but probably also knew
the connected Short Almain 2, because parts of
his composition remind us of Johnson’s treble:
the rhythmic figure in mm. 39-42 we see in
Johnson’s work in mm. 33-40, and the repeated
notes at the beginning of upward scale figures,
used as a device for speeding up the concluding
variation, are also found in both pieces (Cutting’s
mm. 48-51 and Johnson’s mm. 43 and 46). Be-
cause of this relation with Johnson’s treble we
have called Cutting’s unnamed piece also ‘Short
Almain’.
Editorial changes to no. i:
m. 64 rhythm sign minim from semibreve.
In source i the piece is a later addition to the
manuscript by the copyist, Matthew Holmes. It
is in his later short-hand style, with the ‘grid’
system of notating rhythm signs replaced by the
signs in the form of ‘normal’ notes, that are writ-
ten only where changes of rhythm occur. This
notation system he started to use well after 1600,
as is clear from Dd.9.33, where we can see the
transition take place. In our edition we have
changed the ‘notes’ to the rhythm signs used in
the other pieces.
Editorial changes to no. ii:
the first bar line (between the upbeat and m.
1) added;
m. 16 rhythm sign minim from semibreve.
51. Lachrimæ Pavan
i Barley (lute), ff. E1r-F[=E]2v: Lacrime by
I. D.
Not in Cutting, Selected Works.
A setting of Dowland’s famous Lachrimæ Pa-
van, the divisions of which are rather deviant
from the other versions of this piece. Diana
Poulton, John Dowland, pp. 127-128, took this
‘unusual text’ (Dowland, Lute Music, the com-
mentary to no. 15) as an example to illustrate
the inferiority of the Barley print, by comparing
the reprise of the first strain with that of the
‘standard’ version in Dd.5.78 (see also Ward,
‘Dowland miscellany’, pp. 127-129). Later it
was suggested by Erik Ryding, ‘Cutting’s
“Lachrimae”?’, that Cutting could be the author
of these divisions. This would be an obvious
possibility, since Cutting is thought to be the
musical editor of the Barley print (see the Intro-
duction). As a matter of fact, these divisions are
built loosely on the ones found in other sources
of Lachrimæ Pavan, but the peculiarities of this 153
version show clearly traits of Cutting’s style. In
m. 42, at the opening of the C’ strain, the dotted
minim of m. 33 has the same melodic and rhyth-
mic variant as is found in other pavans by Cut-
ting. In the divisions we see a frequent use of
rhythmical patters favoured by Cutting: an as-
cending œ œ œ œ œ œ œ in mm. 9, 15, 44, 49, and
the pattern œ œ œ œ œ in mm. 10, 31, 44 (twice).
In m. 27 there is a free-standing ‘dominant’ bass
note D. Telling is also the use of the cadential
formula in mm. 8 and 41, which is used more
often by Cutting (the ‘c formula’; see the Intro-
duction); in Dowland’s version we find here his
favorite b pattern. Most important of all (and
also mentioned by Ryding): in m. 14 we find
the flourish g’-g-g’ on a bass note e flat, with a
false-relation e’ natural in the upward move-
ment, a figure characteristically found only in
Cutting’s pavans. It looks like Francis Cutting
really made this independent setting of Lachri-
mæ Pavan, of course as one of a number of ad-
aptations of music by other composers.
Editorial changes:
m. 4(2) 4e from 4b;
m. 7(2) 3a added;
m. 12(2) all notes one line higher in i;
m. 16(4) 6a from 6d;
m. 22(3) a note 4f under 2d omitted;
m. 28(4) notes 5d on the beat and 4a above
the next 5d omitted:
b b
b
b
b b
b b
i, m. 28(4)
A number of obviously wrong rhythm signs
have been corrected, in mm. 1(2) (quaver added),
1(3) (crotchet from quaver), 2(3) (semibreve
from minim), 9(2) (a quaver above 1b omitted),
9(3) (a quaver above 2b omitted), 31(1) (both
rhythm signs misplaced to the right), 39(2)
(crotchet from quaver), 39(4) (quaver added),
50(4) minim from a semibreve with a fermata.
Some misplaced fingering dots have been
corrected: m. 10(1-2) two dots replaced to the
left (from under the first 1a to 1c, and from un-
der the second 1a to 2d); m. 20(2) a dot under
2b omitted; m. 37(4) a dot under 1f omitted; m.
44(1) a dot under 2c omitted and dots added
154 under the adjacent notes 2a and 2d; m. 49(2)
fingering dots under the first two notes 2e omit-
ted and dots added under 2f, 2c and again 2f.
In i all measures have a length of two min-
ims instead of four; after m. 8 is a single bar
line.
52. Quadro Pavan
i Dallis, pp. 28-29: NB 4 / quadran F C.
Not Cutting, Selected Works. Edition: Robinson,
‘Cotton’, no. 3b.
A setting in C major of the Quadro Pavan, vari-
ations on the Passamezzo moderno ground bass,
which originated in Italy. Its English name is
derived from its key using B naturale, also
known as B quadratum (and in this respect dif-
fering from the key with B flat of the Passamezzo
antico). Another variety was the Passamezzo
paganina, in England known as La Vecchia.
Passamezzo settings were very popular in Eng-
lish lute music of the 1570’s and 1580’s; John
Johnson wrote a number of pieces on these
grounds. However, lutenists of the ‘classical’
style had lost interest in this variation form: John
Dowland for instance, a prolific composer who
started his career in the eighties, never wrote a
Quadro or Passamezzo setting as far as we know.
Likewise Anthony Holborne wrote only one
Quadro Pavan, for bandora (Holborne, Music
for Lute and Bandora (ed. Spring), no. 76), al-
though in the preface to his Cittharn School he
described these ground basses as ‘the most usuall
and familiar grounds of these our times’; in this
book he included eleven of these pieces (see the
Introduction, p. 11 footnote 50). However, these
are works for cittern; in the lute music of the
‘classical’ style Passamezzo settings are rare.
This Quadro Pavan by Cutting, his only
Passamezzo setting, is therefore also rather
atypical, if he really did write it. In i, an early
source from 1583–1585, this is the only piece
which could be ascribed to Francis Cutting, as-
suming that F C is an abbreviation of his name.
The piece is entirely in the early ‘linear style’,
which is not found in Cutting’s other pieces for
lute solo. (Holborne’s Quadro Pavan for bandora
is more ‘modern’, and fits with its broken chords
more in this composer’s usual style.) Martin
Long, the editor of Cutting, Selected Works (p.
53, App. 1), considers this Quadro as a work
probably not written by Cutting, because ‘pas-
sages [are] identical with other Quadran set-
tings’. And indeed, this Quadro pavan shows
much similarity with an anonymous setting in
Ballet, pp. 8-9 (the quadren Pauen): in both
pieces mm. 7, 19, 21, 22 are cognate and mm.
3-4 are identical, as are m. 15 in Ballet and m.
31 in i (being the cadence of the A strain and A’
strain respectively). Moreover, in both settings
the complete B’ strain (mm. 41-48) is almost
exactly the same; there are only some minor vari-
ants in mm. 43(3)-44(1). It is clear there is a
connection between these two pieces.
The Ballet piece was edited in John Johnson,
Collected Works, no. 38b, because it is part of a
group of closely related Quadro pavans and
galliards (in that edition nos. 38a-c, 39a-c, 40
and 41), which in their turn are clearly related
to Johnson’s Quadro pavan no. 17. It is prob-
able that the pavans nos. 38a-c are variant ver-
sions of a single composition, and the similari-
ties with no. 17, as well as some stylistic fea-
tures, point to John Johnson as the composer of
this group of pieces (see Johnson, Collected
Works, the Commentary to nos. 38, 39, 40 and
41). Thus the setting in i, possibly made by Cut-
ting, is based on these Quadro settings ascribed
to Johnson. Incidentally, the setting in i is not
only similar to Johnson’s no. 38b, but has also
some bars in common with nos. 38c and 40 (mm.
31 and 15) and the Quadro galliard no. 39c:
compare in both pieces mm. 1-3(1), with an iden-
tical descending bass line, and the cadencial
harmonies in m. 47 in no. 39c and m. 30 in i.
The question remains: was Francis Cutting
the composer of the Quadro pavan in i? The ini-
tials F C were written with the piece, and in other
sources these are always taken to refer to his
name. There is no other known lutenist with the
same initials, apart from Francis Cardell, who
briefly held a post of court lutenist and dancing
master before he died in 1604/5. However, he
cannot have written this piece, because in 1583–
1585, when it was copied in the Dallis lute book,
he was still a child: his parents, Thomas Cardell
and the widow Ellen Cotton, married in 1575
(see Robinson, ‘Cotton’, p. 2-3). John Robinson
suggests that F C could stand for F(rancis?)
Cotton, possibly the former husband of Ellen
Cotton, who then could be the Cotton who wrote
a handful of lute works in the early style, which
are found in the Dallis and Marsh lute books.
As a matter of fact, the Quadro Pavan in i shows
not only similarities with Johnson’s setting, but
also with the setting in Marsh, pp. 227-228
(Quadro Cotton). Robinson’s hypothesis, how-
ever, cannot be substantiated, as no person with
this name is found in the sources.
So Cutting remains a possible candidate as
the composer of this Quadro Pavan. If he did
write the piece, it must be an early work of his,
dating from before 1583. That early date would
account for the atypical style of the piece: one
can imagine that the first pieces of the young
lutenist Cutting were in the old style (also sug-
gested by Wentzel, Lute pavans and galliards,
pp. 191-120), which was so successfully ex-
ploited by a composer like John Johnson. Also
the fact that this Quadro Pavan leans heavily
on an existing piece, possibly composed by
Johnson, points at a young composer, and at a
lutenist like Cutting, who later in life was never
reluctant to borrow from admired fellow musi-
cians. Furthermore, there is Cutting’s only tre-
ble and ground duet, no. 50, which is not only
very much like the Johnson duets in the old style,
but is even written on a ground by Johnson.
In i corrections have been made in m. 23(3),
where under 4a also 5a and 6a are written (it is
not certain 4a is meant, as all three bass notes
are stroked through), and m. 35(3), where the
reading of the first chord 1c-2a-5c is uncertain.
In m. 46(1) there are two notes 4c and 5c, but 4c
seems to be crossed out. In m. 46(4) was writ-
ten a single minim with the notes 3c-4c, which
were corrected to the text found in the edition,
however without changing the rhythm sign to a
grid of four quavers. Under mm. 26(1) and 28(3)
there is a cross written. Indecipherable text is
written under mm. 18(3-4) and 23(3-4); text
under m. 32(3-4) seems to read ende qdn pauan.
Editorial changes:
m. 39(2) 5e from 6e;
m. 46(4) the quavers from a minim (see
above);
a few obviously misplaced fingering dots
have been corrected (mm. 10(4), 26(2), 30(1),
41(3), 45(3-4)).
A number 2 written above the double bar af-
ter m. 16, normally indicating a repeat, should 155
be ignored, as the varied reprise follows. Per-
haps the number designates the second section.
53. Passion Galliard
i Trumbull, f. 19r: gli: cuttings
ii Dd.2.11, ff. 83r and 82v : Holburns passion
Not in Cutting, Selected Works. Edition of ii:
Holborne, Music for Lute and Bandora (ed.
Spring), no. 36.
This galliard, of three strains without varied re-
peats, is ascribed both to Anthony Holborne and
to Cutting. Aus dem Spring, who edited this
galliard in Holborne, op. cit., does not take a
stand on the authorship of this piece, and in the
Holborne edition by Kanazawa (no. 34) no. i is
not mentioned. It is hard to decide which com-
poser made the piece. The galliard seems more
in Holborne’s style than in Cutting’s; especially
the alternation of 3/2 and 6/8 metre (in strain C)
is a favourite device of Holborne’s (see New-
comb, Englischen Lautenpraxis, pp. 90-91;
Wentzel, Lute pavans and galliards, p. 27); it is
found seldom in Cutting’s galliards (the C sec-
tion of no. 32 gives an example, but here the
metres are not really alternated: the strain starts
with six measures in 6/8 movement, and ends
with a cadence in 3/2). Also, the total lack of
polyphonic imitation does not point at Cutting
as the composer, and the chordal progressions
in the C strain are more in line with Holborne’s
style, as is the fact that the piece has no varied
repeats. Furthermore, the ‘fancy’ title is a strong
indication in favour of Holborne’s authorship.
All these, and the fact that the reliable source i
ascribes it to Holborne, make it most likely that
he is the composer. It seems to be an original
composition for lute, as it is not included in
Holborne’s PGA. There is a possibility that Cut-
ting did make a new setting of this galliard, and
(as so often) in the reworking composed his own
divisions, while later some copyist omitted these
varied repeats. If this is the case, the ascription
in ii is correct, but of course Cutting’s contribu-
tion to the setting would be lost.
As the basis text of this edition no. i has been
chosen, being the version with Cutting’s name
156 attached to it. Versions i and ii are rather simi-
lar. No. ii is slightly more elaborate than i, with
some figuration in mm. 4, 8 and 24 (and a dif-
ferent scale figure in m. 16), and fuller chords
in mm. 5(3), 17(3), 19(3) and 20(2) (but in mm.
11(1) and 22(2) the chords in ii are thinner than
in i). In mm. 6, 12, 18 and 21 there are some
small variants in the voice-leading. In ii above
the double bar line after m. 8 a number 2 is writ-
ten, indicating a repeat of section A; of course,
all strains of this galliard without varied repeats
should be played twice.
In i an ink stain covers parts of mm. 8 and
15. Thus in m. 8(1) the notes 2f-3h-5a are un-
certain, but 2f and 5a seem partially visible. In
m. 15 the notes 4c and 2f-4e as well as the minim
rhythm sign are uncertain; here the tail of 2f is
still visible, as are possibly traces of 4c and 4e
(which would make this measure identical to m.
15 of no. ii).
Editorial changes (all after no. ii):
m. 3(2) 1d added;
m. 22(1) 6e from 6a;
m. 23(3) 3d-4c from 3c-4d.
54. Galliard
i Welde, f. 8r: The Galiard Mr Birde
ii Hirsch, f. 2r
iii Dd.9.33, ff. 59v-60r
iv Dd.2.11, f. 101v: Mr Birdes
Not in Cutting, Selected Works. Edition: Byrd,
Music for the Lute, no. 5.
A transcription for lute of a galliard in C minor
for keyboard, composed by William Byrd (Byrd,
Keyboard Music, no. 29(b)). It is probably an
early work by him, because it is paired to a pa-
van which in FWVB I no. 167 is called ‘the first
that ever hee made’(this galliard is there as no.
168). It was a popular piece, because apart from
the lute settings there exist two arrangements
for cittern: one in Holborne, Cittharn Schoole,
no. 41 (Maister Birds Galliard), and another one
in Dd.4.23, ff. 59v-60r (Mr. Byrd Galliard).
There are three lute versions of this galliard,
all of which are made by anonymous lutenists;
in Byrd, Music for the Lute, they have been ed-
ited under numbers 5a, b and c. The first ver-
sion, in F minor, the one that concerns us here,
is found in i and ii, in practically identical texts.
No. iii is also in F minor, but, although it shows
some similarities with the first version, is it is a
different setting. Perhaps this transcription was
made by a lutenist who knew the version i-ii and
took that as the basis for a new setting of this
galliard. No. iv is in G minor, and is rather dif-
ferent from the other versions, not only in its
divisions but also in its first statements of the
strains, which digress at points from Byrd’s
model. North, the editor of Byrd, Music for the
Lute, no. 5, suggests that this setting in G minor
could have been made by Edward Collard.
There are some indications that the first ver-
sion, as found in i and ii, was set by Francis
Cutting. Firstly there is Cutting’s propensity to
set works of other composers, including Byrd’s,
for the lute (see nos. 21, 49 and perhaps also
55). Moreover, this version was made by an ex-
pert lutenist, who very skilfully adapted Byrd’s
keyboard galliard for the lute. The key of the
piece was lowered a fifth, from C minor to F
minor, so as to fit the compass of the instrument.
In the first statement of the strains the model is
followed closely, with some thinning out of the
texture and some simplification of the voice-
leading of the middle parts; in one instance the
top voice is ornamented (mm. 19-20). The divi-
sions in the varied repeats are at places based
on the model: mm. 12(1-2) and 14(1-2) are iden-
tical, as are mm. 43-44, where divisions are lack-
ing both in model and lute setting; the figura-
tion in m. 11 is based on the model, but slightly
differentiated. Thus the greater part of the divi-
sions was newly composed by the arranger.
In these new divisions we find some traits
that are characteristic of Cutting’s style. One of
them is the use of sequences. These are written
in treble and bass in mm. 11 and 45, in the tre-
ble with groups of four quavers, each group be-
ginning with a falling third (these groups are
found also in mm. 12, 13, 14). Note also the se-
quential treatment of mm. 17-18 (in the model
there is no sequence here) and mm. 19-20 (after
the model, but the sequence highlighted by
means of the dotted rhythm); in the varied re-
peat, mm. 25-28, these sequences are accentu-
ated by introducing a flourish in the first se-
quence and a pointed rhythm in the second. Fur-
thermore, we see the characteristic cadential
formula with a falling third in m. 47. Some ca-
dences in this piece are strongly reminiscent of
others in genuine galliards by Cutting: compare
the flourishes in the cadence F-C in mm. 30-32
with the (nearly) identical ones of galliards no.
32 mm. 15-16 and 51-52, no. 27 mm. 51-52,
and no. 28b m. 47, as well as the final bar m. 32
of no. 54 with galliards no. 27 mm. 20 and 52,
and no. 31 m. 16 (the ‘c formula’; see the Intro-
duction). Apart from these characteristics in the
new divisions, there is also a change made by
the lutenist in the first statement of the A strain,
where in mm. 1-2 (and also in the varied repeat,
mm. 9-10), an instance of imitation is brought
out, which in Byrd’s model is only implicitly
present, but not clear to the ear or the eye: there
the responding middle voice in mm. 2 an 10 is
divided over the two staves, and in the first state-
ment ‘drowns’ in the chordal structure of mm.
1-2 (Byrd just wrote minims here, not the pass-
ing notes which are found in the lute versions).
Version iv and Holborne’s setting for cittern also
bring out the imitation here, but they do not re-
tain Byrd’s imitation between descant and mid-
dle voice in mm. 5-6, as is the case in the lute
setting in i and ii. However, the anonymous lu-
tenist who made this version has not retained all
imitation of his exemplar: in mm. 37-39 the tex-
ture was simplified. (Interestingly version iii has
kept the imitation here, but it works not alto-
gether successful on the lute.) So, at the end of
the day one can say that it is just possible that it
was Cutting who made this skilful arrangement
of Byrd’s galliard.
The differences between i and ii are few. In ii
there are no graces or playing signs, and this
version shows a number of clear mistakes by a
copyist (tablature letters on wrong lines in mm.
5, 15, 45; a misplaced bar line in m. 44), the
worst being the omission of the complete m. 19.
In m. 16(3) there is a single note 2d instead of a
full chord; in m. 17 the rhythm is not dotted and
the note 5a is missing. In m. 42 the figuration is
slightly different:
b b bb b b
b b b b b b b b b
b b
b b b b
ii, m. 42
Another difference is found in m. 33 and its
repeat m. 41 (see below). 157
Editorial changes:
m. 13(3) 4a from 5a;
m. 33(2) 5d added and 3b from 3d. This added
bass note e flat (5d) is present not only in ii, but
also in the model and the other lute settings.
Therefore, here ii probably gives the correct text.
The original reading of m. 33 in i (where be-
cause of the different bass line the one note in
the middle voice was changed also):
b b
bb b b b
b b b b
b b b
i, m. 33
M. 41(2) 5d added (see m. 33).
In i there are single bar lines after mm. 8, 24
and 40.
55. The Woods so Wild
i Euing, ff. 33r-34v
Not in Cutting, Selected Works. Edition: Byrd,
Music for the Lute, no. 7.
Fourteen variations on a popular tune, of which
the words have not come down. This lute set-
ting is a transcription of The Woods so Wild for
keyboard by William Byrd. This transcription
is executed very skilfully: by lowering the piece
by a fifth in the lute version the greatest part of
the model could almost literally be retained, and
where the music had to be adapted to fit the lute,
the arranger showed musical and technical in-
sight: see for instance variation 2, where the tex-
ture was thinned out by omitting the lowest
courses on the lute, thus suggesting a high reg-
ister as in the model, and variation 8, where the
alto voice was put in top in order to retain its
imitation with the tenor. For the versions of the
keyboard piece see Byrd, Keyboard Music, no.
85, and Byrd, Music for the Lute, no. 7. Byrd’s
piece is in a curious tonality, with the keys of F
and G alternating; the lute version is transposed
to B flat-C. A first setting of this piece was made
by Byrd in 1590, when he wrote only twelve
variations (nos. 1-11 and 14); later, some time
after 1591, he added the variations 12 and 13
158 (see Byrd, Keyboard Music, no. 85, and Neigh-
bour, William Byrd, pp. 156-157). It is this sec-
ond version which is set for lute, which there-
fore also was made some time after 1591.
In i this work remains anonymous (there are
practically no names and titles attached to the
pieces in the Euing manuscript), so we do not
know who made this lute setting of Byrd’s com-
position. Richard Newton, ‘Francis Cutting’, p.
118, suggested that Cutting could be the maker
of the transcription, as did Nigel North in his
edition in Byrd, Music for the Lute. Both gave
no grounds for that supposition, but two things
can be said in favour of it. This very successful
intabulation of a complicated piece can only
have been made by an able lutenist-composer,
and of the professional lutenists it is surely Cut-
ting, with his obvious propensity to rework
pieces of others and his distinct involvement
with Byrd’s music, who is the most likely can-
didate. Furthermore, this setting is found in a
part of a manuscript with many works by Cut-
ting: in the source it follows directly after his
pavans nos. 13 and 1 (see the List of sources, p.
213). As the piece is a very close transcription
of Byrd’s setting, nothing can be said about the
particularities of the lute style, apart from the
fact that this literal way of intabulating a key-
board work is found in other settings by Cutting
(see nos. 16 and 21)
Editorial changes:
in i there are a number of obvious errors,
which could easily be corrected after the model
by Byrd. These corrections are:
m. 3(2) 5a from 4a;
m. 7(1) 1a from 1d;
m. 10(1) 1a-2b from 1b-2a;
m. 16(1) the quavers from one quaver fol-
lowed by two semiquavers;
m. 22(2) 5c-6d from 4c-5d;
m. 35(2) 1a from 1e;
m. 36(1) 6f from 6c;
m. 71(1) 1a in i placed above 5c instead of
5e;
m. 71(2) the rhythm from four quavers fol-
lowed by one crotchet;
m. 87(2) 3c from 2c;
m. 91(2) 5a from 4a;
m. 99(2) the first note 4a from 5a;
m. 101(2) the notes 5dcac from 4dcac;
m. 111(2) 5c from 6c;
m. 113(1) 6a from 5a;
m. 114 the rhythm sign from a minim with a
fermata.
The bar lines between mm. 112-113 and 113-
114 have been added, and bar lines in the mid-
dle of mm. 71 and 113 have been omitted.
Some changes were introduced in order not
to interrupt the melody of the cantus firmus:
m. 23(1) 4e added;
m. 60(1) 3a from 3d;
m. 94(2) 5c added.
There are many more instances in which the
text of the keyboard model suggests copyist’s
omissions or errors in the version i, which im-
pair melodic lines. The following notes should
perhaps be added (all on the first beat, unless
indicated otherwise): m. 28(1) 2c; m. 39(2) 3a;
m. 68(1) 4c; m. 70(2 third beat) 4a; m. 72(2)
4c; m. 88(2 third beat) a quaver 3d (as an up-
beat for the treble in the next variation); m.
109(1) 4f or 6d. Also, in m. 39(1) the note 5e
should possibly read 4a, and in m. 71(2) the sec-
ond note 2d should possibly read 2a.
56. Galliard
i Dd.2.11, f. 64r: Galliard Fr. Cutting
Not in Cutting, Selected Works.
A galliard without varied repeats, for seven-
course bandora.
Editorial change:
between mm. 10 and 11 the bar line with tie
added.
In m. 13(2) a grid under 1d is not a grace
sign, but a crossed out tablature letter a.
57. The new Hunt sundry Ways
i Barley, (band.), ff. B3v-C1r: The new Hunt
sundry waies made by Frances Cutting. / The
new Hunte.
Not in Cutting, Selected Works.
A setting, for seven-course bandora, of five vari-
ations on a 16-bar ground in two parts, each part
consisting of 8 bars. The ground has a peculiar
tonal scheme: the first part is in C-D, the second
in F-C. This same ground is found in a duet tre-
ble for lute, The (new) Hunt is up, possibly by
John Johnson; see Johnson, Collected Works, no.
71. A duet treble with the same title, which was
certainly written by Johnson (ibid., no. 62), has
a slightly different tonal pattern: G-A and a-G.
A Hunt’s Up is not necessarily a hunting song or
tune, but a tune that for some reason is calcu-
lated to rouse a sleeper, at New Years day or
May day, or to rouse a newly married couple
(see Dean Smith, edition of Playford, English
Dancing Master, p. 81).
Editorial changes:
the only source of this piece, Barley’s print
of 1596, is corrupted by many obvious mistakes.
The mm. 15 and 39 are lacking, so they had to
be reconstructed for this edition. As the they both
happen to be closing measures of a strain, that
reconstruction was not too difficult; for m. 39,
m. 7 was copied, and for m. 15 we took m. 31 as
a model.
The text of i is confused in mm. 61-63. Bar-
ley there misplaced the bar lines and obviously
also made some mistakes in the tablature. The
reading of i:
b b b b b
bb b b b b b b b b
b b b b b b b bbb bbbb bbb
b b b b bb b b b
b b b b b b b b b
b b b b
i, mm. 61-63
In the present edition the bar lines between
mm. 61-62 and 62-63 have been corrected by
putting them a crotchet to the right. Furthermore,
in m. 61(1) a note 3c is added in order not to
interrupt the flow of the middle voice (see m.
60), in m. 61(2, second crotchet) 1d was changed
in 1b, and in m. 63(1) 5a was changed into 6a.
Other editorial changes:
m. 3(3) 4a from an unclear letter (4e?);
m. 16 both rhythm signs added;
m. 20(1) 1h from 1f;
m. 21(1) 6f from 5f;
m. 29(2) 7a from 6a;
m. 32 both rhythm signs added;
m. 42(1) the rhythm sign from the second
chord to the first;
m. 46(3) 3c from 2c;
m. 47(3) quaver added;
m. 52(2) the quaver rhythm of 2ab from
crotchets; 159
m. 54(1) 4d from 3d;
m. 58(2) in i the bass note 5c under 1a mis-
placed under the following 2d;
m. 59(1) 6a from 5a;
m. 64(2) semibreve added;
m. 78(3) 2b from 2c;
m. 79 minim and crotchet from a single
crotchet above the first chord;
m. 80(2) a semibreve added (in i there is only
a fermata here).
In some bars with obviously dotted rhythms
the dot is lacking, so that the bar has not its full
three minims. These dots these have been added,
in mm. 3(1) (but here the rhythm signs are un-
clear; there are perhaps two crotchets), 5(1),
13(1), 21(1), 23(1), 31(1).
Some misplaced fingering dots have been
corrected, in mm. 5(3), 7(2-3). 10(2), 13(1-2),
43(1-2), 58(1).
Perhaps in m. 10(3) the note 1a should read
1c.
58. [Pavan]
i D.245, pp. 212-213: For the Tenor violl Mr
Cutinge (tenor viol)
ii D.246, p. 230: Mr Cuttinge (bass viol)
b
Not in Cutting, Selected Works.
An unnamed piece, probably a pavan, which is
handed down in the form of an duet for two
viols. In no. i we find a part for tenor viol, notated
in tablature, in no. ii a bass part in mensural no-
tation. This duet probably is an arrangement of
an original lute work by Cutting, which is now
lost. This can be deduced from the fact that in i
and ii both parts are followed by an arrangement
for two viols of a still existing lute pavan by
Robert Johnson (Johnson, Complete Works, no.
3): D.245, p. 213, For the Tenor violl Mr Johnson
(tablature), and D.246, p. 230, The two last ar
for the Tenor and violle (mensural notation).
From this last piece can be seen how the arranger
worked. For the tenor viol part he simply cop-
ied the uppermost notes of the lute tablature,
without giving much attention to the voice-lead-
ing: when the treble voice is silent, he just cop-
ied a fragment of the next upper voice, mostly
160 the alto. Sometimes fragments of a middle voice
have been included in the part, together with the
treble. Closing flourishes are often reduced to a
simple semibreve; varied repeats are not in-
cluded. The bass part is a straightforward tran-
scription of the lowest part of the lute tablature,
mostly the bass, or, when that is silent, the tenor.
The piece by Cutting clearly has been ar-
ranged in much the same way. Thus by combin-
ing both viol parts it is possible to make a re-
construction of the outlines of this pavan, con-
sisting of the treble and bass voices and a few
fragments of middle voices. When doing so it
becomes clear that twelve minims are missing
in the tenor viol part, in all probability at the
end of the A strain. In the edition a literal tran-
scription is given of the viol parts, as well as the
partial reconstruction of the original lute work.
In the bass viol part a low C is written; in the
lute reconstruction added bass courses F, E flat,
D and C have been used. If this pavan really is
made by Francis Cutting (theoretically it could
also be the only known lute work of his son Tho-
mas), the original composition probably was for
a seven-course lute, the instrument for which
Cutting’s later works were written. The arranger
obviously had an exemplar in which the piece
was adopted for an instrument with added bass
courses.
Editorial changes:
in the reconstruction the measures have been
standardised, and in mm. 3, 11, 16 and 17 errors
in the tenor viol part have been corrected (cf.
the literal transcription of that part.
TRANSCRIPTIONS
162
1a. Mrs Anne Markham’s Pavan

Add.3056, ff. 48v-49r Francis Cutting

b CA j
& b œw. œj œ œ wœ . œ ˙ ˙ œ ˙
w ˙ ˙. œ œ œ œ nœ œ
j ˙
? b C ww œ. œ œ œ œ œ œ . œj # ˙
˙ w œ œ œ˙ œ œ˙ œ œ œ˙ œ
b w œ. #œ œ œ ˙ ˙
J
4
b j
& b œ œ œ œ œ # œ˙ œ œ˙ œ œ w˙ ˙ #˙ ˙ œw œ œ œ œ œ œ œ . œ œ
? b w˙ œ œœ˙ ˙ Œ œ œ œœ˙ œœ œœ œ œœ . œ œ˙ œ ˙˙ œ œ œ
b ˙ ˙ ˙ œ œ ˙ ˙
#˙ Œ J

A'
bb j
7

& œ œ œ œ . œ ˙ # œ ww
œ œ œ œ œ œ œ œ œ œ œ www œ œ œ œœ œœ œ œ œ œ œ œ œ œ
n œ œ œ œ
Œ œ . œj Œ ˙. ww
œ
? b œ œœ # ˙˙ œ œœ . œ
b œ w ˙ ˙ w
˙

( 9)
b
&b œœœœœ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
Œ. œ
j œœ œ Ó Œ ‰ œj w
? b ˙ w
b œ. #œ œ œ ˙
J
11
b œœœ œ œ œ˙ œ œ œ œ
&b œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ # œ œ œ œ
œœœ˙œ w œœœ œœœœœœœ
? bb ˙ ˙ ˙ w ˙
˙ ˙

13
b ˙ j
&b ˙ ˙˙ #˙ ˙ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ
Œ
œ
? b b # œ œ œ œ œ œ œ œ œ œ ˙œ œ œ œ œ œ œœ n œ œ œœ œ œ . ˙ ˙œ . œœ œ
˙ œ œ. œ œ. œ
Ó J J J
 15
b
& b œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ œwœ œ œ œœ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ n œ œ œ œ œ œ œ œ œ œ www
163
œ
Œ ˙.
? bb œ œ ˙ #œ œ ˙
w ˙ ˙

B
j
bb
17

& ˙. œ œ œ œ ˙.
œ ˙ œ œœ ˙. œœ˙ ˙ œ œ œ œ. œ
œ Œ œ œ ˙˙ œ œ œ n œ œ œ œ œ œ . œ œ
J
? b b www ˙˙ ˙˙ œœ œ œ œ œ œ œ n œ ˙˙ œ Œ ˙
˙ œ ˙. œ ‰ œœ˙
œ œœ œ˙ œ œ ˙ #œ

( 20)
b œ œ j j
&b œ œ œœ n œœ œœ œœ œœ œ # ˙ œœ .. n œ œ œ œ œ˙ . œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ww
œ˙ . œ œ œ œ œœ œ œ œ œ
? b ˙ ˙œ œ œ ˙ ˙ œ œ ˙ ww œ˙ ˙˙.
b ˙

B'
bb
23

& œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. œ ˙ œ œ nœ œ œ œ œ
nœ œ œ
? b b www ˙ œœ œœ œ˙ . œ œ œ œœ n œ ˙˙
˙

25
b
& b wŒ œ œ œ œ œ œ œ œ œ ˙œ œ n œ œœ œ œ œ œ œ œ œœ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ
œ œ œœœ
? b ‰ œ œ
b œœœ˙ œœ œ˙ œ œ ˙ ˙ œ

27
b
& b #œ nœ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ w
˙ w
? b
b œ œ ˙ w œ˙ ˙ .˙
˙ ˙

bb
29 C

& ˙. nœ œ œ
˙ œ˙ œ ˙˙ œ œ # œ n œ œj œ œj œw. œ œ œ œ œ n œ # œ œ œ œ
? b ˙w. œ ˙ œ œ # ˙˙ ˙ œœ ˙ œ nw œ bœ œ œ
b w œ œ w w w
 32
b j
164
& b œœ œ œœ n œœ œœ œ b ˙œ œ œ œw. œ ˙ ˙œ œ œ œ œ œ œ œ œ œ ˙œ n œ œœ œœ œ
œ œ œœœ
j
? bb œ . œ ˙ œw œ œ n œ œ˙ . œ œ ˙ œ œ n œ ˙
w w ˙ . œ ˙. œœ˙ Ó

35
b
& b œœ œœ œœ œ œœ ˙˙ ˙œ w œ w
œ œ n wœ œ œ œ œ œ œ œ n œ œ œ œ œ œ ww
Œ Œ ˙.
? b œ œ ˙
b ˙ #œ nœ ˙˙
w ˙ ˙

bb
37 C'
˙ œ˙ œ ˙˙ # œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ . œj œ n œ œ œ œ b œ œ œ œ
? b ˙w. œ ˙ œ œ # ˙˙ ˙
b w œ œ w

39
b
& b œ œ œ bœ œ œ œ œ œ n œ # œ œ n œ œ œœ œ œœ n œœ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ
œœœœ œ œ œ
? b œ œ œ œ w
b w w
w

41
b ‰
&b œ ˙ œœ
w œœ œ ˙ ˙œ œ œ œ œ œ œ œ œ œ œ nœ œœ œ
j
œ . œ ˙ n œ œ˙ . œ œ ˙
? bb ˙
. œ wœ œ œ ˙. œ
œ œ ˙ œ nœ ˙
Ó

43
b
& b œœ œœ œœ ˙ œ œ œ œ œ œ ˙˙ ˙œ œ
œ n œ œ n wœw œ œ œ œ n œ œ œ œ œ œ œ œ œ www
œ
? bb œ œ ˙ Œ #œ ˙˙ Œ ˙.
˙ nœ w ˙ ˙
 165
1b. Mrs Anne Markham’s Pavan

Dd.9.33, ff. 32v-33r Francis Cutting

b
A
& b C œ˙ .. # œj œ œœ œœ œœ ˙œ œ ˙˙ ˙œ œ ˙w. œ wœ œ œ n œ œœ œœ ˙œ
œ œ œ
? bC œ œ œ n œ ˙ ˙˙ œw # œ n œ œj œ œj œ œ œ œ ˙˙ ˙
b w œ #œ œ œ ˙ ˙˙ ˙

4
b
& b œ œ œ œ œ # œ˙ œ œ˙ œ œ ˙˙ ˙˙ # ˙ ˙ œ˙ œ œ œ œ œ œ œ œ œ œ
˙ œ œœ
? bb w ˙ ˙ Œ œ œ œœ˙ œœ . œ œ˙ œ ˙˙ œ œ œ
˙ ˙ œ ˙œ œ œ œ ˙ ˙
w ˙ #˙ œ J

A'
7
bb j
& œ œœ œ œ œ œ œ . # œ ww œ œ n œ œ œ œ œœ œ www œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
˙ ‰ œ œ n œ œ œ
? b œ œ œœ # ˙˙ œ œœ œœ œ œ Œ ˙ . www
b œ w Ó ˙ w
w
˙ ˙

( 9)
b
& b œ œ œ œ œ œ ‰ œ nœ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ # œœ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
j j
? bb Œ ‰ œœ ‰ œœ œ Œ ‰ œj
œ. œ ˙ ˙ ˙
#œ œ ˙
J
11
b
& b œ˙ œ n œ œ œ œ œ œ œœœ œ b œ œ œ œ œ œ œ n œ # œ œ œ œ œ œ œœ œ œ œ œ œ
œœœœœ œœœ œœœœœœœ
? bb ˙ œœœ œ˙ ˙ w ˙
w ˙

13
b ˙
&b ˙ ˙˙ #˙ ˙ œœœœœ œ œœœœœœœ œœœ œœœ

? b ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ. œ ˙ ˙œ . œœœ
b #˙ ˙ J œ. œ œ . Jœ
J
 15
b
166 & b œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ œwœœ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ n œ œ n œ œ œ œ œ œ œ ww
nw
Œ ˙.
? bb œ œ ˙ œ
#œ œ œ w Ó ˙

B
bb
17

& ˙. œ œ œ œ œ ˙˙
. œ ˙ œ œ œ ˙‰ . œ œ ˙˙ œ œ œ˙ œ œ n œ ˙œ œ œ
œ
? b ww ˙˙ ˙˙ œœ œœ œ˙ œ œ œœ œœ n œ ˙˙ Œ œ ˙˙ ˙ œ˙
b w ˙ ‰œœœ ‰œœ

20
b j j j
& b œ˙ œ œ œ˙ . œ ˙œ œ œ n œ œ œ œ #˙ œ˙ . n œj œ œ œ œ . œj
j
? b Œœ œ œ #œ ˙ œœ œ œ œ œœ .. œ œ œ œ œœ œ œœ ˙œ œ œ
b œ ˙ ˙ œ œ œ œ
J œ. ˙ œ œ ˙

B'
bb
22

& œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙œ . œ ˙˙ œœœœœb œœœœœœœœœ œ œœœ œ œ œ œ œ œ

J nœ œ œ
? b b ww œ œœ ˙˙ ww ˙˙
‰ .
w ˙

24
b
& b ˙˙ œœœ
˙ œ œ n œ œ œ œ n œ w‰ œ œ œ œ œ œ œ œ œ ˙‰ œ œ n œ ˙œ œ œ œ œ œ œ
œ
? b œœ œœ œ˙ œ œ œœ œ œœ n œ ˙˙ œ
b ‰ œ œ ˙
œ œœœ˙

26
b
& b œœ œ œ n œ œ œ œœ œ n œ œ œ œœ b œ œ œ œ œ œ b œœ œ œ œ œ œœœœœœœœœœœœœœœœœœœœœœœœ
œœœœ œœ œ œ
? b œ
b œ ˙ ˙ ˙ ˙ ˙ œ œ ˙

28
b C
& b wœ œ œ œ œ b œ œ œ œ œ œ œ œ ˙ œ ˙ ˙. nœ œ œ ˙ œw œ ˙ œ # œ n œ œj œ œj
œ. J ˙
? b œ œœ ˙˙ ˙œ . œ ˙ œ œ # ˙ œ œ ˙˙ . œ
b w w
‰ . ˙. w w ˙
 31
b
& b œw. œ œ œ œ n œ # œ œ œ œ œœ œ œœ n œœ œœ ˙œ b ˙ œ œ œ ˙
w ˙ œ œœ 167
œ œ
œ œ œ œ w ˙. œ œ œ ˙ œœ œœ œ œ œ
? b w œ œ œ
b w w w ˙.
w

34
b
& b œ œ œ˙ œ ˙œ n œ œœ œœ œ œœ œœ œ œ œ ˙˙ . ˙ wœ . œ n œ œ œ n œ œ ˙˙œ . œ ˙˙
œœ œ œ ˙
J
Œ
? b ˙. œ œ ˙ œ œ nœ ˙ œ œ # œ n œ œj œ œj w Œ œ ˙˙
b œœœ ˙ Œ ˙. ‰ œ. ˙
œ w

37
b b C'
˙ œw œ ˙ # œœ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ . œj œ n œ œ œ œ b œ œ œ œ
? b ˙. œ ˙˙ œ œ #˙ œ œ
b w ˙
w w w ˙

39
b ˙
& b œ œ œ bœ œ œ œ œ œ n œ # œ œ œ œ œ œ n ˙œ n œ œ œ n œ # œ ˙˙œ # œ œ œ œ œ œ œ œ œ n œ n œ œ
œ nœ œ œ œ
? bb w
w w

( 40 )
b
& b n œœw œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œw œ œ œ œ ˙ ˙ œ œ œ œ œ œ˙ œ ˙œ n œ œœœ œœ œ
j œœ œœ œ œ œ œœ œ œ ˙ œ
œ . œ ˙ œ
? b
b w ˙. œ œ ˙. œ œ œ œ nœ ˙

43
b
& b œœ œœ œ œ œ ˙˙ . œ n œ œœ # œ n œœw œ œ œ œ # œ n œ œ œ n œ œ œ ˙ ˙
œ œ œ œ nœ œ ˙˙ n ˙˙
? b œ œ #œ nœ ˙ Œ œ ˙˙
b w Ó ˙
œ ˙ w
168

2. [Galliard]

Dd.5.78, ff. 24v-25r Francis Cutting

b 3
A
œ œ œ
&b 2 ˙ w w œ œ ˙ œ œœœ œ #˙.
ww .. œ ˙˙ ˙ ww ˙
? b b 23
œ œ œ
˙w. ˙˙ w˙ w
˙. ˙

5
b w œ œ œ ˙ ˙ œ ˙œ # œ
&b ˙˙ #˙. œ n œ Œ n ˙˙˙ . œ ˙˙˙
Œ
˙. œ œ ww .
? bb #˙ ˙ œ ˙ w ˙ œ œ ˙ ˙ w
Ó w
˙

9
b A'
& b œ nœ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ nœ #œ œ nœ œ œ œ œ œ œ

? b b ww .. ww ˙ ˙ w w ˙
w.

b w œ œ œ œ b œ ˙ ˙ œ ˙œ # œ w
13

&b ˙˙ #œ nœ œ œ œ œ Œ œ nœ w ˙˙
œ nœ œ œ œ œ œ œ ˙
? b b # ˙ œ œ œ˙ œ œ œ œ˙ œ w
˙ œ œ ˙ ˙ w ˙

17
b B
œœœ œ œœœ œ
& b
w˙ . œ œ œ˙ œ ˙w.. ˙. ˙ ˙ ˙
ww ˙˙ .. œœ œ˙ œ
? bb w ˙
ww
˙ ˙

21
b œœ œ œ œ œ ˙ œ w ˙
& b #w Ó
œ nœ œ ˙. w ˙
Œ
˙. œœœ œ œ œ œ ˙ ˙. w œ ˙
? b w˙ .
b ˙
w˙ . œ b œ œ Œ˙ w wÓ ˙
25
b B'
œ nœ œ œ œ œ œ œ œ ˙ ˙ ˙
& b œœ œ œ œ œ œ œ œ˙ œ œ œ œ œ œ œ œ œ œ 169

ww ˙˙ .. œœ œ˙ œ
? bb w ˙ w ˙ ˙

29
b
& b #w Ó
œ nœ œ ˙. œ œ œ œ œ œ œ œ bœ œ œ œ œ ˙
œw œ œ œ œ œ œ ˙˙
œ
˙. œ œ œ œ œ œ w˙ .
? b b ˙w. ˙ œ bœ œ ˙ w ww . ˙

33
b C
j œ œ œ œ
& b
˙. nœ # œ œ œ .
˙ . # œ œ œ œœœ
œ # œ . n œj œ Œ n œ # œœ œ˙ .. œ œ œ œ œ œ
˙. ˙.
? b ww ˙˙ ˙. œ #œ œ ˙. ˙ œ œ œ œ
b œ œ œ

b j
œ . œ œ œ œ˙ œ ˙w.
37

& b ˙œ .. œ œ n œ œ œ œ ˙
œ. J w ˙ Œ ˙˙ .. ˙˙
? bb ˙. œ œ nœ w ˙ œ. œ œ œ œ #œ Œ nœ. ˙ œ œ œ ˙
J ˙ ˙

b œ œ œ œ . œ œ œ ‰ œ œj
41 C'
&b j œ œ œ œ œ œ
œ. #œ œ nœ #œ #œ nœ œ œ œ œ #œ nœ œ #œ œ Œ nœ #œ ˙ œ
? b b ww ˙˙ ˙. œ #œ œ ˙. œ nœ œ
˙ œ œ œ œ

45
b j œ œ œ œ œ œ œ œ œ ˙. œœœœœ w
& b ˙. n œ œ œ œ ˙˙
‰œœœœ ‰ ˙ w ˙ w
? bb ˙. w œ . œ nœ œ œ œ œ œ œ ˙
œ œ n œ ˙ œ
J œœ ˙ w ˙
170

3. Pavan

Dd.9.33, ff. 9v-10r Francis Cutting

b .
& b C ˙w
A
œ œ˙ œ œœ œœ œ ˙ . ˙
œ œ œ œœ n œ œœ b œœ # œœ n œ œÓ n œ œ ˙œ œ œœ œœ Ó
Œ
w œ œ œ œ
? bb C w w w ˙. œ œ œ ˙ œ œœ œ ˙
˙ œ
w

b w . j j
œ Óœ œ œ œœ œœ œ œœ œœ .. œœ œ # ˙ œ œœ œ˙ . œ œ œœ œ . œ
4

& b ˙.
œ J œ ˙ Œ œ
? b b ww œ œ ˙ ˙ Ó Ó œ Œ œ
˙ ˙ œ œ Œ œ œ œ #œ ˙
œ œ
j
œw. œ œ œ œœ œ œœ œ œ
A'
7
b
& b œÓ œ # œœ ˙œ w œ œ œ œw. œ œ œ ww œ œ
nœ. J œ œ w
œ . œj ˙ ˙ ww
? bb ˙ œ œ œ . œ ˙˙ Œ ˙.
w
Œ ˙.
˙ ˙ w
w
J

10
b
& b ˙œ . œ œ œœ n œ œœ b œœ # œœ n œ œÓ n œ œ ˙˙ œœ œ ˙
œ Ó
Œ
? bb w œ œ œ œœœœœœœ œ. ˙ œ œ œ œ bœ œ
˙. œ œ œ ˙ œ œ

b w Ó Œ œ . œ œ œ œ œ œ œ œ œ . œj œ # ˙
12

& b ˙. œ œ. œ œ œ œ œ œ œ
œ ˙ œ œ. œ œ ˙
J
? b b ww ˙ ˙ œ œ œ ˙ Œ œ œ
œ

14
b œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ
&b œ œ ˙. œœ œ œ nœ œ œ œ #œ nœ œ œ œ œ
Œ
Ó Ó œ Œ. j œ œœœ œ œ œ
? b b œ˙ ˙ œ ˙ œ œ
˙
œ. œ˙
œ œ #œ œ œ J
 bb
16 B

& ww ww ˙. nœ œ œ ˙
171

œ nœ œ œ œ œ œ œ w ww˙ .
? b nœ œ œ œ œ œ œ Œ ˙. œ ˙
w œ œ
b w ˙ ˙

18
b ˙ n œ ˙œ . œ œ œœ n œ˙ œ œœ ˙œ . ˙
&b ˙ œ œ ˙ # œ n œ˙ œ
Ó. ˙ œ n œœœ œ
J
? b ˙ww. œ œ #œ b œœ œœ œœ œ˙ œ œœ ˙ œ
b œ œ œ ˙ œ ˙ œ w

21
b j
& b n œœ # œœ ˙˙ n œœ b œœ œ ˙œ # œ ˙œ ˙˙ w
œ # wœ . œ œ œ œ n œ ww
Œ œ ˙ ˙. œœ œw œ œ œ œ œ œ . œ˙ ˙ . ˙
? bb ˙ ˙ œ œ ˙ œ wœ ˙
Ó Œ œ ˙

bb
24 B'
& ˙. nœ œ œ ˙ œÓ œ n œ œ œ œ œ ˙Œ œ ˙œ œ œœœœœœ
œ ˙
˙. œ ˙
? b ww w œ œ ˙ww
. œ œ ˙
b œ

b
œ œ œ œ # œœ n œ˙ ˙ œ
26

& b œœ n œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
œ nœ œ œ bœ œ Œ œ
? bb œ ˙ œ œ œ ˙ œw ˙ œ
œ ˙ œ

28
b j
& b n œœ # œœ ˙˙ n œœ b œœ œ œ‰ . # œ n œ œ œ ˙œ n œ
œ ˙˙ w
Ó ˙ ˙. œ œ œ œœ
? b ˙ ˙ œ œ ˙ œ b œ œœ w œ œ œ œ
b Ó Œ œ ˙

30
b j C
.. ˙ ˙. œ ˙ œ j
& b #wœ . œ œ œ œ n œ ww ˙˙ .. œ œ œ n œ œ ˙ œ n ˙œ œ œœ œ˙ . œ œœ
? b b wœ ˙ . œ˙ ˙ . ˙ .. ˙ . œ œ œ ˙ ˙ ˙ œ œ ˙
 33
b j j œ œ œ . œj œ j œ
172 & b œ nœ œ. œ œ œ ˙ #œ œœ . œ œ ˙ n œ . œ œ œœ # œ˙ œ œ . œ n œ œ œ œ œ
. œ
j n œœ œ . œj
œ. J J j
œ . œ œ œ ˙ Œ # œ œ . n œ œœ . œ œ
? b b ˙˙ œ œ œ œ ˙ #œ œ œ nœ œ ˙ ˙ œ
˙ œ Œ œ J

36
b j
& b œ. œ
J œ œ nœ œ œ nœ œ œœœ
j j
#œ œ œ. œ œ œ œ nœ œ œ œ w ww ..
n œw. Jœ œ œ œ œ w
œ. œ # œœ . œ œœ œ œ Œ œ . œj œ˙ . œj œ œ œ ˙ . œ
? b b œ œœ œœ ˙ ˙ ˙ w Œ ˙. Œ ˙. .
Jœœœ w ˙ ˙.

4. Galliard

Dd.5.78, ff. 22v-23r Francis Cutting

b3 ˙
A
&b 2 ˙ ˙˙ ˙ ww ˙˙ ˙ ˙ ˙ œ œ œ œ œœ œ
˙ ˙. œ œ œ w œ
˙ ˙
? b3 ˙ ˙ # ˙w. œ ˙˙ ˙ ˙ ˙ œ œ œ œ ˙
b 2 ˙ ˙ ˙

b
œ˙ . ˙
5

& b œœ œœ ˙˙ œ œ w
œ œ œ n œ ˙œ œ
œ
n œ # ˙˙ n ˙w. œ ˙˙

œ w ˙
? bb Ó. œ œ œ œ œ œ ˙ ˙ w w ˙

b
A'

& b ˙w œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ n œ ˙
9
œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ
˙ ˙ wœ œ œ
˙ ˙
? bb ˙ w ˙ ˙ ˙ œ œ œ bœ ˙
˙ ˙

b
œ œ wœ œ œ n œ ˙œ œ œw . ˙ œ n œ œ œ œ œ
13

& b œ œœ ˙˙ n ww ˙˙
œ œ
œ œ nœ œ œ œ œ ˙
? b Ó.
b œœœ œ œ œ œ œ ˙ ˙ w w ˙
17
b B
j j
& b œ . œ œ œ ˙˙ ww ˙˙ ˙. œ ˙ #œ. œ ˙ œ œ 173
w
j œ ˙ ww œ˙ œ w
? bb w ˙ wœ . œ œ ˙ œ . Jœ œ œ ˙. œ œ œ

b
& b ww
21
˙˙ œ˙ œ œ œ œ œ œ
˙ ˙ Œ # ˙œ w œ œ n œ # ww ..
jœ œ ˙
œ . œ
? bb
w ˙ ˙ w wÓ . w wÓ . w

25
b B'
j jœ œ œ œ
& b œ . œ œ œ œ œ œ œ œ œ ww ˙˙ ˙. œ ˙ # œ . œ œœ
j
? b b ww ˙ œw. œ œ œ œ œ œ œ œ œ ww
œ . Jœ œ œ œ œ
œ˙ œ œ œ w
˙. œ œ œ
˙

b
& b ww
29
˙˙ œ œ œ œ w # œ n œ œ œ œ œ œ œ œ œ œ œ # œw œ œ n œ œ œ œ ˙˙
jœ œ œ œ ˙
? b œ . œ Ó ‰ œ œ œ œ œ œ nœ
b w ˙ ˙ w w. w ˙

b ˙.
33 C
˙ ˙w.
& b ˙. n œœ œ # œ œ ˙˙ ˙w ˙ ˙ œ
œ # ww ˙œ n œ
? b b ˙˙ .
œ ˙ . œ ˙˙
. œ ˙ w ˙ ˙. œ ˙ w˙

37
b j j
& b œw. n œ ˙ n œ˙ œ œw. œ ˙ ˙ œ nœ #œ ˙ œ Œ n ˙˙˙ .. œ ˙˙˙
j
? bb ˙. ˙ œ˙ .. œ ˙ œ˙ œ ˙˙ Ó ˙ Ó ˙ ˙˙
œ ˙ œ œ œ w w ˙

C'
b
& b œ˙ . œ œ œ œ # œ œ œ n œ œ œ wœ b œ œ œ œ œ œ ˙œ œ ˙w ˙
41

˙œ œ # œw œ œ œ œ œ ˙œ n œ
œœ œ
? b b ˙˙ . œ ˙ œ bœ œ œ œ œ œ ˙ ww ˙˙
. ˙ w
 45
b
& b œ œ œ n œ ˙ n œ œ œ œ œ œ œ œ ˙˙ ˙ œ œ œ œ œ œ œ wœ œ nœ œ
œ œ n œ œ ˙˙˙
174
œ
œ œ œ œ n œ # ‰
? b ˙. ˙. œ ˙ ˙˙
b œ˙ œ œ w w ˙

5a. Pavan

Barley (lute), ff. D3r-4v Francis Cutting

# A
˙ j ˙@
& C ˙˙ .. œ ˙˙ ˙˙ ˙ ˙˙ ˙˙ ˙
˙ ˙˙ . œ œ
w . œ
˙. œ #˙
˙ ˙ ˙ ˙ ˙
? # C ww
w
˙
˙ ˙ ˙. œ ˙.
˙
œ w˙ ˙w . œ

4
# ˙.
& œ œ ˙ œ ˙œ œ ˙ œ ww œ œ œ œ ˙˙ ˙˙ œ˙ . œ œ œœ
@ œ
?# ˙ ˙ ˙ œw œ œ œ w œ
Œ œ œ˙ œ ˙ .
˙ œ
˙ ˙ ˙. ˙. œ

#
& ˙œ œ œœ œœ ˙˙
7
˙ wœ œ ˙ wœ œ œ œ œ œ ‰ œœ . œ ˙œ w
˙ J J œ J œœ œ ww@
?# ˙˙˙ ˙ œ œ œ œ ˙. œ Œ @ ˙. Œ ˙@.
˙ ˙ . œ œ œ ˙ w w ˙ ˙

10
# A' j j
& ˙œ . œ œ œ˙ . œ œœ œ œ n œ œ œ œ œ˙ . œ ˙˙ ˙œ œ œ n œ œ œ ˙˙ wwœ œ œ
œ. œ œ œ œ #œ œ œ ≈ œ œ œ œ œ œ
J @
w
?# w ˙ ˙ ˙ ˙ ˙ ˙ ˙
w ˙ ˙ ˙ . œ ˙ . œ ˙

(12)
# @ ˙. œ œ œ ˙ @
& œ œœœœœœ˙ ‰ œ Jœ œ Jœ œ œ œ œ
˙œ œ wœ n œ œ œ ˙ œ œ œ #œ œ œ œ œ
œ œ œ œœœ˙
@
? # ˙. ˙ ˙ ˙ ˙ ˙œ œ
œ ˙ ˙ ˙ ‰œœœ˙ ‰ J
15
# @@ ˙ œ œœ ˙
& ˙˙ ˙˙ œ œœœœœ œ œœœ œ œ œ œ œœ œœ ˙
@ œ œœœ @ ˙
175

? # ‰˙ œ œ œ œ œ œ œÓ œ œ œ ˙ . œ œ ˙ ˙ ˙ ˙ œ
‰œ œ

17
#
& ˙w ˙ œ ˙ œ œ ww ˙˙ œ ˙˙
w@ œ. J ˙
œ œ œ n œ œ @ @
? # œ˙ œ œ œ˙ œ œ # œ w‰ n œ œ œ œ œœ ‰ œœœœ œ œ œ œ œ œ ‰ œ. ˙
œ w Œ ˙.

#B j
œ˙ .. œ ˙ œ ˙œ œ ˙œ œ
19

& ˙w. œ ˙˙ . ˙ œ ˙w ˙ ˙ ˙@ ˙œ œ ˙˙ ˙ ˙˙
w w ˙
? # www ww ˙. nœ ˙.
˙ ˙ ˙ ˙ w Ó ˙
œ ˙ ˙ ˙ ˙ w ˙ ˙

23
# j B'
j
& ˙˙ ˙
˙ ˙˙ ˙˙ œw. œ œ œ œ œ ww œœw.. œ œ œ œ œ œ œ œ œ œ œ œ ˙@
Œ œ
w œ Œ˙ œ œ˙ œ wŒ ˙ . Œ ˙. ww
? # ˙.
Ó ˙ w

26
#
& ˙œ œ œ œ n œ œ œ ˙ ˙œ œ œ œ œ ˙@ œ œ œ
˙˙œ œ œ œ œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œœ
? # ˙. nœ ˙. œ ˙ ˙
˙ ˙

28
# @ œ @
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ˙ œ œ œ œ œ œ ˙œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ˙ œ œ ˙˙
œ œ œ œ œ œ œ œœ
@
?# ˙ ˙ ˙ ˙
w ˙ ˙

30
# C
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ www n ˙˙˙ ˙.
˙. œœ œœ œœ œ œœ œœ œ œœ ˙ œ
œ œ
@
?# w
Œ ˙.
˙ ˙˙ ˙ Ó. œ ˙ ˙ œw œ œ œ
Ó ˙ ˙. œ ˙ ˙
 # œ # œ œœ ˙
œ˙ . œj w œ nœ Œ œ œ œ
33
176
& wœ œ œ œ œ˙ œ œ˙ . ˙
œ nœ œ œ œ œ ˙
@ œ œ
œ œœ # œ w Œ œ œ œ@
?# ˙ œw œ œ . J
w˙ ˙ ˙ ˙ œ œ œ œ ˙ ˙
˙ œ

36
#
& œ ˙ œ wœ
œ œ œ œœ œœ œœ œœ œœ œ œ@ œ œ œ œ œ œ œ œ œ
˙
?# ˙
œ œ #œ
˙ œw œ n œ œ@ œœ œ œ œ œ@ w
œ œ œ w

38
# C' j ˙.
& wœ n œ œ œ œ . œ œœ œœ œœ
w œ œ œ œ œ œ œ œ œ œ œ wœœ œœ œ œ œ œ œ œ œ œ œ n œ œ n ˙˙ ˙ .
@
@ @ .
?# ˙˙ ˙ Ó œ
w w œ . Jœ ˙ . œ

# j
j œ œ
40

& œœ œœ œœ œœ œœ ˙ œœ œw. œ œ . œ œ œ œ˙ œ œ œ œ˙ .
j œ œ˙ .. # œ œœ ˙œ . n œ ˙œ œ œ
J @
?# ˙
˙ ‰ œ œ œ œ œ œœ œ@. œ œ@ œ w œ œ . œ œœ # œ œ œ w˙ ˙ ˙ ˙
˙ ˙ w ˙ œ . J J œ

# Œ. j
œ˙ œ œ œ œ œ œ œ œ@ œ œ œ œ œ œ œ œ œ œ œ
43

& œw œ œ n œ œ œ œ œ œ œ # œ œ œ œœ
œ @ j
Œ. œ
j œ œ@ Ó ‰ œj # œ œ . œ n œ œ@
? # œ. œ œ œ ˙ ˙ ˙ ˙ w
J

#
œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ@ œ œ œ œ n œ œ œ œ œ
45

& œ . œ œ œ œ œœ œœ œ œ œ œ œ œ œ ˙˙œ . œ ˙˙
Œ Jj ˙
Œ . œ œ@ @‰ J @
? # œ. œœ œ. ˙
œœ œ w w
J Œ ˙.
 177
5b. Pavan

Dd.5.78, ff. 10v and 20r Francis Cutting

# CA ˙
˙˙ .. œ ˙˙ ˙˙ ˙˙ ˙˙ ˙ ˙˙ . ˙
&
˙. œ ˙ ˙ # ˙ œ ˙w
? # C ww ˙ ˙ ˙ ˙ ˙ ˙ w w˙
w ˙ ˙ ˙. œ ˙. œ w . œ

4
# ˙.
& Œ œ ˙ œ ˙œ œ ˙œ œ ww œ œ œ œ ˙˙ ˙˙ œ˙ . œ œ œœ
?# ˙ ˙ ˙ œ˙ œ œ˙ œ ˙ ˙ œ Œ œ œ˙ œ ˙ .
˙ œ
˙ ˙ ˙ ˙ . ˙. œ

7
# ˙
& Œ œ œœ œœ ˙˙ ˙
˙ œw œ ˙ wœ œ œ œ œ œ ˙œ . œ ˙
œ œ œ www
J J
?# ˙ ˙˙˙ ˙ œ œ œ œ ˙. œ w Œ ˙.
˙ . œ œ œ ˙ w
Œ ˙. Ó ˙

# A' j œ . œj ˙ ˙
10

& ˙w œ œ œ œ . œ œœ œ œ n œ œ œ œ ˙ ˙ œ œ œ œ n œ œ œ ˙˙ wœ œ œ
#œ œ œ œ œ œœ œœ œ
jœ œ ˙ ˙ ˙ ˙
?# œ . œ ˙ ˙ ˙ ˙ ˙
w ˙ ˙. œ ˙. œ ˙

(12)
# ˙. œ œ œ ˙
& œ œœœœœœ˙ ˙œ œ ˙œ n œ œ œ ˙˙ œ œ œ #œ œ œ œ œ
‰ œ Jœ œ Jœ œ œ œ œ œ œ œ œ œ œ ˙
? # ˙. ˙ ˙ ˙ ˙ ˙œ œ
œ ˙ ˙ ˙ ‰œœœ˙ ‰ J

15
# ˙ œœ œ œœ ˙ œ œ œ
& ˙˙ ˙˙ œ œœœœœ œ œœœ ‰ œ œ œ œ œœ
˙
˙
˙
? # ‰˙ œ œ œ œ œ œ œ œ œ œ ˙ . œ œ ˙ ˙ ˙ ˙ œ
Œ œ ‰œ œ
 17
#
& ˙ œ ˙ ˙ œ œ ww ˙˙ œ ˙˙˙
178
w œ. J
˙ œ œ œ œ ‰ œ œ œœ œœ œœ ‰ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ
œ
?# œ œ œ ˙ ˙ ˙ Œ œ ˙
œ w ‰ œ. ˙

#B j
œ˙ .. œ ˙ œ ˙œ œ ˙œ œ
19

& ˙˙ .. œœ ˙˙ ˙œ œ ˙˙ ˙˙ ˙w ˙ ˙œ œ ˙˙ œ œ ˙˙
˙
˙
? # www ww ˙. nœ ˙. œ ˙ ˙ ˙ ˙˙ w Ó ˙
˙ ˙ ˙ w ˙ ˙

23
# j B'
j
& ˙˙ .. œ ˙ œ œ
œ ˙ ˙˙ wœ . œ œ œ œ ww wœœ .. œ œ œ œ œ œ œ œ œ œ œ ˙Œ œ
w Œ
? # ˙˙ ˙ ˙ œ ˙œ œ ww Œ ˙.
Ó ˙ ww
w

26
#
& ˙œ œ œ œ n œ œ œ ˙ ˙œ œ˙ ˙œ œ œ n œ œ œ œ # œ œ œ œ œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œœœœ Ó
˙ Ó w
? # ˙. nœ ˙. œ ˙ ˙ ˙
˙

#
& œw œ œ œ œ œ œ œ œ œ œ œ œ œ œ˙ œ œ œ œ n œ ˙œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙œ
28

œ œ œ œ œ œ ˙œœ œ œ œ œ œ œ
?# ˙ ˙ ˙ ˙
w ˙ ˙

30
# C
j ˙.
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ www œ
n ˙˙ . œ ˙. œœ œœ œœ œœ œœ œœ œœ œœ ˙ œ
?# w Œ ˙.
˙ ˙˙ ˙. ˙ œ ˙ ˙ wœ œ œ œ
Ó œ . Jœ ˙. œ ˙ ˙

#
œ œ˙ . œ # œ œœ ˙œ n œ ˙œ œ
j Œ œ œ
33

& œw œ œ œ œ˙ œ œ˙ . w
œ œ nœ œ œ œ œ œœ
?# ˙ wœ
. œ œ. œ œœ # œ w˙ ˙ ˙ ˙ w
œ œ œ œ
Œ œ œ œ
˙
˙ J J œ ˙
36
#
œœ œœ œœ œœ œ œÓ . œ œ œ œ œ œ
j j
& œ˙ ˙ Ó œ œw œ œ œ ˙œ . œ ˙ œ ww
œœw
179

? # ˙˙ ˙œ œ
#œ œw œ n œ œ œœ œ œ œ œ ww w Œ ˙.
œ œ œ Œ ˙. ˙ ˙

39
# C' œ œ œœ
& n ˙œ œ œ œ œ œ œ ˙˙ .. œœ œ
œ
œ
œ
˙
œ œ œ œ ˙œ ˙ œœ
? # ˙˙ ˙ Ó. œ ‰ œ œ œ œœ œœ œœ
œ œ ˙. œ ˙ ˙ w

#
œ œ˙ . œ # œ œ œœ ˙œ n œ ˙œ œ
41
œ j
& œw œ œ œ œ œ œ œ˙ œ œ œ˙ .
œœ # œ œ œœ
? # œ œ œ œ wœ . œ œ. œ
J ˙w ˙ ˙ ˙
˙ J œ

43
# Œ. j
& w œ œ n œ œ œ œ œ œ œ # œ œ œ œœ œ œ œ œ œœœœœ œ œ œ œœœœœ œ œ œ
‰ œ
? # œ. Œ. j
œ œ˙ œ Ó ‰ œj # œ Ó nœ œ
œ œ œ ˙ ˙ ˙ w
J

45
#
& œ œ œ œ œ œœ œœ œœ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œw œ œ œ œ n œ œ œ œ œ œ œ œ ww
Œ. Jj œ œœw
.
? # Œœ . œ ˙
œ œ w
Œ ˙.
œ w ˙ ˙
J

6. [Galliard]

Dd.5.78, ff. 20v and 11r [Anonymous]

# 3A ˙ ˙. œ ˙
& 2 w˙ . œ ˙˙ ˙˙ ˙˙ ˙
˙ ˙w . ˙ ˙ ˙
˙ ˙ ˙˙ w ˙
˙ w ˙
? # 23 w ˙ ˙ ˙
˙
˙ wẇ .. ˙ ˙ œ œ ˙ ˙
w ˙ ˙ w ˙
 6
# ˙ ˙ ˙˙
180
& ˙˙ w˙ œ œ w˙˙ ... œ œ œ www ... ˙w ˙ ˙ ˙˙ ˙
˙ ˙w ˙ ˙ Ó ˙
?#
œ œ
w
˙ ˙ wÓ . w wÓ . w ww ˙
˙ ˙ ˙ ˙

11
# ˙ ˙˙
& ˙w. œ ˙˙ ˙
˙ ˙ w˙ . œ œ˙ œ ˙ ˙ ˙
œ ww .. œ
Œ ˙. œ œ
w œ œ œ œ w
? # ˙ww. œ ˙ œ œ w ˙ ˙ w Ó w
w w.

16
# A'
œ œ œœœœ
& ww .. wœ œ œ œ n œ œ œ ˙˙ œ œ œ n œ œ œ ˙˙ œ œ œ œ œ œ˙ œ œ ˙˙ ˙
w. œ
?# Ó w . œ ˙ œ œ ˙ ˙
w. w ˙ ˙ ˙. œ ˙

#
& œ œ œ œ œ ˙˙˙
21
˙˙
˙ œw œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ www ...
?#
w Œ
œ œ œ ˙ ˙ w. wÓ . w

#
œw œ œ œ œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙˙
25
˙ ˙.
&
w ˙ œ œ œ œœ
?# ˙ ˙ ˙ . œ œ œ œ œ w
w ˙ ˙

#
& ˙Œ . œ œ œœ œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ww ..
29

ww .. œ
œ œœœœœœœœœœ œ œ œ œ œœœœœœ
?# ˙ ˙ w
w w. w.

33
#B Ó ˙ ˙ ˙˙
& ˙w.. œ œ œ ˙Ó ww w ˙ ˙ ˙ ˙˙ ˙w. œ ˙˙
œ˙ œ wœ œ œ œ ww˙ ˙ w
? # www ˙˙
. œ ˙
˙
w ˙. œ ˙
w ˙
38
# ˙ ˙. œ œ œ ˙œ œ ˙˙
& w˙ . œ w˙˙ ... œ œ œ www ... n ˙˙˙ 181
˙ w Ó
˙ ˙
? # Óœ œ ˙ # ˙ Ó w
w Ó w
w. ˙˙ w
˙ . ˙ ˙ œ œ ˙ ˙

43
# œ #œ œ w w.
& ˙ww. ˙. n œ ˙œ œ ˙. ˙
œ œ œ ˙ w˙ ˙ ww .. œ œ œ
˙.
w ˙ ˙ ˙w. œ Ó w
? # ww ˙ w ˙ ˙. œ ˙ ˙ w.

48
# B'
w
˙w.. œ œ œ ˙ ˙ œ œ œ œ ˙˙
& ww ..
w.
ww œœœœ˙ ˙
www ˙˙ œ˙ œ œ œ œ œ œ œ œ ˙ w ˙
?# Ó w . œ ˙
w. w ˙ w ˙

53
#
& œœ œ œ œ œ˙ œ œ ˙
˙ ww œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙˙
w Óœ œ #œ œ œ œ œ œ w. ˙
? # ˙. œ ˙ w. w ˙
œ w

57
# Œ œ
& n œ˙ œ ˙w. œ œ œ ˙œ œ ˙˙
Ó w œ œ œ #œ œ w œ œ n œ ˙œ œ
Œ œ
˙ w ˙ w w ˙
?# ˙ w ˙ w
œ œ ˙ œ œ ˙ ˙

61
# w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w nœ œ
& œ œ nœ œ œ ˙ œ ‰œœ œ œ œ ˙˙˙
? # w˙ . œ ˙ w ˙˙
˙ w. w ˙
182
7. Pavan

Dd.5.78, ff. 60v-61r Francis Cutting

# CA˙ . œ ˙˙ . ˙ œ œ ˙ nœ
& w ˙ œ œ˙ œ œ œ œ œ ˙ œ . œ œœ œŒ œ
˙ Ó
˙. J
?# C w œ ˙ . œ˙ œ ˙˙
w ˙. ˙ œ ˙ ˙ ˙ œ ˙ . ˙ n œœ
œ
w

# ˙
œ œœ œœ œœ œ œœ œœ
4
œ
& œ œ œœ ˙˙ Œ œ œ œ œ œ œw. n œ œ œ œ œ œ œ ˙˙
w œ œœ œ . œ ˙˙
˙
j J
œ œ Œ œ œ œ œ œœ œ œ œ œ . œ Œ ˙ .
?# ˙ œ œ œ œ œ œ ˙ œ œ œ ˙ ‰ œ. ˙
Ó Œ œ w Œ œ ˙

A'
7
# œ œ œ œ
& œ œœœœœœ œ œ # œ œ œ œ œ ˙Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
˙. œ ˙
?# w w ˙. ˙
œ ˙
w ˙

#
œ œ œ œ œ œ œ ˙œ n œ ˙œ œœ œ œœ œ œ œœ œ œœ œ œœ œ œœ œ œ œ œœ œ œ
9

& ˙ œ œ
‰ œ . ˙œ œ œ œ œ œ œ . j j j œ
?# nœ ˙ œ œ˙ œ œ œ œ œ œ œ œ Œ
œ ˙ œ
Ó Œ œ œ

11
#
& ˙˙ Œ ‰ j œ œ œ œ œ œ œ œj œ n œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ www
j
Œ
?# ˙ œ œ œœ œ œœ . œ œœ œ œ œ œœ Œ ˙.
œ w ˙ ˙

#B
œ œœ ˙ œ œ #œ œ ˙
13

& Ó ˙ ˙ ˙ œ˙ œ ˙˙ ˙. œ # œw ˙
Œ œ w œ
˙. œ ww Œ œ
? # www w ˙ #˙
œ #œ ˙
w œ
w ˙
˙
 # ∑ . j
œ ˙œ œ œ n œœ œ
16

& ˙. œœ œœ œœ œ œ ˙w. œ œw. œ œ œ œ œ ww 183

œ
#œ œ œ nœ œ œ w œ # œ œ œ˙j œ œj
? # œ œœ œœ œœ œw œ˙ ˙ .
w ˙ ˙ ˙ ˙. ˙

# B'
œ œ œ œœ ˙ œ n œ œ œ œ œ œ
19

& Ó œ œœœ œ œ œ ˙ ˙ # œ œ œ œ˙ œ œ œ # œ ˙œ œ œ œ ˙œ œ œ
Œ. J œ œ
? # ˙ww œ œ œ ww w ˙ #˙

21
# ∑˙ ˙ œ œ
& ˙w. œ # œw œ œ œ œ œ œ œ œ œ œ n œœ œ
. J œ
j j j
‰ # œœ œ œœ œ œœ œ œ . n œ œ œ
? # #œ œ œ œ œ œ œ w ˙ œ
w ˙ w

23
#
& œœ œ œœ œ œœ œ œœ œ œw œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ww
# œ œ œ œ œ œœ œ # œ œ œ œ œ
w #w Œ ˙.
?# ˙ w ˙ ˙
˙ w

#
C
j œ œ j j
25

& n œw. œ œ œ ˙Œ . œ œ b œœ # œw œ œ ˙œ . œ œ œ œ œ n œ˙ . œ œ œ ˙ . œ # œ # œ œ œ œ œ
. œ œJ J
w J
? # nw ˙ ˙ ˙. œ n œ ww ˙w. œ w

28
# œ . œj œ jœ œ ˙
& ˙ n œœ œ œœ œ œœ ˙œ # œ œ˙ . œ ‰ nœ œ œ œ œ œ #œ
˙˙ œœ œœ œ œœ œ œœ œ˙ œ œ œ œj œ œ œj
.
œ œ œ œ œ œ œ . œj œ œ n œœ œ œœ œ œ Œ œ ˙ ˙˙
?#
œ œ œ œ œ œ˙ œ œ œœ˙ ˙ œ œ œ œ ˙

31
# C' ‰
& ww œ w
œ œ œ œ œ œ n œ œ œ œ œ œ œ œ ww n œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙‰ œ œ œ œ œ œ œ œ b œœ œ œ
?# Œ ˙. n ww ˙ ˙
w ˙ ˙
 33
# œ
184 & # wwœ œ œ œ œ œ œ œwœ œ œ œ œ œ œ œ œ œ œ œ œ n œw œ œ œ œ œ œ œ œ œ œ w# œ œ œ œ œ # œ œ œ œ œ œ œ œ œ
.œ œ œ œ
? # ˙. œ n œ ww w˙
. œ w

# j
œ œœ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ . œj œ n œ œœ œ ˙œ œ œ # œ œ œ ˙˙
35

& œ˙ . œ n œœ œ œ œœ Ó ‰ œ
œ œ œ œ œ
?# Œ œ œ Œ œ n œœ
œ nœ
œ œ œ œ œ œ ˙ œ œ œœ˙ ˙

37
#
& œœ œœ œ œ œ œ‰ œ œw œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ œ œ œ ‰ œœ .. œ ˙˙
J œ œ œ œ œ ‰ œ J ˙
œ œj œ œj w
?# œ œ œ ˙
Œ œ ˙˙
œ œ œ œ ˙ w ˙ ˙

8. Galliard

Dd.5.78, f. 24r [Anonymous]

# 3 A˙ . œ ˙˙ Œ œ œ œ
& 2 w ˙ ˙ ˙ ˙ ˙Ó ˙. œ
w ˙ ˙. œ ˙ ˙˙ ˙˙ # ˙˙ w˙
?# 3 w w ˙ . nœ œ œ
2 ˙

5
# Ó Œ œ œ œ
& ˙˙ ∑ œ ˙ œ œ œœ œœ œœ ˙ œ Œ ˙˙˙ .. œ ˙˙˙
Œ œ œ ˙
ww . ˙ Œ œ œ œ Ó
?# ˙ w w
œ œ œ œ ˙ ˙ w ˙

# œ . œj
A'
9
œ œ ˙ wœ . œ œ œ
œ . œj œ œ . œ # œ œ œ œ œ œ œ œŒ œ
& w ˙ j
˙ J œ ˙
?# w w ˙ ˙˙ ˙ ˙ ˙. nœ œ œ
˙
13
#
& ˙œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ ˙ 185
œœœ œ œ œ ˙˙
?# ˙ ww w ˙˙
œ œ œ œ ˙ ˙ w ˙

17
#B j j
& ˙ ˙ ˙ œ. œ œ œ ˙ ˙˙ ˙˙ ˙˙ œ . œ œ n œœ ˙˙
˙.
˙˙ # ˙˙ ww ˙ ˙ ˙ ˙
? # ˙˙ ˙. œ ˙˙ œ œ ˙ ˙
˙ w

21
# ˙w ˙ w œ ˙
& ˙w . ˙ œ œ w ˙˙ # ˙œ œ œ. J œ œ ˙
j
˙w #˙ œ . œ œ œ œ˙ œ w
?# ˙ w ˙˙ ˙ ˙ ww ˙˙
˙

25
# B'
& œ . œj œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙w œ œ œ œ œ œ œ œ œ œ œ œ œŒ n œœ ˙˙
œ
? # ˙˙ ˙ ˙ w ˙
˙. œ ˙˙ œ. œ ˙ ˙ w ˙
J

29
# œ. œ œ œ œ œ #œ œ œ œ w ˙
& ˙˙ œ
wœ œ œ œ œ œ œ œ œ œœ ˙˙ J œ . Jœ œ œ œ œ ˙
Œ
?# ˙ w˙
#˙ œ˙ œ w˙ ˙ ww ˙˙
˙ w ˙

33
#C jœ j
œ
& n˙. . œ œœ ˙œ œ w ˙ ww ˙ œ. œ ˙ ˙
# œ . Jœ ˙ œ n œ ˙
j
? # n ww ˙ ˙. œ ˙ œ˙ .. œ œ œœ œ˙ # œ w œ #œ
˙. œ ˙

37
# ˙.
& œœ .. œ œ œ˙ ˙ œ ˙œ . œ œœ œ œ œ ˙ . ˙ œ Œ ˙˙˙ .. œ ˙˙˙
œ. J œ œ œ w.
J
Œ . œj œ œœ ˙ Ó w
?#
˙. œ ˙ ˙ œ œ œ œ œ ˙ ˙ w ˙
 #
41 C'
186 & œ œ œ œ œ n œœ ˙œ œ w ˙ ww ˙ œ œœœœœ ˙
Œ #œ œ œ œ œ œ œ nœ ˙
? # nw ˙ ˙. œ ˙ œœ . œj œ œ œœœ œ˙ # œ w œ #œ
˙ ˙. œ ˙

45
#
& wœ ˙ œ ˙œœ .. œ œœ œœ œ œœ ˙˙ .. ˙˙ . œ wœ œ œ œ n œ œ œ ˙˙˙
œœœœ˙ J œ œ
Œ . œj œ œ ˙
?# œ ˙ œ ˙
˙. œ ˙ ˙ œ œ œ œ w ˙

9. Pavan

Barley (lute), ff. D1v-3r Francis Cutting

b
A
& b b C ww ww ˙. œ ˙ ˙ ˙. œ œw
œ œ ˙ œ œœ œ
@ œ J@ J
? b C ww n w˙ . œ ˙ n˙ ˙. bœ ˙ ˙ w
bb ˙ ˙ w

4
b j ˙. œ j j
& b b wœ . œ ˙ ˙. œ w .
œ œ œ œ n ˙˙ . œœ œ˙ œ ˙˙ œ n œ n œ œ œ œ œ@
Ó Œ
˙ ˙. œ ˙˙ . ˙ œ w
? b w˙ . œ ˙ ˙ w
œ
bb ˙. w

bb
7 A'
œ œ
& b n w n œ œ œn œ œ ww wœ œ œ œ œ œ œ œ œ ww ˙ œ œ n œ@ œ
@
? bb
w Œ ˙. w œ@ œ n œ n œ œ œ œ ˙ œ œ˙ n œ œ œ@n œ ˙
b w Ó ˙ w ˙. ˙

b œ œ@
˙œ œ œ œ œ œ œ ˙ ˙ . œ œ œ œ œœ
( 9)

& b b b œ@ œ œ œ œ œ ˙@ ˙ œ œ œ œ˙ œ œ œ wœ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
@ @
? bb w
Ó Œ bœ ˙ ˙ w ˙ ˙
b
˙. œ˙
12
b
& b b wœ œ œ œ œ œ œn ˙œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
nœnœœœœœœœœnœœœœœ
187
nœ
? bb w ˙ ˙ ˙
b ˙ w

14
b B
& b b n œ@ œ œ œ œ n œ œ œ œ œ œ œ œ œ œ ww ˙w. ˙.
œ œ œ œ˙ œ w œ w˙ .
œ
Œ ˙. n ˙˙ .. œœ ˙ ˙ ˙˙ ˙ w
? bb w Ó ˙ w ˙ w
b

17
b œ
& b b ˙˙ ˙˙ ˙˙ . n˙ œ w
w
˙˙ ˙˙ œ nœ n˙ ˙w.
Œ œ œ œ œ ˙ w˙
? bb ˙ ˙ w œ ˙ w
˙. œ ˙ ˙˙ Ó
˙ ˙ ˙
b

b ˙
20 B'

&b b ˙ ˙˙ n ww œœ œ œ œ œ œ œ œ œ œ nœ
n œœ n œ œ œ œ n œ œ œ b œ œ œ b œ œ œ œ œ œ œ œ
œ œ œ œ Œ ˙. @
? b w w
bb Ó ˙ w

b bœ @
22

& b b ww œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙œ œ œ œ ˙‰ œ n œ œ œ n œ œ œn œ œ œ œ œ œ œ œ œ œ œ œ
œ œn œ œ œn œ œ
? bb w w ˙ w
b ˙

24
b œ n œ@ œ œ œ œ œ n œ@œ œ n œ œ œ œ œ n œ œ œ œ b œ œ œ œ œ
&b b ˙ œ œ œ@ œ œ œ œ œ œ
‰ œ nœ œ œ œ œœ œœ œ
n ˙˙ ˙
? bb ˙. œ ˙ ˙ w
b ˙

26
b ˙ C
& b b Œ œ œ˙˙ œ œ œ n ˙œ n œ œ œ n œ œ œ ˙ .
w˙ ˙ œ œœ œœ œœ œ˙ œ œ œ œ œ œ œ
@ n˙
w˙ . œ ˙ ˙ œ Œœ œ œ œ œ n œ
? bb w
b ˙ Œ œ œ œ w
 29
b j
188 & b b n œ˙ œ œÓ œ nn œœ œ˙ . œ # œœ w œ œœ œ œœ . œj ˙˙ œœ œœ n ˙˙ œ˙ œ œ œ œ œ
Œ n œ n œ . nœ
œ œ n˙ @
? bb ˙ Œ œ œ œ œ ˙ œ
œ œ œ ˙
b ˙ @ ˙ Œ bœ œ œ œ

bbb
32 C'
& œ
n œ œ œ œ œ œ œ œ n œ œ œ œ œ œ ww œ œ œ œ œ œ œ ˙ . œ œ œœ œ œœ œœ ˙˙ œ œ œ œ œ œ œ œ œ
Œ ˙. œ˙ œ Œœ œ œ œ œ n œ
? b w ˙ . ˙ œw
bb Ó ˙ œ

35
b
& b b n œ œ n œ œ œ œœ j
n œœ œ œ˙ . œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ b œ œ œ œ œ
˙ Œ
˙ œ n œ œ œ œ ˙ Œ n œ@ œ Œ œ n œ œ œ
? bb Œ @ œ œ ˙
b ˙ ˙ Œ bœ

37
b
& b b œ œ œ n œ œ œ œ œ œ œ œ œ œ@œ œ œ œ b œ œ œ œ œ œ
œ n œ n œ œ œ œ œ œ n œ n œ œ@ œ œ œ œ n œ œ œ œ œ ww
? b ˙ œ œ œ Œ ˙.
bb œ ˙ w Ó ˙

10. [Galliard]

Dd.5.78, f. 15v Francis Cutting

b 3
A
&b b2 ˙ ˙ ˙ œ œ œ œ œ ˙
œ œ ˙ ˙ ˙ ˙.
˙ n ˙˙ ˙˙ ˙ ˙˙ ˙˙ ww n ˙˙ .. bœ ˙ œ
? b 3 ˙w w œ œ
bb2

5
b bœ ˙
& b b ˙. ˙. œ ˙ ˙ ˙ ˙ œ nœ nœ œ œ œ œ ˙
˙. œ ˙
? b n w˙ . œ œ˙ œ ˙. œ œ œ
˙˙ ˙w n ˙ ww ..
bb
 bb
9 A'
& b j
œ nœ œ œ œ œ œ œ œ œ œ œ. œ œ œ ˙ œ œ œ œ . œj œ œ œ œ œ œ œ ˙ 189
nœ
˙ ˙˙ .. œ ˙˙ ˙˙ ww ˙. ˙
? b w
bb w œ œ œ

13
b
& b b œ œ œ œ œ bœ ˙ œ œ œ œ œ ˙ œœœ œ w
œ œ nœ nœ œ œ œ œ œ œ œ
? b n w˙ . œ œ˙ œ ˙ . œ
˙ œ ˙
œ wœ n œ n œ œ œ œ œ œ œ ww ..
bb

bbb
17 B
& ˙ ˙ ˙ ˙˙ ˙ n˙ w ˙˙
˙ ˙ ˙ ˙ œ œ n ww
? b n ww ˙˙ w˙ . œ ˙œ œ w ˙
bb ˙ ˙ ˙

21
b
&b b ˙ w ˙ ˙˙ .. œœ ˙˙ ˙w. œ œ œ n œœ n œ œ œ œ œ œ œ œ
˙ ˙ œ
? b ˙ w w ˙ œ œ w w.
bb

25
b B'
&b b œ œœœ œœ˙ œ œœ˙ ˙ œ nœ œ œ œ ˙ ww œ œ
˙˙ ˙ ˙ œ œ n œ œ œ b œ œ œ œ ˙˙
? b n ww w˙ . œ ˙œ œ ˙ ˙
bb ˙ w

29
b
& b b œ œœw œœœœœ œ ˙ ˙ œœœœœœœœ œ œœœœœœœ œ
Œ œœœ Ó Œ œ ˙œ œ wœ . œ w
? b ˙˙ w n œ œ œ w n ww ˙œ
œ
bb

bb
33 C

& b
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ ˙. œ œ nœ ˙ n˙ ˙
? b ˙˙ .. œ n ˙˙ ˙w.. œ ˙ w˙ œ œ˙ œ n ww .. w˙ . n œ ˙˙
bb w ˙ .
 bbb
38 C'
& ˙ ˙ ˙ ˙ n ww .. œ œ œ ˙.
190
˙ ˙ œ
w˙ . ˙ ˙ n ˙˙ Œ
? bb œ n ˙˙ ˙ ˙ œw n œ # œ œ n œ n œ ˙œ œ ˙˙ .. œ ˙ nœ
b

42
b
&b b œ œœ˙ ˙ œ œ œ ˙. œ w œ nœ œ nœ œ ˙. œ
˙. œ ˙ w˙ œ œ œ œ œœ Œ œ
? b b ww . . œ ˙ n œ
w. n œ œ ˙. n œ ˙
b œ œ

46
b
&b b œ œ ˙ ˙ ˙ œ œ ˙ œ nœ nœ œ œ œ œ œ œ ˙
w
? bb ˙. œ n ˙œ œ œ œ œ˙ œ œ˙ n œ ww ˙˙
b
˙

11. E. Porter’s Pavan

Dd.2.11, f. 73r Francis Cutting

& C ˙w. œ œ˙ œ œ œ ˙ œ œ œ œ œ ˙˙ œ˙ œ œ b œ˙ œ ˙w ˙
#˙
? C ww w œw œ œ œ ˙˙ ˙ b˙ œ œ nœ ww
w ˙ ˙ b˙ ˙ ˙. œ

œ œ ˙œ
4
˙.
& ˙˙ ˙˙
œœ œœ œ˙ œ ˙w ˙ œ œ œ œœ # ˙œ ˙ . ˙ œ œœ œ
w Ó ˙
?œ œ Œ œ ˙ ˙˙ w˙ . w
œ w ˙. œ œ œ ˙
˙ ˙ ˙ ˙

7
j .. ..
B
& # ˙˙˙
œ˙ œ # œ œ œ . œ # œ # wwœ . œ œ œ œ œ www
j
˙w œ œ œ˙ œ œ˙
bœ

? ˙˙ œ œ œ # ˙˙˙ œ œ Œ ˙ . Œ ˙.
.. .. ww ˙˙ ˙
˙ #œ œ w w ˙ ˙ w ˙ ˙
 œ
10

& ww ˙ ˙ w˙ œ œ œ˙ œ œ˙ œ œ˙ œ # œ # œœ ˙˙ œ œœ
œ
191

? ˙ œ œ œ˙ œ œ˙ œ ww ˙˙ ˙
#˙
˙˙ ˙ w
w ˙ w

œœ œœ œ˙ œ ˙˙
13
j j
& œœ # œœ ˙œ œ œœ œœ ˙˙ ˙œ œ œœ œœ ˙
œ œ œÓ . # œ # œ œ œ œ œ
? w.
œ œ ˙ œ œ œ œ ˙ ˙ ww
˙ ˙ ˙ ˙ w ˙ ˙ ˙

C
16
.. .. w Œ œ ˙ œ ˙œ # œ
& ww œ # œ œ œ œ w
w œ w
˙˙. œ œ œ˙
˙
#œ œ œ œ œ œ œ œœœ œ œ œ
? Œ ˙. w œ œ œ œ ˙ ˙ ˙ ˙˙
.. .. ˙. ˙
w Ó ˙ w w œ

œ
19
œ œ œ# œœ ˙œ œ n œœ œ œ
& œ˙ . œ œ œ œœ œ œœ ˙œ œ œ œœ œ ˙œ œ œ œœ œ œ
œ œœ . œ œ œœ œ œ # œ # œœ
Œ
œ œ œœ œ œ œ ˙
J J J
œ
? œ œ œ œ ˙˙ ˙ œ˙ # œ ˙ Ó Œ œ ˙
œ œ #œ œ ˙ œ œ ˙
œ œ œ œ œ ˙

22 j
& œœ # œœ ˙˙ ˙˙ .. œœ ˙œ ˙ ˙œ . œ # œw. œ œ œ œ œ www
..
œ ˙ #œ œ œ œ œ
J J
?˙ # ˙œ œ œ #œ œ œ #œ œ
œ ˙ ˙ œw
Œ ˙.
˙ ..
˙ œ #œ œ œ œ ˙ ˙ w ˙. ˙

12. Galliard

Dd.5.78, f. 55r Francis Cutting

A
& 23 w˙ . œ ˙˙ ˙˙ ˙˙ œ˙ œ w∑ ˙œ ˙˙ w
œ ˙ ˙
˙ ˙˙ ˙w..
? 3 ww ˙ ˙ ˙ œ ˙ ˙˙ w
2 ˙
 5
˙. œ œ œ ˙ b˙ ..
& ˙w ˙˙ Œ ˙˙œ # ˙ œ # www ...
192
w ˙
? ˙˙ . #˙ ˙œ Œ ˙. w˙ .
œ ˙ ˙ œ b ˙œ œ ˙
˙ w ..
w

9 B

& .. ˙ ˙ ˙˙ w ˙ ˙˙ ˙˙ œ˙ œ # w˙ ˙ ˙
˙
w
˙ ˙ w˙ # ˙˙
? .. w ˙ w˙ ˙ ˙ ˙ ww ˙
˙

j œ œ œœ . œj # œ w
œw. œ œ œ # ˙œ œ ˙˙
13

& œ œ # œ œ ˙˙ ..
Œ Œ œ # w˙ . œ ˙˙˙
œ
? ˙ œ ˙ ˙œ w. ˙ ˙ ˙˙
˙ œ ˙ ˙ ˙ ˙ ..
œ ˙. Œ ˙. ˙

17 C
& .. ˙˙ œ˙ œ œ œ ˙ w œ˙ œ œ˙ œ œ œ ˙ ˙ ˙
#˙
˙ ˙ b˙ ww ˙˙ ẇ . w œw œ œ œ œ œ
? .. ˙ ˙

21
Œ œ œ œ œ ˙œ # œ Œ ˙˙ ..
& ˙ w ww œ œ #˙ œ # www ...
˙ Œ ˙.
? œ˙ œ b œw œ œ œ ww ˙ w˙ . ..
˙ w w

13a. Pavan Sans Per

Euing, ff. 32v-33r Francis Cutting

## A
Œ
C
& ˙ . œ ˙ ˙ ww ww œ œ œ ˙w ˙ ˙ ˙ ˙. œ œ œœœ ˙ ˙
Œ œJ J˙ ˙
Œ ˙.
? # # C ˙w ˙ ˙w. œ ˙ ˙ w
œ
˙ ˙˙
˙ w ˙ ˙
w ˙. Œ ˙ œ
5
# j
& # Œ œ œ œ wwœ œœœœœ˙ ˙
œ œ œ œ œ œ œw.
193
˙ œ œ œ œ œ œ ˙˙ ˙ ˙
? ## ˙ œ œ w ˙ œ˙ œ ww ww
˙ ˙ ˙. œ ˙ w Œ ˙. Œ ˙.

8
# # A' Œ
& œ . œj œ œ œ œ ˙ ww
ww œ œ œ œ œ ˙w ˙ œ œœœœœœ
? # # ww w˙ Œ ˙.
. œ œ œ œ œ w ˙.
w
œ ˙ ˙

11
#
& # w Œ œ œ œ œ œ nœ œ œ œ œ œ
‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙˙ ˙˙ ˙ œ œ œ œ œ œ œ œ œ œ
? ## w ˙ ˙ ˙ œ œ w w
Œ˙ œ ˙ ˙ ˙. œ ˙ ˙ w

## B
œ . # œj œ œ œ œ œ œ n œ œw. œ ˙œ œ œ œœ œœ
14

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙˙ ˙˙ nœ œ
w ˙. œ J
? ## w w˙ ˙ w ˙. œ œ ˙ œ w
w w
Œ ˙. w w

17
# œ ˙˙ œ œ œ œj œ œj
& # œw. n œj œ œ œ œ œ œ œ œ # œ œ ˙w. œ œ
œ ˙ ˙ œ œ # œ
˙
nw
j
Ó Œ œ
? # # n wŒ ˙ . n˙ ˙œ œ. œ œ Ó œ˙ œ w
˙ œ ˙. œ ˙ ˙ ˙ w

##
œ . # œj œ œ œ œ œ œ œ œ n œ wœ . œ
20 B'
& ww œ œ œ ww ˙ œ œ œœ œ œœ
œ. J œ œ w w ˙. œ n œ
J
œ œ œœ œ
? ## Œ ˙. Œ ˙. w ˙. œ œ ˙. w
w ˙ ˙ w w w w

23
#
& # n œœœ œ œ œ nœ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ #œ œ ˙w. œ œ˙ œ œ ˙œ œ œ
œ œ
? ## nw ˙œ œ . œj œ
˙ œ ˙. œ ˙ ˙
 25
#
& # # œ œ œ ˙˙ œ œ œ œ œ œ œ œ œ œ œ ww w
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ww
194

œ˙ œ w
? # # Ó˙ w
Œ ˙.
w ˙ ˙

# #C Œ œ œ nœ ˙
˙˙ ˙˙ Œ˙ œ œ œ ˙
27

& ˙˙ ˙˙ ˙œ œ œ œ œ œ w ˙ ˙˙
˙ ˙
? # # ˙ ˙ ˙ œ w˙ ˙ ˙ ˙œ œ ˙œ ˙˙ ˙˙ ˙˙ ˙ ˙œ n œ
œ Œ œ œ w Œ œ

30
# 22 ˙ .
& # ˙w Œ œ ˙ C
˙ ˙ œ œ ˙
˙ ˙˙˙˙ n ˙œ œ œ œœ˙ œ
? ## ˙ ˙ ˙ ˙ 2 w
œ œ ˙ ˙ n˙ ˙ ˙ w
Œ œ œ œ œ œ ˙ 2 w C

33
## j C'
Œ
C œ. œ œ œ œ œ w ˙˙ ˙˙ œ
& w w ˙ œ œ˙ œ œ ˙
˙ ˙˙ ˙˙ ˙œ œ œ œ œ œ
? ## C œ Œ ˙. w œ œ œ œ œ w˙
˙ ˙ œ ˙ ˙ ˙ ˙ ˙
˙. Œ œ œœœœœ œ œ˙

36
# Œ œ œ œ nœ ‰ nœ œ œ ˙ 2
& # w œ ˙˙ ˙˙ ˙˙ œ œ œ œ œ œ œ œ œ ˙ ˙˙ ˙˙ ‰ œ #œ œ 2
˙
? # # ˙˙ ˙˙ ˙ ˙œ œ n œ ˙ ˙œ . n œ ˙ ˙˙
œ œœ ˙ ˙ w 22
w Œ œ œ J˙ Œ œ œœœœœ œ ˙

# 2
œ œ n œ œ œ œ œ œ œ ˙˙˙
39

& # 2 ‰ œ œ œœ ˙œ œ œ C
œ œ œ œ ˙˙
œ. J œœœ œ ˙
? ## 2 C w œ ˙
2 ˙ ˙ œ
 195

13b. Pavan Sans Per

Dd.2.11, f. 84v Francis Cutting

## A
Œ
C ww w œ œ œ ˙w ˙ ˙ ˙ ˙œ. œ œ œ œ œ ˙
& ˙. œ ˙ ˙ œJ J˙ ˙
˙
? # # C ˙w ˙ ˙w. œ ˙w ˙ ww œ ˙ . ˙ ˙˙ ww
˙. œ ˙ œ œ ˙
˙. œ

5
## j
Œ œ œ
&
˙ œ˙ œ œ œ œ œ œ œ ˙˙ œw œ œ œ œ œ œ œ œ wœ . œ œ œ œ www
Œ ˙.
? ## ˙ ˙ ˙˙ . ˙ œ ˙˙ œ˙ œ w
w
wœ
Ó ˙
˙ ˙ ˙.

8
# # A'
& œ œ œ œœœœœœœœ˙ ˙ ˙w ˙ œw œ œ œ œ ˙ ˙ œ œ œ œ œ œ œ
w
? # # ww w ˙ œ ˙œ œ ˙œ œ ww œ ˙. ˙ ˙˙
Œ ˙. œ ˙
w

11
#
& # ˙œ . Œ œ wœ
œ œ œ œ œ œ ˙˙ ˙
˙ ˙ œ˙ œ œ œ œ œ œ œ ˙˙ œ œ œ œ œœœœ
J J
? # # ww œ œ ˙ ˙ ˙ ˙˙ . ˙ œ ˙˙ œ˙ œ
w
˙. œ ˙ ˙

## B
œ . # œj œ œ œ œ œ œ n œ œw. œ ˙œ œ œ œœ œœ
14

& œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ www

w ˙. œ nœ œ
J
? ## w Œ ˙. w ˙ . œ œ ˙ œ w
Ó w w
˙ w w

17
# j j
& # œw. œj œ œ œ œ œ œ œ œ œ œœ ˙˙ œœ œ œ˙ œ œ˙ œ # œ˙ œ ˙˙ œÓ œ œ œŒ œ œ œ
jœ
n
? ## nwœ ˙ . ˙ œ œ œ . œ ˙˙ œ˙ œ ww
˙ œ œ ˙. œ ˙ ˙
 ## B'
œ . # œj œ œ œ œ œ œ œ œ œ œ œ œ n œ wœ . œ ˙œ œ œ œœ œœ
20
196
& ww œ œ œ ww
œ. J œ œ w w ˙. œ nœ œ
J
? ## Œ ˙. Œ ˙. w ˙. œ œ ˙ œ w
w Ó ˙ w w w w

23
#
& # œw. œj œ œ œ œ œ œ œ œ œ œœ ˙˙ œœ œ œ œ œ œ # œ˙ œ ˙˙ œ œ œ œ œ œ œ œ œ œ œ
˙ ˙
nœ ˙.
? ## nw
˙ œœ œ œ œ œ ˙˙ œ˙ œ ww
˙ œ ˙. œ ˙ ˙

26
## C
Œ œ œ
ww w ˙˙ ˙˙
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ww ˙ ˙ œ ˙ ˙ ˙˙
˙˙ ˙œ œ
? ##
Œ ˙. ˙ ˙˙œ w˙
w ˙ ˙ ˙ ˙ ˙
Ó ˙ œ Œ œ œ œ œ œ ˙

29
# Œ œ œ nœ 2
& # w ˙
˙ ˙˙ w˙ ˙ Œ œ œ
˙ œ ˙˙ ˙˙
˙˙ ˙
nœ œ 2
? # # ˙˙ ˙˙ ˙ ˙œ n œ ˙œ ˙˙ ˙ ˙
n˙ ˙˙ ˙ ˙ ˙˙ 2
Œ œ œ ˙ Œ œ œ œ œ œ 2
w

32
# 2 j C'
& # 2 ˙˙ œ œ C œœ .. œ œ œ ww
˙ œœœœw ˙˙ ˙˙ Œ œ
˙ œ ˙œ œ œ
˙
? ## 2 œ œ ˙ w Œ ˙. ˙ œ ˙œ œ œ œ w˙
2 w C œ œ ˙
˙. Ó ˙

35
# Œ œ œ œ nœ ˙
& # ˙ ˙ ˙˙ ˙œ œ œ œ œ œ œ œ œ w œ ˙ ˙˙ ˙˙ ˙ œ œ œ œ œ
˙ ˙
˙˙ ˙˙ ˙ ˙ ˙˙ ˙ n ˙˙
? ## ˙ ˙ ˙ ˙ œ n œ ˙œ œ œ œ œ œœ ˙
Œ œ œ œ œœœ œ œ˙ w Œ œ œ

38
# ‰ nœ œ œ ˙ 2 ˙
& # ˙ ˙ ˙˙ œ 2 œ œ œ œ œ œ C œœœ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ www
˙ ˙ nœ œ œ œ œœ˙
Œ ˙.
? ## ˙ ˙ w 2 œ
2 w œ ˙ C w ˙ ˙
Œ œ œ œœœ œ œœœ œ ˙
 197

14. Galliard

Dd.2.11, ff. 73v-74r Francis Cutting

## 3A
& 2 ˙. œ ˙ ˙ w ˙œ œ œ˙ œ ˙˙ ˙Ó w˙ ˙ ˙. œ ˙˙
w
? # # 23 ww ˙˙ ˙ ˙ ˙ ˙ w ˙˙ ww ˙ ˙ ˙
w. ˙ œ œ ˙ w.

6
#
& # ˙. œ ˙Ó ˙˙ œ œ
˙ w œ œ œ œ œ œ œ œ ˙ ww ..
? ## ˙ w w˙ . ˙ œ˙ œ œ œ ˙ ˙˙ . w œ œ œ
˙ ˙ ˙ œ ˙ w w.

10
## B
˙
& ww ..
.. .. ˙ . #œ œ œ œ œ œ n˙ w. ˙ ˙
˙. nœ œ œ œ œ œ ˙ ˙˙
w. w ˙
? ## w. ˙ .. .. ww .. w ˙ w. w.
Ó ˙ w. w. w. w.

15
#
& # ˙w.. œ œ œ œ œ ˙ ˙˙ ww
œ œ œ œ ˙˙ ˙˙ ˙˙ ˙ # w˙ ˙ œ˙ œ
˙
? # # nn ˙w . w ˙ ˙
˙ ˙ ˙ ˙ ˙ w #˙
˙ w. ˙

20
## C
.. .. w .
˙œ ˙ # ˙ œ ww .. œ w. Ó
&
œ œ œ œ ˙. œ œ ww .. ww .. ww ˙ ˙˙
? ## ˙ w Ó w Ó w .. .. wÓ ˙ ˙ w ˙
w w.

25
# Ó ˙ n˙
& # ˙ ˙ ww ww . ˙
˙ ww ww . ˙ ww ˙ ˙
? ## ˙ w ˙˙ w ˙ ˙ ˙w n ˙ w ˙˙
Ó ˙w ˙ ˙ ˙ w.
Ó ˙ ˙
 30
#
198 & # wÓ ˙ œ œ œ œ œ œ œ œ ˙Ó ˙˙ œ˙ œ w .. ww ..
..
w
? # # ww ˙ n œ
˙ œ œ œ œ œ œ œ ˙ ˙˙ . w œ œ œ w.
n˙ ˙ w ˙ ..
w ˙ w. ˙ ˙

15. Pavan

Dd.2.11, f. 72r Alfonso Ferrabosco / Francis Cutting

b A
˙.
& b C ww # ww ˙˙ ˙œ
œ œ œ ˙ œ ˙˙˙ ˙ w ww ˙w ˙
w
? b C www w˙
. œ ˙˙ #˙ w œ˙ œ ˙˙ wœ œ ˙ ˙w # œ n œ ˙˙˙ ˙
b w ˙ w ˙

5
b
& b œ n œ # ˙œ
˙ œ ˙˙˙
˙
˙ œw n œ œ œ ˙˙w b ˙˙ ˙˙ ˙˙ œ # œ n œ œj œ œ œj
Œ
? b b n ˙˙ ˙˙ ˙˙ ˙ # ˙˙ ˙˙˙ ˙˙ ˙˙ œœ œœ ˙˙ ww
˙ ˙ ˙

bb
8 A'

& w w ww œ œ œ nœ #˙ œ˙ œ œ œ œ˙ œ ˙w. œ
n œœ .. n Jœ œ œ œ œ œ œ œ ww œœ
? b Œ ˙. Œ ˙. œ œœœœœ ˙
œ ˙ .
˙
œ ˙ #˙ œœœœ˙
b w Ó ˙ ˙ œ œ œ ˙ ˙ w

11
b œ œ œ œ œ # œ n œ œ œ œ œ œ œ œ œ˙ . œ œ œ n œ œ œ œ œ œ œ
& b ˙˙ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ
˙ œ œœœœœœœ #œ
? b b œ˙ œ œ œ ˙˙ w w ˙ ˙
˙

13
b
& b œ œ œ n œ # œ œ œ œ œ œ œ œ œ ˙œ œ œ b œ n œ œ œ ˙≈ œ œ n œ œ œ w˙ œ œ œ œ œb œ œ œ œ
nœ œ œœ ˙ ˙ œœœ œœ
? b ˙ ˙ # ‰˙ œ œ œ œ œ œ œ˙ œ œ # œ w ˙
b ˙ ˙ ˙
 15
b
&b ˙ œ œ œ œ œ œ œ # œ n œ œ œ œ œ œ œ œ œ w‰ œ œ œ œ œ œ œ œ www
199
œ œ nœ œ œ œ
? b b œœ œœ ˙˙ w
Œ ˙.
w ˙ ˙

bb
17 B

n ww ˙˙ .. œœ ˙˙ .
& ˙w. œ ˙w ˙ œ ˙˙ . n˙
œ
w ww w œ˙ œ n œ˙ œ ˙˙
? b b ww n ˙˙ w˙
˙. œ ˙˙ ˙ . œ

20
b
& b œ n œ œ˙ œ # w˙˙ w
œ nœ #˙ œ n œ w˙˙ ˙˙ ˙œ
#œ ˙
˙.
Ó œ ˙˙
˙
? b b ww n ˙w ˙ œ n œ œ œ ˙˙ œ œ # œœ n œœ œ˙
œ ˙˙ ˙˙
w w w

23
b B'
& b n ˙˙ ˙ œ #œ nœ ˙ w ˙˙ ˙˙ n ˙œœ n œ œ œ œ œ œ œ œ œ œ œ œ
j œ
j
? b b œ . œ œ˙ œ n ˙ . œ # œœw.. œ œ œ œ n œ w˙ ˙ w
Œ œ w

( 25 )
b
& b œ œ œ œ œ œœ œw œ œ œ œ œ w˙ ˙˙ .
˙ œ œ œ n œ œ œ œ œ œ œœ
w w œ œ œ œ n œ˙ œ ˙œ
? bb w ˙. n ˙˙ ˙ . œ
œ ˙ œ ˙

28
b
&b œ œ œ œ œ n œ œ œ œ œ w‰ œ œ œ œ œ œ # œ n œ œ œ # w˙ œ . n Jœ w˙
˙
œ
œœ œ œ ˙
? b ˙ œ nœ œ œ œ œ Œ
b w w w w nœ #œ œ œ œ œ

30
b
&b ˙ ˙˙ . œ œ œ n œ œ n ˙˙ ˙ œ #œ œ œ nœ œ œ œ œ œ œ œ œ
œ #œ
? b #œ nœ œ œ .œ œ ˙˙ ˙˙ œ . œj œ œ œ œ n w
b œ œ ‰ Œ œ ˙ w
 32
b C
200 &b w w w ˙ ˙ n œ # œ n œœ # œœ n œ œ ˙
œ œ œ œœœœœœ w
? b b œw œ œ œ œ œ # wÓ ˙ ww˙ . œ ˙˙˙ ˙˙ n w˙ ˙ œ b œ œw
nœ
w ˙

35
b
& b wœ œ œ œ ww œ n œ œ œ œ œ ˙˙ œ˙ n œ # ˙œ œ ww œ œ
œ œ
˙
? b b œ˙ œ œ n œ œœ œ œœ œœ ˙œ œ œ˙ œ œ˙˙ œ œ˙ œ n ˙˙ ˙ ˙ ˙
œ œ ˙ ˙ ˙w

38
b w nœ œ
&b w œ œ ˙w ˙ ˙˙ # ˙œ œ œw. œ œ œ ww
w nœ. J œ œ w
? b b # wœ œ œ œ w Ó œœ œœ œ˙ œ ˙˙ Œ ˙. Œ ˙.
w œ œ w Ó ˙

41
b C'
j
&b w ˙ ˙ n œ œ œ # œ œ‰ . œ n œ # œœ n œ œ œ œ ˙
œ œ œ œ œ œœœ jœ
? b b œœw œ œ œ œ œ œ œœ œ œ œ ˙ œ n w˙ ˙ œ
w
. œ œ
w ˙.

43
b j
& b œw. œ œ œ œ œ ww œ œ œ nœ œ œ œ œ œ œ œ œ ˙
˙ œœ œ œ œ œ . j œ˙ . jœ œ
? bb œ œ œ œ œ. nœ . œ
œ ˙
˙
œ
˙ œ œ
˙
œ
˙
œ œ
˙ J œ œ œ œ
J

45
b
& b œ œ n œ œ œ œ œ œ œ # œ n œ œ œ œ œ ˙w œ b œ œ œ wÓ nœ nœ œ w
œ œ œ œ œ œ . Jœ
? bb ˙ Ó œ œ œ œ ˙˙ œ
# œœœ œ˙ œ ˙ œ ˙ œœœœ
˙ ˙ ˙ w

47
b
& b ˙w ˙ œw œ œ # œ n œ œ œ œ œ ˙ ˙ w
n œœ œ œ œ œ n œ œ ≈ œ œ œ œ œ œ œ ww
? b Óœ œ œ Œœ œ œœ œœ œœœœ
˙ ˙
Œ ˙.
b œ w ˙ ˙
 201

16. Pavan

Dd.9.33, ff. 11v-12r Thomas Morley / Francis Cutting

b
A
j
& b C w˙ . œ œ ˙w ˙ œ œ œ œ œ ww œœ œœ .. œœ œ # ˙˙ n ˙˙
w Œ œœœœœœ œ J œ ˙
? b b C ˙w œ œ ˙w. œ œ ˙˙w œ nœ w ˙w. œ
w w w w w

b w œ w˙
4

& b œw œ ˙ ˙ ˙ ˙.
w ˙ ˙˙
˙ œ˙ œ œ œ œ œ œ

? b œ˙ ˙ ˙ œ ˙ . œ ˙ ˙ ˙. œ ˙w ˙
b w w w ˙ ˙

7
b j
& b # œ˙ . œ œœ œœ œ n œ œ œ œ œj œ œj wœ . n œ œ œ w
nœ. J œ œ ww
? b b ˙w #œ œœ œ œ œ œ n œ œ œ œ Œ ˙. Œ ˙.
˙ ˙ w ˙ ˙

A'
bb
9

& ˙w œ œœœ œ œ œœœœœœ˙ œ œœœ œ œ œ wœ b œ œ œ œ

œœ
w œ œœœœœœœœ
? b ˙w œ œ w˙ œ œ œ œ œ ˙˙ œ nœ w
b w w w w

b j w œ w˙
11

& b œ œœ .. œœ œ # ˙˙ n ˙˙
œ œ œœœœœœœ œœœœœœ˙ ˙ ˙. ˙
J œ ˙
? bb ˙. œ œ˙ œ Ó ˙. œ ˙ ˙ ˙. œ
w ww ˙ w w w

14
b j
& b œ œœœœœœ œœœœœœœœœœ # œ˙ . œ œœ œœ
j j
œ œ œ œ œ œ œ œ œ nœ œ œ œ nœ œ œ œ œ œ œ
œ
? b ˙ ˙ w ˙w # œ œœ œ œ˙ œ n œ œ˙ œ œ
b
 B
bb
16

w w Œ ˙. œ
&
n wœ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ ww ww œ œ œ w
202

? bb Œ ˙. ˙w Œ œ œ œ ˙
w ˙ ˙ w

18
b ˙
& b wÓ Œ œ œ œ ˙ œ œ œ œ wŒ œ œ œ Œ œ œ˙ ˙ ˙ œ ˙˙
? bb œ œ ˙ Ó j Œ œ œ œ œ œ
Œ œ œ œ œ . œ w˙ Œ œ œ œ
w w ˙ ˙

b j Œ œ œ œ œ . œj œ œ
21

& b œ˙˙ .. œ œ œ œœœ œ œ œ œ œ œ Ów Œ œ œ

. œ œ bœ œ œ œ œ w w
Œ œ . j
? bb w w Œ œ œ œ w ˙˙ œ
œ œ œ
Œ œ œ œ w w Œ œ œ œ . œ w

24
b
& b nœ ˙ œ œ œ b ˙˙ ˙˙ ˙œ œ œ œ ˙œ . œ
Œ œ œ œ œ œ œ œ œ œœœ
J J
? bb œ œ ˙ ˙˙
w w˙ . œ œ w ˙

B'
bb
26
Œ ˙.
& wœ . œ œ œ œ œ œ œ œ œ œ ww ww œ œ œ œ œ œ œ œ
œ
? b b ww Œ ˙. Ó Œ œ œ œœœ œœ˙
˙ ˙ w w

28
b œœ
& b wÓ Œ œ œ œœœ œœ˙ œ œ
Œ œ.
œ œ w œ nœ œ œ œ œ œ
? bb œ œ ˙ Ó Œ œ j
œ œ œ œ œ œ œ . œ w˙ Œ œ
w w ˙ ˙

30
b œ˙ .. œj œ œ œœ œ b œ œ œ œ œ œ œ œ œ œ
& b wŒ œ œ œ . œ œ œ n œ œ œ œ œ œœ ˙ ˙. œ
œ œ œœ
? bb œ œ œ œ Œ œ œ œ œ. œ œ œ œ bœ w w
Œ œ œ œ
32
b Œ œ œ œœœ œœ˙
& b wÓ Œ œ
œ œ bœ œ œ œ œ w w œ œ 203

Πj
? bb Œ œ œ œ œ œ œ œ w ˙˙ œ œ œ œ œ œ œ œ. œ
w Œ œ œ œ . œ w

34
b
& b nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ b˙ ˙˙ ˙ nœ œbœœ œ œ ‰ bœœ œœ
œ œœœ˙ ‰ œ œ œ œœ œœ ˙ œœ
? b w Œ œœœ ˙
b w w˙ œ œœœ˙ w

36
b
C
j
&b ∑ œ˙ . œ œ˙ œ œ œ
ww ˙ . œ œ œ œ œœ
œ œœœœœœ ˙˙ ˙˙
? bb w œ œ œ œ œ œ œ œ œ˙ ˙ . ˙ ˙˙ . œœ
.

38
b
& b ˙œ œ œ . œj ˙ . œ œœ b œœ œ . œj n ˙ . nœ œ Œ œ
˙ ˙. œ œ nœ ˙. # œœ # ˙w Œ œ œ n œ œ œ n œ n œœ . œ œ bœ
œ œ Œ J
? b œœ˙ œ œ˙ œ ˙ . œ œ ˙˙ ˙˙ .. ˙w ˙ ˙ ˙˙
b ˙. œ œ œ Œ œ

41
b j œ œ n œ œ œœ œ . j
& b œ. j #œ œ. #œ œ # ˙w. nœ nœ œ œ œ
œ œ œn œ œ œ œ œ ‰ nœ œ Œ
? bb ˙ Œ nœ œ œ œ n ˙˙ ww ˙ ˙
˙ œ œ

43
b
& b # œ˙ œ œ œ˙ œ n œ n œœ . ˙ œ n œ œ #œœ wœ . œ œ n œ œ œ œ œ ˙˙ ˙˙
j Jj œ
œ. œ n œ
˙ œ œ œ œ . œ œ œ n˙ œ œ # œœ œ œ œ œ œ œ œ ˙
? bb ˙ ˙ œ nœ œ œ ˙
œ œ ˙

bb
45 C'

& œ œœœœœœœ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœ

œœœ œœ
? b w
b w ˙ ˙
 (46)
b œ œ
204 &b œ œ œ œ œ œ n œ œ œ œ œ œ b œ œ œ œ œ œ œ œ n œ n œ œ œ œ œ œ œ œ œ œ œ œ œ n œ # œ œ #n œœœ œ
? b . œ ˙
b ˙ œ œ ˙. œ

48
b
& b #œ nœ œ œ ˙ Ó œ nœ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ
j nœ
œ œ . j
Œ
? bb w
‰ œ n œ œ œ œœ œ œ Œ bœ ˙
˙ œ
œ ˙ œ

(49)
b n œ œ œ œ œ . j
b
& nœ œ œ #œ œ œ œ ˙ # œœ n œ # œ œ n œ œ œ œ n œ œ œ œ œ
œ nœ nœ œ œ œ

? b œ ‰ œ œ nœ œ œ nœ ˙ ˙
b œ n ˙ w

51
b
& b œ œ œ n œ œ œ˙ œ œ œ œ œ œ œ œ œ œ œ#œ ww œ n œ œ œ œ œ œ œ www
j n œ œ œ œ œ œ œ
? b ˙ Œ . œ n œ˙ œ œ œ Œ ≈œ œ œœ œ œ œœ Œ ˙.
b ˙ w ˙ ˙
˙

17a. [Pavan]

Dd.5.78, f. 17v Francis Cutting

b Œ œ ˙ œ ˙
A
&b C nœ ˙ ˙ w œ # œ œ œ
nœ J J œ ˙
œ n œ œ
œ ˙ œ ˙ œ w ˙
˙.
œ œ œœœ œ Ó œ Ó ˙ ˙ ˙ Ó œ œ
? b C ww˙ . œ
b ˙ ˙ w ˙ ˙ ˙ ˙ œ œ ˙

4
b
& b œ œ œ œ œ # ˙˙ œœ œœ œœ œœ Ó ˙˙ œ˙ n œ œ œ nœ œ œ œ œ œ œ
œ ˙
? b ˙w œ œœœ œ œ
nœ
Œ Œ œ œ #œ œ œ œ œ œœ œ œ œœ nn œœ œ œ˙ œ œ œœ œ œ
b ˙. ˙ œ œ œ œ
#œ œ ˙. œ œ
7
b ..
& b œœ œœ œ œœ # œ œœ wœ œ n œ œ œ œ œ œ œ œ œ œœ œ n œ œ œ w 205
n œ œ œ œ œ œ œ œ œ œ ww
? b ˙œ œ w w Œ ˙. ..
b œ˙ w ˙ ˙

b
9 B

& b .. w˙ . œ œ œœ n œœ n œœ œœ n œ˙ œ œ œ ˙ # œ œ˙ œ ˙ œ ˙ œ œ œœ
˙˙ .. œ œ ˙ ˙œ . œ œ œ
? b .. # www w œ ˙ œ œ n œ
b w ˙ œ . J ˙ œ ˙ œ œ

b
œ˙ . œj œ
12
œ ˙
& b œ œ nœ
œ Œ œœ . œ œ n œ œ œœ œ ˙œœ œ ˙œœ œ œ œ ˙œ œ œ n œ˙ œ œ n œ ˙ œ˙ œ œ œ œ œ œ
j J
? b b œ˙ . œ œœ
˙ nœ ˙œ . ˙ ˙ ˙
œ ˙ bœ œ œ ˙ ˙ ˙ ˙ œ œ œ bœ ˙ œ œ nœ œ
J

15
b j j bœ nœ œ œ œ œ œ w ..
& b œ˙ . œ œ œ nœ œ # œ œ œ œ œ˙ . œ # œ n œ # œ œ n œ œ œ œ w
j œ œ #œ w
? bb œ.
œ œœ œ œ nœ œ œ˙ ˙ . ˙
˙ w ..
œ œ œ ˙

17
b C
˙
& b .. ˙˙ . œ ˙ ˙ n œ # œ ˙˙ wœ œ œ ˙ ˙ ˙ #˙ œ œ nœ

? b b .. ˙ œ œ œ œ˙ . ˙ œ ˙ w
Œ œ œ œœ˙
œ
˙
œ œ œ
˙
n˙
w œ ˙ ˙ ˙ Œ

20
b Œ œ œ œ œ œœ ˙œ œ n œ œœ œ œ œ œ˙ œ b œœ ˙˙ Œ œ œ œ œ œ œ œ œ
& b ˙˙ œ œ # œ n œ
Œ ‰J œœœ œœ
? b b Œœ œœ œœ œœ œw œ œ Ó œ œ œ œ œ œ œ œ˙ œ
œ œ ˙ œ nœ bœ œ ˙ œ œœœœ œœœ

23
b ..
& b w˙ Œ
œ nœ #œ œœ œœ . œ œ ww œ œ œ œ œ œ œ œ œ www
J n œ œ œ œ œ œ
? b œ œ œ œ œœ œ œ ˙˙ Œ ˙.
..
b ˙. œ œ œ w ˙ ˙
206

17b. [Pavan]

Dd.2.11, ff. 11v-12r Francis Cutting

b Œ œ ˙ œ ˙
A
&b C nœ ˙ ˙ w œ # œ œ œ œ ˙
nœ J J ˙ œ œ œ œ œ ˙ œ ˙ ˙œ œ
˙.
? b b C ww˙ .
œ œ œœœ œ ˙ œ œ ˙˙ œ œ ˙˙ ˙ Ó ˙˙
˙ ˙ w ˙ ˙ œ œ
Œ ˙ œ

4
b
&b ˙ œ œ œ œ # ˙˙˙ ˙˙œ ∑
œ œ œ œ œ œ ˙˙ œ˙ n œ œ œ n œ œ œ
œ˙ œ œœ œ
œ
? b wœ œ ˙ ˙˙ ˙˙ Ó œ #œ œ œ ˙ ww
b Œ n œ # œ œ ˙ ˙ . œ œ œ œ nœ
˙

7
b
& b w˙ . œ œ #œ nœ œ œ œ œ œ œ œ œ œ. w
n ww œ œ œ œ œ œ œ œ n œ œ ww
? b ˙˙ œ œ œœ œ ww Œ ˙. Œ ˙.
b Œ œ œ w ˙ ˙

bb
9 A'

& œ . œj œ n œ ˙ ˙ wœ # œ œ œ n œ œ œ œ œ œ œ œ œ œœ œ b œ n œ œ œ œ n œœ œ
œ
? b b ˙ww.
œ œ œœœœœ w ˙. œ
˙ ˙ w œ
˙.

11
b b ‰ œœœœ ˙ œ˙ ˙ w
& ˙œ ‰ œ œœœœ ˙ ‰ œ nœ œ œ œ œ w
œwœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ œ
? bb ˙ ˙ œœœœ˙ œ
˙. nœ

13
b ∑
&b ˙ œ œ œ nœ œ œ œ nœ œ œ ˙œ œ œ œ œ œœ . œ œ œœ
œœ n œ œ œ œ œ œ ˙ J
? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œw ˙ .
b #œ œ ˙ ˙. œ œ. œ œ n Jœ
 b
œœ œ œ n œ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ
15

& b œ˙ œ œ ˙ œ œ œ œ œœ œ œ œ œ œ œ œ œ
207
œ nœ
? b ˙œ . œ
œ œœœw
b œ œ w
œ w w
J

17
b B
j
& b ˙w. œ œ œœ n œœ n œœ œœ n œ˙ œ œ œ ˙ # œ œ˙ œ ˙
˙ œ˙ œ . œ œœ œ œ œ . œ
œœ˙
? b b # www w n ˙˙˙ ˙˙ .. œ œ œ ˙ ˙
w œ . œ ˙ ˙ ˙ œ œ
J œ nœ ˙

20
b œ˙ . œj œ œ
& b œ˙ œ n œœ
Œ
œœ . œ œ n œ œ œœ œ ˙˙ œ˙ œ œ œ ˙œ œ œ
j J
? b b œ˙ . œ œ ˙ nœ ˙œ . Œ œ ˙ ˙˙ ˙˙
œ œ ˙ bœ œ ˙ ˙˙
J œ

22
b j
& b n œ˙˙ œ œ n œ ˙˙ œ˙ œ œ œ œ œ œ œ˙ . œ ˙œ œ n œ œ ˙œ .
#œ nœ œ œ œ œ
j J J
? b n ˙˙ ˙ ˙ œ œ œ œ œ
b ˙ œ œ œ nœ ˙ œ œ n œ œ œœ . œ ˙
n ww

b B'
& b wŒ ˙ .
24

˙˙w ˙˙ œw. œ œ œ œ œ œ œ œ œ œ œœ . œ œ œ n œœ n œœ œœ
w J
? b b # ˙œ . œ˙ œ œ n œ ˙œ ˙˙ # www w
œ œ ˙˙ w
J
26
b j j
& b n œ˙ œ œ œ œ œ œ œ œ . œ # œ œ œ˙ n œ œ œ ˙˙ œ˙ œ . œ œœ œ œ œ . œ
˙ œ. J œ œ ˙
? bb ˙ ˙œ œ ˙ ˙ ˙ ˙
˙ . J ˙ œ œ ˙ œ œ
œ nœ ˙

b
œ˙ . œj œ œ œ œ œ œ œ
28

& b C œ˙ œ œ œ n œ œ œ
œ ‰ J n œ œ œ œ œ œ ˙˙ ˙˙ ˙œ œ œ

? b b C œ˙ .
j
œ œ ˙ œ nœ ˙ Ó ˙ œ œ œ œ œ œ œ nœ ˙
œ œ ˙ œ. bœ œ ˙ ˙
J œ ˙
 30
b j
208
& b œ œ œ œ œ œ œ n œn ˙˙ œ œ
˙ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ
œ #œ œ œ œ œ œ œ
˙ . œ
˙
œ œœœœ œ ˙ œ #œ œ œ
? b œœ n œ œ œ
b ˙ œ œ œ nœ ˙ œ œ ˙ œ œ ˙

32
b C
& b # œww
# œ œ n œ œ œ œ b œ n œ œ œ œ œ œ ww ˙˙ . œ ˙ ˙ n ˙œ # œ ˙˙ wœ œ œ ˙
nœ w
? bb w ˙ œ œœœ ˙ œ ˙ Œœ
œ ˙. w ˙ . œ ˙ ˙ w
˙ ˙

35
b ˙ Œ œ œ œ œ œœ
&b ˙ ˙ œ œ nœ œ ˙ œ œ˙ œ
#˙ ˙ Œ ‰ J # œ n œ œ œ œ n œ œ œœ œ œœ œ œ œ œ b œ
˙ ˙ ˙ Œ œ œ œ w
? b b œÓ œ œ œ œ œ œ n ˙ œœ œ œœœ œ ˙ œ nœ œ bœ œ ˙
Œ œ

38
b Œ œ œ œ. œ œ. œ œ
& b ˙˙ .œ ˙ Œ nœ #œ œ œ œ w w
w œ œ œ. œ
J n œœ .. Jœ œ œ œ œ ww
œ. œ. œ
? b Ó œ . œ œœ . œ œ œœ . œ œ œ˙ œ œ œ œ œ œœ œ œ ˙ Œ ˙. Œ ˙.
b œ œ ˙. œ œ œ ˙ w ˙ ˙

41
b C'
& b ˙. œ œ œ œ œ œ œ œ ˙ œ n ˙œ œ œ # œ œ˙ œ œ œ œ œ œ œ œ œ # œ n œ ˙
Œ
œ œ œ œ œœœœ œ œ ˙ Ó Œ œ
? bb ˙ . œ ˙ w
w ˙

b
œ œ œŒ œ‰ œ ˙œ # œ n œ œ
43

&b ˙ ˙
#˙ œ œ œ œ nœ œ œ
˙ J
˙ j
? b b œÓ œ œ œ œ Œ œ œ˙ œ œ œ œ n ˙˙ Œ ‰ œ œ œ œ œ
œ œ œ œ œ œ ˙

45
b
& b ˙œ œ n œ œœ œ
œœ œ œœ œ œ œ œ œ b œ œ œ œ œ œ
˙
˙
Œ œ œ œœœœœœ
Ó œ œ œ œ œ œ œ œ˙ œ
? bb
˙ œ nœ œ bœ œ ˙ œ œœœœ œœœ
 47
b
& b ˙˙ Œ
œ n œ œ œ # œ œœ œœ . œ œ œœ ww œ œ œ œ œ œ œ œ œ ˙˙˙ ˙˙ 209
J n œ œ œ œ œ œ ˙
Œ
? b b œ˙ œ œ # œ œ œ n œœœ œ ˙˙ Œ œ ˙˙
. œ œ w ˙ ˙

18. Groninge Pavan

Hirsch, f. 12r Francis Cutting

b ˙ ˙ œ œ n˙
A
& b b C w˙ . nœ ˙ ˙ ˙ n œ n ˙œ ˙˙ .
w ˙. œ ˙ œ nœ # ˙ ˙ œ
w w n˙ ˙ ˙.
? bb C w
b ˙. nœ ˙w. œ ˙ ˙ w ˙.
œ

b w
& b b œ˙ œ œ˙ œ œ ˙ ˙ ˙˙ œ˙ œ n ˙
4

œ œ ˙
œ . œ n œw. œ n œ œ œ œ œ œ œ œ œ www
? bb ˙ œ œ œ œ œ ˙. w Œ ˙.
b ˙ w ˙ ˙ w w Ó ˙

bb bœ
A'

& b œw. œj œ n œ wœ œ œ ˙ ˙œ . œ ˙œ n œn ˙œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ # œ n œ œ œ œ œ œ œ œ n œ œ œ œ œ
7

J
w
? b w w w
bb ˙. nœ ˙. œ˙ ˙ w

bb bœ œ ‰ w
œ n œ b œ œ œ ˙ œ œ œ œ œ œ ˙œ œ œ n œ œ˙ œ œ œ œ œ b œ œ œ œ œ œ
( 9)

& b œ
˙ nœ œ œ œ œ œ
? bb œ ˙ ˙ w
b ˙.

b
& b b ˙œ œ œ œ ˙˙œ œ œ ˙œ
11
n˙ œ œ nœ
œ œ n œ n œ œ œ œ œ œ œ œ n œ œ œ œ œ n w œ œ œ œ œ œ œ œ œ œ œ œ www
Œ ˙.
? b b ˙˙ ˙ w Ó ˙
b w
 b ˙ œ œ œ ˙œ n œ œ b œœ œœ œœ œœ
13 B
210 & b b Œ ˙˙ œœ w˙ œ œ œœ œœ ˙œ n œ ˙ ˙˙
˙
Œ œ ˙ œw ˙ œ ˙˙œ ˙ ˙ ˙ œ n œœ œœ n œœ ˙œ
? bb w
b œ ˙ œ œ w

j j j
b œ œ œ j
16

& b b œ˙ . œ n œ n œ œ œ œ œ œ˙˙ . œœ . œ œ œœ n œ œ˙ œ œ .
œ bœ
J œ
˙ bœ ˙œ œ œ œœ .. b œœj œœ œ œ œ
? b ˙ œ œ J œ
bb ˙

j
bb
18 B'
& b œw œ œ œ œ œ œ œ œ œ œ ww Œ œ˙ . œ œœ ˙w
œ œœœœ w œ œ
j
Œ ˙. Œ œ ˙ œ œ . œ œ
? b w ˙ w w
bb Ó

b ˙ œœ œ œ œœ œ ˙œ n œ œ b œœ . œ œ œ œœ œœ œ
20

& b b œœ œœ œ˙ œ œ n œ ˙ ˙˙
j j J œ
˙ ˙ œ œ n œ œ œ œ ˙œ
? b b ˙œ œ œ ˙
˙
œ œ w
b

22
b b b œ n œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ . œj œ œ œœ . œ œ œœ n œ œ˙ œ œ . b œj
& ˙ ˙
w J œ œ
œ. œ bœ
˙œ œ œ œœ .. b œœj œœ œ œ œ
? bb œ J œ J œ
b w

bbb
24 C
& œw œ œ œ œ œ œ œ œ œ œ ∑
Œ œ œ œ
Ó ˙
œ œ œ ww ˙
? b b ww wœ œ œ œ œ œ œ œ œ œ œ œ œ ˙ n˙ n ˙ œ ˙œ
b œ Œ œ
∑

b œ œ ˙ n œ œ œ ˙œ ˙œ . Œ œ œ n œ œ œ
26

& b b n ˙˙ nn ˙œ œ ˙w. . œ
Œ œ ˙ ˙ J œ . Jœ œ œ ˙
b˙ ˙ ˙ nœ œ œ œ œ n œ œœ ˙ ˙ œ
? b n ˙w ˙ w ˙ œ ˙ œ œ
bb
29
b
& b b n œŒ œœ ˙œ œ œ˙ œ n œ œ œ˙ œ w
n œ œ n œ œ œ œ œ œ n œ n œ œ œ œ œ œ œ œ www
211

? b b ˙˙
. b˙ œ œ œ ˙. w Œ ˙.
b w w Ó ˙

31
b C' j œ˙ œ
& b b Œ∑ œ œ œ œ œ œ Ó
˙ ˙ n ˙œ œ n œ œ œ œ n ˙œ œ œ œ˙ . b œ

? bb ‰ œ. n˙ ‰ n œ . œ œ ˙œ œ Ó ˙
˙ œ . n œj
b w Œ nœ bœ w w

33
b œ œ œ ˙œ ˙œ . Œ
&b b œ ˙œ ˙ nœ ˙ . nœ œ. œ œ œ n œœ œ˙ œ
J J
? bb ˙ œ. #œ œ nœ œ œ œ œ œ œ œ nœ œ ˙ ˙ œ
b J ˙ œ œ œ

b œ n œ œ œ œ œj œ œ œj
35

& b b n œŒ . œ œ œ œ ˙œ œ Œ. œ œ nœ œ
œ œ
n œœ œ œ œ n œœ n œœ œ n œœ œ n ww
J J
˙ . b˙ œ œ. Œ ˙.
? bb ˙ w Ó ˙
b w

19. Sir Fulke Greville’s Pavan

Dd.9.33, ff. 18v-19r Francis Cutting

A
& b C ˙˙ .. nœ ˙ ˙˙
œœ ˙ ˙ œ œ œ œ œœ œ œ # œ ˙œ œ œ˙ œ œ œ
˙
? b C ww ˙˙ œ œœ˙ œ œ œ w ˙ œ œ œ . œj
#˙ œ . œœw ˙
˙ ˙ ˙ ˙

4
˙œ . j
œœ œœ ˙œ ˙ œ œœ . œ œ
j
& b # œ . œj œ œ œ˙ œ ˙
˙ œ œ ˙ œ ˙˙ Œ
œ œœ ..
J
j
? b œ . œ œ œœ œ˙ œ œ˙ œ ww œ . œj œ œœ ˙. œ ˙ œ œ
˙. œ . Jœ œ œ ˙. œ œ . Jœ œ œ
 7
j j j A'
212 & b œ˙ œ œ
œ œ œ œ œ œ‰ œœ . œ # œww. n œ œ œ œ œ www ˙œ .. œ œ œ œœ œ ˙
J ˙
j
œ . œ œ œœ œœ œ œ œ # œ Œ ˙. œ œœœœ œ
? w ww ˙ #˙ œ
b œ œ œœ œ œ ˙ ww ˙
w ˙

10

&b œ œ œ œ œœ . n œ œ œ œ œ #œ œ˙ œ œ ˙œ œ œ œ˙ œ œ œ
J œ ˙
jœ w ˙ ‰ œ œ œ. j
? œœ˙ ... œ œ
œ œ w ˙ œ œ
b ˙ ˙ ˙ ˙

12

& b # œ œ œ œ œ œ˙ œ œ œ œ œ b œ œw œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙˙ Ó
˙ nœ
j j œœœœœœœœ
? œ. œ œ œ œb œ . œ œ˙ œ œ w
œœœœ
b ˙. œ ˙ œ. œ œ œ
J

œ . œj œ˙ œ œ
14

& b œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ #œ œ
j œ
œ . œ j
œ . œ œ œœ œ
?b ˙ œ œ œ. œ œ œ œœœ œœ œ œ ˙
J

16 B
& b # œ œ œ œ œ œ n œ œ œ ww
‰ œ nœ #œ
˙. œœ œ˙ œ ˙˙
# ˙˙ ..
˙Ó . œ œœ ˙œ œ ˙œ œ
?b w
Œ ˙.
˙ ˙w ˙ ˙˙ Œ œ œ˙ œ œ œ œ œ œ œ
w #˙ . œ ˙ ˙
˙

19
b œ œ . œj œ ˙ œ ˙ œ œ œ nœ œ œ
& œœ œ œ œ œ œœ ˙ # œ œ œ œ ˙œ œ œ ˙œ . œ œ
œ œ œ
œ # œ n œ œ # œ˙ ˙ ‰ Jœ
?b ˙
˙ œ œ œ œ ˙ ˙ ˙˙ ˙œ œ ˙ ˙œ n ˙ œœ œ œ œ œ œ œ
œ œ œ œ ˙ . œœ œœ˙ ˙
J

22 B'

&b w ˙ ˙˙ œ˙ . œ œ œ œ œ ˙˙
œ. œ
J œ œ œ œ ˙ # œ n œ œ œœ ˙œ œ œ
#w Ó Œ œ
? b ww ˙ œ ˙˙ ˙ #˙
Πw
 24
jœ œ œ œ nœ œ œ
& b ˙Ó . œ œœ œ˙ œ œ œ ˙œ . œ œ œ œ œ œ œ œœ œ œœ ˙
œ . œ
œ #œ 213

œ œ œ œ œ œ . j œ œ Jœ ˙ œ œ œ
? b ˙. œ˙ œ œ œ
œ ˙ ˙ œ œ œ œ ˙

26

& b œ˙ œ œ œ œ ˙œ œ œ œ wœ œ œ œ œ # œ œ œ œ œ œ œ # ˙œ œ œ ˙˙ œ œ œ nœ œ œ œ
nœ ‰ œ Jœ
?b ˙ ˙˙ ˙œ œ ˙œ œœœœœœ
˙
˙ . œ n ˙œ œ œ œ˙ ˙
J

‰ œj œ œ
28 C

&b ˙ Óœ œ ˙ ˙. œ
œ œœœ n œ œ ˙ œ œ b œ œ œ ww ˙ w
bœ
?b œ œœ œœœ
j
Œ. œ ˙ ww˙ . œ ˙
w ˙
w. ˙

30

& b b ˙w ˙ ˙˙ . œ œœ œw œ œ ˙ ˙ ˙ œ œ œ œ
b œ œ n œ œ œ œœ b œœ œ œ œ˙ œ ˙ œ œ
b œ˙ œ ˙˙
? b œ˙ . œ œ œœ ˙ ˙ Ó
œ b œ ˙
œ œ œ œ œ œ œ˙ œ ˙œ œ b ˙œ œ œ œ
b ˙ ˙

œ˙ . œ œ œœ œ˙ œ œœ œœ œ ˙œ œ ˙œ œ ˙˙
33

&b œ œ œ œœ ˙œ . œ œœ ˙œ . # œ n œ œ œ œ œ
J J J
? œœ œœ œ # œ œ œ œ œ œ œ œ œ œ œ œ ˙œ . œ ˙ œ ˙
b œ w ˙ œ œ ˙ ˙ œ
J œ œ œ ˙ ˙w

36 C'
& b # wœ œ œ œ œ œ www œœ œ œ b œ œ œ œ ˙ ˙ . nœ ˙ ˙
w
Œ ˙. ˙. œ
? b ˙œ . ˙ ˙ w
œ œ œ œbœ œ œ œ ˙
w b œ˙ .œ œ œ œ œ œœ
œ ˙ ˙
J
( 38)

& b ˙˙ œœ œ œœ œ wœ œ œ b œ œ œ b œ ˙ n œ ˙œ œ
œ
˙œœ œ œ œ œœ œ œ œœ œ œ œ œ œ œ œ œ
b˙ ˙
bœ œ œ œ œ œ ˙ j j b˙
˙˙ Óœ œ j
œ˙ . œ œ . œ œ˙ . œ ˙
? ˙
b b œ œ n œœ œ œ b œ . Jœ œ
œ
˙
 œ œ œ˙ œ œœ œœ ˙
41
214 &b œ œ œ˙ . œ œ œ œ œ œ œ œ ˙˙ œœœœœ
j j j
? b œœ œ œ œœ œœ # œ . œ œ œ œ. œ œ œ œ. œ œ œ œ œ ˙œ .
w ˙ œ œ ˙ ˙ œ
J

43

& b œœ˙œ . œ œœ œ œ œ wœ œ œ # œ œ œ # œ œ œ œ œ œ n œ ˙≈ œ œ ww
J # œ œ œ
nœ œ œ œ œ nœ #œ œ œ w
?b œ ˙ ˙ œ ˙ ˙ w
Œ ˙.
˙
œ œœ w ˙

20. Pavan

Dd.2.11, f. 6v Francis Cutting

A
Ó ˙ ˙ w
&bC ∑ ˙
˙ ˙ ˙ w œ œ w˙ . œ ˙˙ . ˙ œ Œ œ ˙ wœ. œ œ œ ˙ ˙Ó
? b C b ww
˙˙ ˙ ww ˙ ˙ w w. ˙˙
˙. œ ˙ ˙ w w ˙ . œ w .

&b ∑ Ó ˙ œ œ œ œœ ˙˙ ˙˙ œ˙ œ ˙˙ œ˙ . œ œ œj œ œ œj
œ œœ˙ w ˙. ˙
? ˙˙ ˙˙ wÓ ˙ ˙. œ ˙ œ œ œ ˙w ww
b œ œ

A'
Ó
8

& b œ œ œ œ œ œ bœ œ œ œ ∑ ˙ œ œ œ œ œœ w
w œ œ œ œ œ ww ˙ ˙ œ b œ œ œ œ b ˙. œ œ. œ œ nœ
? w Œ ˙ .˙ bw ˙ ˙
b Ó w˙ . œ ˙ ˙ w w

11

& b wœ œ . œ œ œ wŒ ˙ ww ˙˙ Ó ∑ ‰ œœœœœ˙
. ˙ œ œœ ˙ ˙œ
?b ˙ ˙ Ó ˙
wœ œ . œ œ œ ˙˙ ˙˙ ˙˙ ˙œ œ œ wÓ ˙
w ˙ œœœœ
 14

& b œ˙ œ œ ˙œ œ œ ˙˙ ˙˙œ˙ œ ˙˙ œw œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ww 215

˙
?b ˙ ww œ ˙.
˙ ˙ œ œ œ ˙w œ œ w
˙ ˙

b˙
B

œ œœ b ˙ œ œ
17

& b b ˙˙ .. œœ ˙˙ ˙œ œ ww ˙. œ b ˙˙ . ˙
˙ œ˙ œ œ˙ œ n œ˙ œ œ ˙œ b œ ˙ bw ˙
? b b ˙w w
˙
w ˙
œ nœ
˙

20
œœ ˙˙ b ˙œ w w n˙
& b ˙˙ .. œ # œœ œ œ ˙ Ó
ẇ
b˙ œ œ œ œ ˙
b˙ ˙ ˙. œ Ó
? b˙
b
˙œ œ ˙˙ ˙ ˙ œ œ w ˙ œ œ ˙
w ˙. œ

23 B'
&b œ b œ˙ . b œ œ œ œ œ œ œ œ n œœ
œ œœœ œ œ œ ˙ n œœ œœ œ œœ œ˙ œ ˙˙
Ó w
?b # œœ ˙ ˙ ˙ œ w
n œ œ œ œ ˙ bw.
#œ œ œ œ œ ˙ ˙ ˙

œ b˙ œ œ
( 25)

& b ˙œ œ b œ œ ˙œ .
œ œ ww ˙ œ œ œ b ˙œ .. œ œ œ œ b˙ ˙
J
œ œ œ œ n ˙œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙ bw ˙ œ nœ
?b ˙ ˙ œ bœ w w ˙ ˙

28
œœ ˙˙ b ˙œ w w n˙
& b ˙˙ .. œ # œœ œ œ ˙ b wœœ œ œ œ œ œ œ ˙
Ó
b˙ ˙ ˙. œ Ó
? b b˙ ˙œ œ ˙˙ ˙ ˙ œ œ w ˙ œ œ ˙
w ˙. œ

31 C
&b j
œ œœœ œ œ œ ˙ n œœ œœ œœ œœ œ˙ œ ˙˙ œ˙ . b œ œœ œœ œ œw œ ˙
? Ó #œ ˙ ˙ œ w œ #œ ˙ ˙˙ œœ œœ w
b #œ œ œ œ œ œ ˙ ˙ n œ œ œ˙ ˙ w
 34
j jœ
216 & b wœ . œ œ œ œ œ œ ˙ b˙ œ . œ ˙ œ œ œ˙ œ œ˙ œ
Œ œ
b œ˙ . œ ˙ n œ ˙Ó ˙
˙
› Ó Œ œ
?b ˙ ˙ w b ˙˙ ˙œ œ ˙
˙ ˙œ ˙ ˙ nœ œ ˙
œ

37

&b œ œ ˙ w œ œ b œ˙ œ ˙ . œ œ œ ˙ œ œ œ œ œj œ œj
Œ œ ˙
Ó Œ œ œ
?b Œ œ ˙ œ ˙˙ œ œ œœ ˙˙ œ˙ œ b œ˙ œ œ œ œœ˙ œ œ œ œ œ
Ó Œ œ Ó w

40 C'
& b œ bœ œ œ œ œ œ œ œ
œ œ œ œ œ ww
œ ˙œ œ œ œ œ œ b œ œœ œœ œ œœ œ œ œ œ œ œ ˙
J
? ww œw œ ˙˙ œœ œœ w
b ˙ w

42

& b ˙œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙‰ œ œ b œ œ œ œ œ˙ œ œ œ œ œ œ œ œ œ œ œ œ
˙
?b
› ˙ ˙˙ ˙œ
w b˙ ˙
˙ œ

44
Œ œœ œœ ˙
& b bœ œ ˙
œ nœ ˙
Ó
˙ œ w œ œœ œ b ˙œ œ œ œ ˙˙ . œ
Œ Œ
Ó Ó Œ œ œ œ œ ˙˙ œ œ ˙
?b ˙ œ œ nœ œ œ
œœœœ Œ ˙œ Ó œ Œ œbœ œœœ ˙ œ˙ œ œ œÓ œ œ œ
˙

47
œ
&b œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œw œ œ œ œ œ œ œ œ œ œ œ œ œ wœ ˙ .
œ œ
? œ œ œ œœœœœ w w w
b ˙ ˙
 217

21a. Pavan (Pavana Bray)

Barley (orph.), ff. D3v-4v William Byrd / Francis Cutting

A
& b C wœ@. œ œ œ w˙@ œ œ ˙˙ ˙˙
˙w. œ œ˙@ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ
J @ œ
? C w w w
˙.
w ˙˙ ˙
˙ ˙
w
n˙
b w w œ œ œ ˙

4
Œ ˙
& b wÓ ˙ ˙ ˙ œ œœ˙ œ œ œ œ œ œ œ ˙. ˙.
œ ˙
œ ˙
˙
@ J J
? ˙˙w œ œ Œ ˙ œ
w
˙.
w
w
œ œ ww Œ ˙
œ
b w w

& b ˙œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj œ œj œ œ œ œ œ bœ œ œ œ œ œ œ œ w ..
œ ˙ œœw
? b˙ ˙ Ó
w œ œ ww Œ ˙. ..
b w ˙ ˙

9 B
& b .. wÓ ˙œ œ ˙˙ ˙œ . œ ˙ œ œ œ˙ . œ ˙ œ œ œ ˙ œ
˙ œ@ ˙ œ œœ œœ˙
œ ˙ ˙ ˙
?b .. ˙˙w. œ ˙
w ˙ ˙ ˙
˙
˙.
˙ ˙ œœ
. ˙ w w Ó

˙ ˙ œ œ œ nœ œ
12

&b w Ó ˙˙ ˙˙ . ˙ œ œ ˙˙
˙ ˙ ˙ œ ˙ ˙ œ œ ˙ ˙
˙ ˙ ˙ œ œ œ œ
? b œ˙ . œ ˙ œ ˙˙ ˙ ˙ ˙ ˙ ˙˙ œ œ w
˙

@ j j
& b n ˙œœ œ ˙œ œ œ˙ . œ@ œ œ œ œ œ ˙œ œ œ œ œ œ œ œ œ œ œ œ œ œ ww
15
..
œ w
?b Œ ˙. ˙ ..
w w w Ó
 j jœ œ
& .. wœ . œ œ œ œœ œ ˙
C
Ó
17
b œ ˙˙ w œ œ œ œ # œ ˙˙ œ . œ œœ
œ ˙ b œœ œ ˙
218
w œ œ. J Œ
j j j
œ . œ œœ œ œ˙ . œ ˙ . œœ n œœ œœ œ˙ . œ ˙ w j
? .. Ó
b w œ œ. œœ
J ˙ œ . Jœ œ œ œœ . œ œ

j j
jœ œ œ. œ œ œ ˙
20

& b wœ .
œ œ œ œœ ˙˙ œ˙ . œ . œ œ ˙ œ ˙ œœ ˙ . œ œ
œ œ œ n ˙˙
œ œœ œ œ œœ œœ œœ œœ ˙˙ ˙ œ œ œ. j
? œ˙ œ˙ w
b . J ˙ ˙ ˙ œ . Jœ œ ˙ œ ˙˙ ˙˙

23
œ ‰ j ..
b
& œ œ œ ˙ j j
œ˙ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ. œ ˙˙
˙œ Ó w ‰
? b ˙˙ ˙œ œ œ œ wœ œ ˙ w Œ œ ˙
..
w ˙ ˙

21b. Pavan (Pavana Bray)

Dd.9.33, ff. 12v-13r William Byrd / Francis Cutting

A
& b C wœ . œ œ w˙ ˙. œ œ˙ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ
Jœ œ œ ˙˙ ˙˙ w œ
?b C
w w w w ˙˙ ˙ ˙w n˙
˙ . œ œ œ ˙ ˙
w w

4
Œ ˙
& b wÓ ˙ ˙ ˙ œ œœ˙ œ œ œ œ œ œ œ ˙. ˙.
œ ˙
œ ˙
˙
J J
? w˙˙ œ œ Œ ˙ œ
w
˙.
w
w
œ œ ww Œ ˙
œ
b w w

&b ˙ œ j j
œ œ œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ w
œœw
? b b˙ ˙ Ó
w œ œ ww Œ ˙.
w ˙ ˙
9 A'
˙.
& b wœ . œ œ œw. œ œ œ œ œ œ œ œ œ œ ˙œœ œ œ œ œ œ œ ˙Œ œ œ œ œ ˙ œ
219
J œ
? w w
˙.
b w w œ œ œ ˙

11

& b œ œœœœœœœ œœœœœœœœœœœœœœœ œ œ œ œ œ œ œ ˙ œœœœ˙

?b ˙ Ó n˙ ˙ œ œ Œ ˙ œ
˙ w w w

13
Œ œ œ
&b œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ ˙ . œ œ ˙ œ œ˙ œ œ œ ˙˙
J J
? b w˙
w
œ œ œ œ w Œ ˙
w w w œ œ

15

&b ˙ œ œ
œ œ œ œ œ˙ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w
wb œ œ œ œ œ œ œ œ œ œ œ œ œ œ w
Π.
? b b˙ ˙ w w ˙
w ˙ ˙

17 B
& b wÓ ˙œ œ ˙˙ ˙œ . œ ˙ œ œ œ˙ . œ ˙ œ œ œ ˙ œ
˙ œ ˙ œ œœ œœ˙
w˙˙ . œ ˙ ˙ w ˙ ˙ ˙.
?b
. œ ˙ ˙
˙ ˙ ˙ ˙ ˙ œœ
w w Ó

˙ ˙.
20

&b w Ó ˙˙ ˙˙ . ˙ œ œ ˙˙ œ œ˙ n œ œ
˙ ˙ ˙ œ Ó ˙ œ œ ˙
˙ ˙ ˙ œ œ œ œ
? b œ˙ . œ ˙ œ ˙˙ ˙ ˙ ˙ ˙ ˙˙ œ. œ
˙ Jw

23 j j B'
& b n ˙œœ œ ˙œ œ œ˙ . œ œ œ œ œ œ œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ ww Ó
œœ œ œ œ œ œ œ ˙
œ w
?b
Œ ˙. œ
w w w ˙ ˙ ˙. œ
 ( 25 )
220 &b ˙ œ œ œ œ ˙ œ œ œ œ œ˙ œ œ œ œ œ œ œ œ ˙ œ œ œ˙ œ ˙ œ œ œ œ œ ˙
‰ ‰œ œ
œ œ œ œ Ó
? œ ˙ ˙ ˙˙ ˙. ˙ œ œ
˙
b ˙ ˙ w w Ó

œœœœœœœœ˙
28

&b w œ œ œ œ œ œ œ
œœ œ œ œ œ œ œœ b œ ˙
˙ œ œ œ œ
? œ˙ . œ œ œ œ ˙ ˙ ˙
b ˙ ˙ ˙

˙ œ œ œ n œ œ n ˙œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w
30

& b ˙˙ œœ ˙ ˙ œ œœw œ œ œ œ ww
? ˙˙ Œ ˙.
b œ. œ w w w w ˙ ˙
J

j
œ . œ œ œ˙ œ œœ b œœœ œ ˙˙
33 C
j œ Ó
& b wœw. œ œ œœ œœ ˙˙ w
œ. œ œ œ œ #œ ˙˙ Œ
j j J j ˙
œ . œ œœ œ œ˙ . œ ˙ . œ nœ œ œ j
? wÓ œ. œœ œ œ œ
œ˙ . w
œ œ . œ
b œ J ˙ œ . Jœ œ œ œ

j j
jœ œ œ. œ œ œ ˙
36

& b œw. œ œ œ œœ ˙˙ œ˙ . œ . œ œ ˙
œ œ œ n ˙˙ œ ˙ œœ ˙ . œ œ
œ j
? œ˙ œ œœ . œ œ Jœœ œœ œ œœ ˙˙ ˙ œ œ œ. œ ˙ wœ ˙
b ˙ ˙ ˙ œ œ ˙ œ ˙ ˙˙

39
œ ‰ j
b
& œ œ œ œ ˙ j j
œ˙ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ . ˙˙
œ
˙ Ó w ‰
? ˙˙ œ œ œ œ œ œ ˙
˙ w Œ œ ˙
b w w w

œ œ
41 C'
& b œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ. œ #œ ˙
œ œ œ œ
j
? w˙ œ. œ œœ œ ˙
œ. Jœ œ œ n œœ œœ œ œ˙ œ œ œ
b œ
 œ
& b œœ œ œœ œ œ˙ œœ b œœœ œ ˙
43
œw œ œ œ ˙ œ œ œœ œ œ œ œ
œ œ œœ
221

˙ œ
?
b ˙
w
œ. œ œ œ œ˙ n œ œ œ œ˙ œ œœ . œ œ Jœœ œœ œ œœ ˙˙
J

j j
œ œ. œ œ œ œ œ œ œ œ ˙
45

& b wœ œ . œ œ ˙
œ œ n ˙˙ œ ˙ œœ ˙ œ‰ œ
j œ œ nœ œ œ
˙ œ˙ œ œ˙ . œ ˙ w
?b ˙
œ. œ œ ˙ œ ˙ ˙
J

47

& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ww
˙
? ˙˙ ˙ œ ˙.
b w w ˙ ˙

22. Galliard

Euing, f. 29r Francis Cutting

b 3
A
j
& b 2 œw. œ ˙ œ œ w
˙ œ˙ # œ ˙œ . n œ ˙œ œ ˙œ # œ ww ˙ œ
J œ
? b 3 ˙. œ #˙ œ . Jœ œ œ ˙ ˙ ˙ n˙ œ . n Jœ œ œ b ˙
b 2

5
b
& b œ . n œj ˙ b ˙œ œ œ˙ œ ˙˙ ˙˙ œ˙ # œ Œ n ˙˙˙ .. œ ˙˙˙
w ww
? bb ˙. œ ˙ j j Ó w
œ. œ œ œ ˙ œ. œ œ œ ˙ w ˙

b
9 A'

& b œ œ œ œ œ œ œ˙ œ w œ˙ # œ ˙œ œ n œ ˙œ œ ˙œ # œ ww ˙ œ
œ
? b w #˙ œ #œ œ œ œ œ ˙ ˙ ˙ n˙ œ . n Jœ œ œ b ˙
b
 13
b
222 & b œ œ œ nœ ˙ b˙ œ wœ œ ˙ . œ˙ œ ˙˙ œ˙ # œ Œ ˙˙ .. œ ˙˙
˙˙
Œ nœ. œ œ ˙
? bb ˙. œ ˙ j Ó w
œ. œœ œ ˙ œ œœ œ œ ˙ w ˙

B
bb
17

œ œ œ œ ˙ œ œ œ nœ
& ˙
˙
œ nœ œ œ
w ˙ ˙w n˙ w˙
˙ œ œ œ ˙ nœ œ œ
? b ˙. œ œ œ ˙ œ nœ œ œ œ
b œ

21
b
&b ˙ ˙ ˙
œ œ˙ n œ œ ˙ ˙ ˙ ˙ # œ œw ˙ œ ˙˙˙ Œ ˙˙ .. ˙˙
Œ ˙ ˙. ˙
Ó
? bb ˙. œ ˙ ˙ ˙ ˙ ˙ #˙ œ ˙. #˙ œ ˙˙
œ

25
b B'
œ œ œœœœœ œ œ
& b œ œ nœ œ œ œ œ œ œ n œ œ œ œ w˙ nœ
w. œ œ œ œ ˙w
œ œ œ ˙. nœ œ œ
? b ˙.
b œ œ œ œ nœ œ ˙.
˙.

29
b j
& b œ . ˙ œj ˙ œ n œ œ ˙ ˙ œ . œ # œ œ˙ . ˙ œœ ˙˙˙ #œ œ nœ œ œ œ œ ˙
Œ œ ˙ ˙ w
? bb ˙. œ ˙ ˙ ˙ ˙ ˙ #˙ œ w.
œ

bb
C
Œ œ ˙ #œ
33

& ˙ ˙ ˙ Œ œ ˙ ˙ ˙
˙ ˙ ˙ Œ
? b ˙˙
.
˙
˙ œ œ ˙ # œ Œ œœ œ ˙ ˙ œ
˙ ˙ ˙ œ˙ œ ˙ ˙
b ˙ ˙ ˙ œ

37
b
& b ˙œ n ˙ ˙ ˙ ˙ #˙ Œ nœ œ
œ ˙ ˙ ˙
#œ Œ n ˙˙ . œ ˙˙
? bb ˙ ˙ ˙œ Ó œ œ œ˙ œ # œw ˙ œ Ó w
n˙ œ ˙ ˙ w ˙
41
bb
C'
Œ œ j Œ œ ˙ #œ
& ˙ ˙ ˙ j
œ. œ ˙ œ. œ ˙ ˙ 223
˙ Œ
? b œ˙ œ œ œ˙ ˙ ˙ œ œ ˙ # œ Œ œœ œ ˙ ˙ œ
˙ ˙ ˙ œ˙ œ œ ˙ ˙
b ˙ ˙ œ

45
b
& b ˙œ n ˙ ˙ ˙ ˙ # œ #˙ Œ nœ
œ œ ˙ ˙. œ œ Œ n ˙œ .. œ œ œ ˙˙
Ó œ œ j
? bb ˙ ˙ n˙ ˙œ œ˙ œ # œ˙ œ . ˙ œ œ Ó w
œ ˙ ˙ w ˙

23. [Galliard]

Dd.5.78, ff. 37v-38r Francis Cutting

b3 A
& b 2 œw œ ˙ ˙˙ wœ . œ œ n œ ˙ ˙ n œ œ˙ ˙ b ˙ œ
œ Œ ˙˙ .. ˙
˙˙
œ. J ˙ ˙.
? b3 w
b 2
#˙ w ˙ ˙ ww Ó
˙. w œ ˙

b
& b wŒ œ œ œ œ œ œ œw
5
˙ w Œ n ˙˙˙ .. œ ˙˙˙
˙ œ œ nœ œ œ #˙
œ œœœ œ ˙
? b ˙w. œ ˙ œ ˙ w Ó w
b ˙. ˙ w ˙

A'
bb
9

& œ œ œ œ œ œ œ œ ˙˙ wœ . œ œ œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
œ . œ œ œ œ n œ œ˙ ˙
J
? bb w #˙ œ ˙ ˙ w w ˙˙
˙.

13
b
& b Œ œ b œ œ œ œ n œ œ œ wœ ˙ w œ # œ ww ˙
œ œ œ nœ œ œ n œ œ œ œ œ œ œ ˙˙
œ œœœœœœœœœ
? b ˙.
b œ ˙ ˙. œ ˙ ˙ w w ˙
 j
bb
B
œw. œ ˙
17

& ˙w œ œ œ˙ œ # œ . n œj œ œ ˙˙ ˙ w
œœ œ œ n œ œ œ
224
w Œ œ
? b ww ˙˙ ww ˙œ
b œ ˙. œ ˙ ˙. œ œ nœ

21
b
& b œ œ ˙Œ œ ˙œ œ w ˙ œ
œ . œ œ œ œ n œ ˙œ œ œ˙ œ œ˙ œ Œ # ˙˙ . œ ˙˙
J
? b w
b
˙ w ˙ ˙ w wÓ ˙ ˙˙

B'
25
b3 œ œœœ ˙
& b 2 wœ œ n œ # œ œ œ œ ˙˙ # œ œ n œ œ œ œ œ ˙˙ w œœ
w œ
Œ œ Œ œ œ œ œ œ œ œ nœ œ
? b 3 ww ˙˙ ww ˙œ
œ w ˙
b 2 w.

29
b
& b œ œ œ œ ˙ ˙œ œ wœ .. ˙ œ œ œ œ œ œ # œ œ œ n œ œ œ œ œ ˙˙
Œ œ œ œ œ œ œ œ œ œ nœ œ œ œ
J
? b w ˙ w ˙ ˙ w ww ˙˙
b

C
bb ˙. œw. œj # œ œ ˙˙
33

& œ œ˙ œ w ˙ ˙. œ ˙
w
˙˙ .. œœ œ˙ œ œw. œj œ ˙ œ
? b b ww ˙ ˙. ˙. ˙
œ œ œ

37
b œ . œj œ œ œ œ ˙ .
b
& w œ œ œ œ˙ œ ˙ œ # œ n œ œj œ œj ww œ œ n œ œ œ œ b œ œ
nœ œ œ
w ˙ œw. œj œ œ œ œ œ œ ˙ . œ
? b
b ˙. œ ˙ ˙ ˙ w w.

C'
41
b œ j
& b w œ œ œ œ œ œ œ˙ œ œw. œ # œ œ ˙ w ˙ ˙. œ ˙
œ œ œ œ œ œ œ œ œ . œj ˙ œ
? b w
b
˙ ˙w. œ œ œ ˙.
œ ˙ w œ ˙
45
b œ . œj œ œ œ œ
b
& w œ œœ ˙ . œ œ œ œ œ œ œ œ œ œ œ #œ nœ œ œ œ œ wœ . œ n œ œ œ
nœ œ ˙
225

œw. œj œ œ œ
? b w ˙
b ˙. œ ˙ ˙ ˙ w w.

24. [Galliard] (on Go from my Window)

Dd.2.11, f. 53v Francis Cutting

# 3A j œ ˙˙ j
& 2 wœ . œ œ œ ˙˙ w˙ . œw. œ œ œ ˙˙ ww ˙˙
w ˙ w #˙. œ ˙
?# 3 w ˙˙ # ˙˙˙
2 w w ˙ w w ˙

# . œj œ
œ œ˙ œ
5

& œ w˙ . œœœ œ ˙ œ œœ˙ œ w

Œ ˙w. œ ˙˙˙
w ˙ w œ œ œ˙ œ ww
?# ˙ ˙ ˙ w
w w Œ ˙. ˙

A'
9
#
& œ œ œ œ œ œ œ œ œ˙ œ œ œw . œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œw . œ œ œ œ
œ˙ #w. œœ˙
?# ˙ ˙
w w. w w.

#
& œw œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ wœ. n œ œ œ
13

œœ œ˙
?# ˙ ˙ ˙ w w.
w w w.

B
#
& ˙
17

˙˙ ˙ ww ˙œ œ ˙˙ w ˙ ˙˙ ww
˙ ˙ ˙
˙ ˙ ˙ w
?# ˙ ˙
˙ w˙ .
œ ˙ ˙
˙
w
˙ ˙ w ˙ w
 21
# ˙ ˙˙ ˙˙ ˙. œ œ œ
226 & ˙ w ˙ ˙ ˙ #˙ w œ ˙˙˙
# ˙w.
˙ n˙ œ œ ˙. œ
?# ˙ ˙˙ w ˙˙ n˙ w ˙ w
˙ w Œ ˙. ˙

#
B'

& ˙
25
˙ œ ˙œ . œ
˙ ˙˙ ˙ wœ œ œ ˙ ˙œ œ ˙˙ œ ˙ ˙˙ ww
˙ ˙ ˙ w
?# ˙ ˙
˙ ˙. œ ˙ ˙œ w
˙ ˙ œ w ˙ w

# ˙ ˙˙ œ # œ # œ œj œ œj ww
29

& ˙ ˙˙ w œ˙ œ ˙ ˙˙
w #˙. œ ˙
n˙ œ ˙. œ
? # ˙˙ ˙
˙˙ w ˙˙ n œ˙ w ˙ w
œ . Jœ œ œ Œ ˙. ˙

33
# C. j j
& . ˙˙ ˙w. œ wœ . œ œ œ ˙˙ ˙˙ ˙Ó .. œœ wœ . œ œ œ ˙˙
˙ ˙. œ ˙ œ w ˙ œ ˙˙ ˙. nœ ˙ œ w ˙
? # .. ˙ œ. J œ. J w
w Œ Œ œ

37
#
& ˙˙ ww ww ˙œ
œ ˙w œ œ œ ˙œ œ Œ ˙˙˙ .. œ ˙˙˙
..

?# ˙ wœ . n œ œ œ w˙ . ˙œ Ó
˙ J
œ ˙
œ ww w
˙ ˙˙
˙
..

25. [Galliard]

Dd.5.78, f. 23v Francis Cutting

# 3A ˙
& 2 ˙˙ ˙˙ ˙˙ ˙.
w. œ œ œ ˙
˙ œ ˙˙
œ ˙ ww ˙
˙
? # 23 ˙ w ˙ ˙ n˙ ˙
w. ˙ ˙
5
# ˙
& n ˙˙ ˙ ˙ ww œ œ œ œ w˙ . œ Œ ˙˙ . œ ˙˙
227
˙
˙˙ ˙ #˙ Ó
?# ˙
˙ œ œ ˙ œ œ ˙ w w ˙ ˙˙

# A'
œw œ œ œ œ œ œw . œ œ œ œ œ œ œ œ œ œ ˙˙
9

& ˙˙ ˙ œ ˙˙ w nœ œ ˙ ˙
˙ œ ˙ Œ #œ
?# ˙ w ˙ ˙ n˙ ˙
w. ˙ ˙

13
#
& n œ˙ œ ˙˙ ˙
˙ ww œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ ˙˙
?# ˙ œ œ ˙ ˙ w ˙
˙ œ œ ˙ w

B
17
# ˙ ˙
& ˙˙ ˙ n ˙˙˙ ww ˙˙ ww n ˙˙ w
w ˙
˙ w
?# ˙ n˙ œ. œ œ œ ˙ œ. œ nœ œ ˙ œ. nœ œ œ ˙
˙ J J J

21
# j ˙. œ œ œ
& n œ˙˙ . œ œ˙ œ ˙˙ w
œ œ œ œ œ œ
˙ w ww ..
w.
Ó w
? # nœ. œ ˙
J ˙ ˙ w ˙ w w.

25
# B'
& œ˙ œ œ œ œ œ œ œ n œ œ œ ww ˙˙
˙
ww ..
w.
w.
w.
˙
?# ˙ n˙ œ. œ œ œ ˙ œ. œ nœ œ œ œ œ œ. nœ œ œ œ œ
˙ J J J œ

# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w.
œ . œjn œ˙ œ ˙˙
29

& Ó ˙ w ww ..
? # nœ. Ó w
œ . ˙
J ˙ œ w ˙ w w.
228

26. [Galliard]

Dd.9.33, f. 36v Francis Cutting

bb3 ˙ b ˙˙
A
&b b 2 ˙ ˙ n˙ w ˙ ˙ œ œ n ww ˙˙
Ó ˙ n˙
˙ œ œ ˙˙ œ œ n œ œ ˙˙ w ˙ w˙
? b b b 23 w ˙ ˙ ˙ ˙ . œ ˙
b

5
bb w
& b b ˙˙ ˙ ˙ ˙.
w œ œ œ ˙w. œ n ˙˙ nw
w ˙
˙
? bb b ˙ w w. w
w ˙ œ œ nœ œ œ nœ œ ˙
b w w ˙ ˙ w ˙

9
b b A' œ œ œ œ œ œ œ . j œ
b
& b œ œœ œ œ nœ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ nœ œ nœ œ œ œ œ œ œ œ œ œ
œ
w w
? bb
bb w
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ ˙

b
& b bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ nœ
13

œ œ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ ˙‰ œ œ œ n ˙˙˙
? bb ˙
bb w ˙ ˙ w w ˙
w

17
bb B
˙. ˙ j
& b b n wœ œ œ ˙ ˙ ˙. œœ ˙˙ ˙ wœ . œ œ œ w
œ nœ œ œ ˙
. ˙
? b b ˙˙ ˙
˙ ˙ nœ
w ˙
˙
˙ ww ˙. b œ
˙
œ œ
bb w

21
bb
& b b œw . œ œ œ ˙ wœ œ œ œ ˙˙ ˙ ˙ n˙ w.
w ˙. œ œ œ w˙ .
? bb b ˙. œ n ˙œ œ w ˙ œ˙ œ œ˙ . œ ˙ œ
b w
 b œ œœœœœœœ œœ œ œœœ
B'

& b b b n œw œ œ ˙ ˙
25

œ œ œ œ œ œ œ ‰wn œ œ œ œ œ ˙ 229

.
? b b ˙˙ ˙
˙ nœ
˙ ˙ ˙ w ˙. b œ
˙
œ œ
bb w

b œ œ n œ œ œ n œ œ œ n œ œ œ œ œ œ n œ œ ˙˙
& b bb œ œ œ œ œ œ ˙
29
œœœœœ œ ˙ œ œ œ
˙ nœ
Ó Œ œ œ œ ˙˙
? b b ˙.
bb œ n ˙œ œ w ˙ ˙ w w

33
b
bb b
C
˙. ∑œ Œ œ
& w ˙ œ ˙ ww ˙ œ ˙ ˙
w˙ . ˙˙ n ˙˙
? bb b œ ˙˙ ˙˙ w˙ . œ
œ ˙ œ
˙
˙. ˙
b œ ˙

37
bb j˙ ˙
& b b œ œ Œw œ ˙ œœ . œ ˙. œ
w ˙ œ n˙
œ ˙
˙
n ww ..
w
œ
? bb b ˙ ˙. œ ˙ Œ ˙
˙ œ ˙ œ
œ w w.
n www ...
b

b
& b bb œ bœ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ ˙ Œ œ
41 C'
∑ ˙
œ ˙
Œ œ nœ b˙
w ˙˙ Œ œ ˙
? bb w ˙ ˙ ˙ ˙ . ˙
bb œ ˙b ˙. œ ˙

bb œ œj œ œ œj œ n œ œ œ œ ˙
45

& b b œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ n œ œ œ
œ
Œ œ ˙ ‰ nœ œ nw œ œ ˙˙
? bb b ˙ ˙ ˙ ˙ ˙ ˙ w ww n ˙˙˙
b ˙
230

27. Galliard

Barley (lute), ff. F4r-G1r Francis Cutting

b 3
A
& b b 2 . œj œ@ œ œ ˙˙ w˙ . œœ˙ w
w ˙˙ œw. œj œ œ œœ œœ
œ ˙ @
? b 3 ww ˙˙ w ˙ ˙. œœ˙ ˙. œ ˙
bb2 œ . Jœ ˙ @ @

5
b
& b b ˙˙ ˙˙ Œ ˙˙ j
œ œ œ œ œ ˙ ˙ ˙ œ. nœ œ œ ˙
? b Œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ n ˙œ ww ˙
bb Œ œ œ œ œ ˙

bbb
9 A'
@ œ œ w˙ . œœ˙
& ˙
˙. œ Œ n ˙˙ . œ ˙˙ œœœœœ œœ œœ ˙
œ˙ @ w
? bb Œ œ ˙ nœ nœ ˙ Ó ˙ ˙
w ˙ w ˙ œ . Jœ ˙
˙
b ˙

13
b
& b b ww ˙˙ œw.. œj œ œ œ œ œ œ ˙˙ ˙˙ ˙˙ Œ
œ œœœœœœœœ
? b ˙. œœ˙ @
˙. œ ˙ Œ œ œ
œ œ œ ˙ ˙ ˙
bb

17
b Œ œ.
&b b ˙ ˙ ˙ œ œ n œ œ œ œ œ œ œ œ œ n œ n œ œ œ œ œ œ œ w œ n œ œ ˙˙
œ œ œ œ œ œ
? b ˙ œ ˙œ œ n ˙œ œ ww ˙ ˙ w ˙w ˙ ˙˙
bb Œ

b
21 B

&b b Œ œ .
˙ œ œ œ œ œ ˙ Œ œ ˙@ œ˙˙ œ œ œ n œ œ ˙
˙
˙.
? bb ˙
b Œ œ ˙ œ œ œ ˙ Œ œ ˙ ˙. œ œ œ
25
b
& b b Œ œ ˙@ œ˙ œ œ œœ ˙˙ ˙˙ œ œ ˙ #˙
@
ww ˙˙ 231
œ
˙˙ n ˙ . œ n˙. œ œ ˙@
? bb ˙
b Œ œ ˙ ˙. ˙˙ w Œ
˙ œ ˙ w

29
b B'
Œ œ œ ˙@ œ œ œ œ n œ œ ˙
&b b Œ œ œ ˙. œ œ œ œ@ œ ˙ ˙˙ ˙
˙.
? bb ˙
b Œ œœ˙ @
œ œ œ ˙. œœ˙ ˙. œ œ œ

33
b œ
& b b Œ œ œ ˙@ œ˙ œ œ œ œ œ œ œ œ œ œ˙ œ œ œ n œ œ œ œ # œ n œ œ œ œ œ œ œ n œ œ œ n œ n œ ˙@
? bb ˙
b Œ œ nœ ˙ w ˙˙ w
˙ ˙ w.

bb
37 C
& b œ œ œ œ œ œ œ œ n œ œ œœ œ œ œœ œ œ
œ œ œ @ nœ œ œ œ œ
˙ œ n œ œœ œ œ œ œ œ ˙ Œ ˙ œ œœ œ ˙ œœ ˙˙
? bb ˙ ˙ œ œ nœ œ œ ˙ n œ œ ˙ œ ˙ n œœ
b

41
b
& b b œ œ œ n œ@ œ˙ œ ˙˙ .. œœ œœ œœ ˙˙ w˙ . œ Œ n ˙˙ . œ ˙˙
˙ Óœ @
? b b œœœ œœ ˙ ˙˙ w ˙ œ wœ n œ n œ ˙ Ó
w ˙ ˙ ˙
b

45
b C'
@ œ œ n œ œ œ œ œ œ œ@
&b b œœœ œ œ œ œœ œœœ œ @ œœ œ œ n œ œ b œ œ
œœœ
œ n œ ˙œ œ œœ œ ˙ ˙˙ ..
? bb ˙
b ˙ œ œ n œ œœ ˙ ˙. nœ œ ˙ ˙. œ
nœ

49
b Π.
& b b œ œ œ nœ œ bœ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œœœ œ nœ nœ œ œ œ œ œ œ w œ œ n œ œ ˙˙
? b œœ œœ ˙˙ ˙ ˙ w ˙w w ˙
bb œ w ˙
232
28a. [Galliard]

Dd.5.78, f. 41r Francis Cutting

b ˙
& b b 2 wwœ œ
A
3 ˙˙ w ˙˙ nœ œ w œ œ œ n ˙w . w
˙ w ˙. w.
? b 3 w œ nœ ˙ ˙ ˙
bb2 ˙ w w.

5
b j ..
& b b wœ . n œ œ œ ˙ œ œ œ œ ˙
˙ œ œ œ œ ˙ w.
? b ˙. œ ˙ w˙ . ˙ w˙ . œ nœ ˙w w ˙
bb œ ˙˙ œ ˙ ..

b
B
˙ ˙˙ . n wœ . n œ œ œ ˙
& b b .. ˙Œ œ ˙˙
9
n ˙˙ w ˙˙ #˙
œ
w
˙ ˙ ˙ w
? b .. n ˙˙ œ œ œ œ ˙
bb w ˙

13
b œ œ ˙ œ œ w ..
&b b œ œ ˙˙ ˙w. œ ˙˙ ww . ˙
˙
? b ˙ ˙ ˙ ˙ ˙ w n ˙˙ . œ ˙˙
bb ˙ ˙ ..
˙

b
17 C

& b b .. ˙w. œ n œ˙ b œ w nœ ˙˙ n ˙˙ # ˙˙ ˙ ˙ ˙
˙ œ œ œœ œ ˙˙ . œ
w
? b .. n ˙˙ ˙ ˙ w. ˙ w ˙
bb

21
b ˙˙ .. ..
& b b ww ˙˙ n œœ n ˙˙ n ˙œ n œ ˙w. œ n ww ..
˙ œ œ ˙w
? b œ œ œ nœ ˙ ˙ ˙ ˙ n˙ ˙w w ˙ ..
bb
 233

28b. [Galliard]

Dd.9.33, f. 74r Francis Cutting

b 3 œ ˙
A
j
&b b2 œ ˙ w
w ˙˙ n œ˙ .. œ w œ œ œ
˙.
n ˙w .
w. w@
? b b 23 w œ n œ @˙ ˙ ˙
b ˙ w w ˙

5
b
& b b œ˙ . n œ œ œ ˙ œ œ œ œ ˙ @
nœ ˙ œ œ œ œ ˙ Œ n ˙˙ .. ˙˙
? b ˙. w˙ . ˙ ˙˙ .. n œœ n ˙˙ Ó
bb
œ ˙ œ ˙˙ ˙. ˙ œ ˙˙

b œ˙ ˙
9 A'

& b b œœœ œ œ n œ œ œ œ œ œ˙ œ œ n œ œ œ œ œ œ nw
w œœœœœ ˙
w ˙ Œ œ n œ n œ œ œ œ ˙˙
? bb w ˙ ˙ w
b w ˙

13
b @
& b b œ œ œ nœ œ œ ˙ œœœœœ œ ˙ @
œ nœ œ œ œ œ ˙ Œ n ˙˙ .. ˙˙
? b ˙. œ ˙˙ ˙. ˙
œ ˙ ˙.
n œœ n ˙œ Ó ˙ œ ˙˙
bb œ ˙.

bb
B

& b ˙Œ œ œw. œj œ n œ n ˙˙ . # ˙ œ
17
w ˙ ˙˙ n w˙ . œ ˙˙
w w ˙
w ˙ w
? b n ˙˙ œ. œ œ œ ˙
J@
bb w ˙

21
b œ œ ˙ œ œ w
&b b ˙ œ œ ˙˙˙ ˙˙ œ œ œ œ œ œ œ œ Œ ˙˙ .. ˙˙
˙
Ó n w˙ ˙ ˙ w Œ n˙ ˙ œ ˙
? bb ˙ ˙ ˙ ˙
b ˙ ˙
 b ˙˙ n ˙˙ . # ˙ œ
25 B'
234 & b b Œ œ . œ œ œ œ œ œ n œ ww ˙˙ Œ n ˙˙ .. ˙˙
Ó w
˙ w ˙ w
? b n ˙˙ œ œ œ œ ˙
bb @ ˙. ˙.

29
b œ œ ˙ œ œ ˙ œ @
&b b œ œ œ ˙œ œ œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ n œ n œ ˙@
? b Ó˙ n w˙ ˙ ˙ ˙ ˙ ˙ w
bb w.

b
33 C

& b b w˙ . œ n œ˙ œ w nœ ˙˙ nœ œ ˙ ˙ ˙ œ
w Ó œ œ œœ œ w ˙˙ .
˙. ˙
? b ˙ ˙ ˙ w. w w ˙
bb ˙

37
b ˙.
& b b ww ˙˙ ˙. œœ ˙˙ n˙
w˙ . œ Œ n ˙˙ . œ ˙˙
˙ Œ
? b œ œ œ nœ ˙ ˙ ˙ œ wœ n œ n œ ˙ Ó
w ˙ ˙˙
bb ˙ ˙

bbb
41 C'

& w˙w. œ n œ˙ œ Ów œ œ œœ n œœ œ˙ œ n œ œ wœ œ œ œ œw œ œ œ œ œ œ œ œ œ œ
? b ˙ ˙ ˙ w. w w ˙
bb ˙

45
b
& b b œ œ œ œ œ œ œ œ n œ œ n œ œ œ œ b œœ œ˙ œ œ n œ œ œ œ œ
œ Œ ˙ œ n œ n œ œ œ œ œ œ n œ n œ œ œ n œ œ ˙˙
? b w
bb ˙ ˙ ˙ w w ˙˙
w
 235

29. [Galliard]

Dd.5.78, ff. 33v-34r Francis Cutting

b 3
A
& b b 2 ˙w ˙ œ nœ ww ˙ œ ˙œ œ n wœ œ œ # œ œœ n œœ œœ œœ œ˙ œ
˙ œ
? b b 23 w
w ˙ ˙ œ nœ ˙ ˙ nw
b w ˙

5
b w ˙ ˙˙ œ˙ n œ ˙˙
& b b ˙Ó œ œ ˙ œœ œœ ˙˙ n ˙˙ Œ n ˙˙ . œ ˙˙
˙
œ
? bb œ œ n˙ ˙
˙ ˙ ˙ ˙ œ œ œ Ó
w w ˙
b nœ ˙ ˙ œ

A'
bb
9

& b œw n œ œ œ œ œ œ˙ œ ww ˙ œ ˙œ n œw œ œ # œ wœ œ n œ œ œ œ œ œ œ œ
œ œ œœ œ ˙
? b b ww ˙ œ œ œ œ nœ ˙ ˙ nw
˙
b w

b w˙ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ
13

& b b ˙Ó Œ œ œ œ œ n œ n œ œ œ œ œ œ œ œ n œ n œ œ œ n œ œ œ œ ˙˙
œ œ n˙ ˙
? b
b b œ nœ ˙ ˙ ˙ ˙ ˙ ˙ w w ˙

b ˙
wœ œ
17 B
& bb ˙ ˙ ˙ œ œœ n œœ n œ ˙œ œ œ˙ œ
˙ œ œ œ œ œ œ
œ œ nœ œ ˙ w ˙
? b n ˙˙ ˙ ˙ œ œ ˙˙
˙˙
˙ ˙. œ ˙
bb ˙ w

b .
& b b ˙œ œ œ œœ ˙œ œ
21
˙˙ n w˙ # ˙ wœ . œ œ œ œ ˙. ˙
n œ n œ œ œ œ œ Œ n ˙˙ . œ ˙˙
w œ œ nw
? b b ˙w œ ˙ w Ó w
b . ˙ w. w ˙
 b j nœ œ œ œ œ œ œ œ œ œ œ œ ˙ œ nœ œ œ
25 B'
&b b œ . œ j œ n œ
236
œ œ œ œ . œ ˙ œ nœ œ œ œ œ œ œ œ œ
œ
? b b n ˙˙ œ˙ œ ˙œ n œ œ œ œ ˙
˙ ˙˙
b ˙ ˙ w ˙. œ˙

29
b ˙.
& b b ‰ œ œ œ œ œœ ˙œ œ œ œ œ n œ œ œ œ œ # œ n œ œj œ œj œ n œ œ œ b œ œ œ œ œ œ œ œ Œ ˙˙ .. œ ˙˙
n˙ ˙
? bb ˙. Ó Œ œ nœ œ Ó w
b œ ˙ ˙ w w . w ˙

33
b C
˙ j ∑
& bb
œ œ ˙ œ. nœ ˙ œ œ ˙˙ œ œ œ œ ˙. œ ˙œ œ
˙˙˙ . ˙ n œ ˙˙ ˙œ œ ww n ˙˙w
? b b w˙ .. œ œ œ ˙
b

37
b
& b b œw œ n w ˙ ˙œ . œ n œ ˙
œ œ ˙ ˙ w˙ . œ Œ n ˙˙ . œ ˙˙
˙˙ w˙ n ˙ Ó
? bb ˙.
b
œ œ œ w ˙ w w ˙

b C'
œ œ œ n œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ∑ œ œ œ œ œ ˙œ œ
41

&b b ˙
œœœœ˙
Ó˙ . ˙ n œ ˙˙
? b b w˙ .. œ œ œ œ œ w w ˙
b

45
b
& b b œw œ n œ œ w ˙ ˙œ .œ œ œ
œ œ œ n œœ œ œ œ œ œ œ œ œ n œ œ œ œ n œ œ n w .
œ nœ nœ œ œ œ œ œ œ ˙
? bb ˙.
b
œ ˙œ œ w ˙ ˙ ˙ w.
˙
 237

30. Galliard

Dd.9.33, f. 10v Francis Cutting

b 3
A
Œ ˙˙ . ˙ ˙
& b b 2 ˙˙ ˙ n˙ ˙ . n œ œ œ ˙˙ w œ œ ˙
. . ˙ ˙ ˙˙˙ ˙˙˙
˙ ˙ œ œ ˙ . n œœ ˙˙ œ œ w Ó n˙ ˙
? b b 23 ˙ ˙ ˙ ˙. ˙ ˙ ˙
b ˙. œ ˙

b w œ œ n œ n œ œj œ œ œj Œ ˙ .
6 A'
&b b Ó ˙ ˙˙ ˙ œ˙ œ n œ œ œ œ œ œ œ œ
˙ ˙ Œ n˙. ˙ ˙ œ
? bb ˙ ˙ ˙ ˙˙ w Ó wœ ˙ ˙
b ˙. ˙ ˙

10
b ‰ w ˙. ˙ œ œ œ œ œ œ œ nœ œ œ
& b b œ œ nœ œ œ œ œ ˙ .œ n œ œ œ œ œ œ œ œ Œ ˙ . ˙ œ
? b b ˙˙ .. n œœ ˙˙ ˙ w Ó n˙ ˙ ˙
b ˙. œ ˙ ˙ ˙

14
b w ˙ œ˙ œ œ n œ œ . œj
B
&b b Ó ˙ ˙ ˙ ˙ n wœ n œ œ œ œ œ ˙˙ ˙˙ . ˙ œ œ˙ œ
nœ
n ˙˙˙ Œ
? bb ˙ ˙ ˙ ˙ œ œ˙ n œ w ˙˙ ww ˙
b ˙

18
b j
& b b ˙. œ œ œ œ. œ ˙. nœ
Œ ˙. ˙ Œ
œ œ œ ˙˙
w.
? b b ww . ˙. n œœ ˙˙ Ó˙
.
˙ œ ˙˙ ww ˙˙
b ˙

22
b Œ œ œ œ ˙ œ Œ n ˙˙ ..
B'
&b b Œ œ œ œ ˙ Œ
˙˙ œ œ œ œ œ œ œ œ˙ œ
w ˙˙ ˙. Ó ˙ ˙ ˙
? bb w œ ˙ w
b ˙. œ ˙ ˙
 26
b j
238 &b b œ œ œ œ œ œ œ ˙. œ nœ œ œ nœ œ œ œ œ œ œ ˙
w. œ œ nœ œ œ œ.
? b b ww . ˙. n œœ ˙˙ ww ˙˙
b .

29
b ˙ ‰ œ œ œ œ ˙ œ n œw œ n œ œ œ œ œ ˙˙
& b b ‰ œ œ œ œ œ œ œ ˙˙ ‰
œœœœœœœ œ Œ
˙˙ w ˙˙ ˙. œ ˙
? b w
bb w ˙

b
& b b w˙
33 C

œ œ ˙˙œ œ ww
j j
nn ˙˙ ˙˙ . .
˙ .# œ n œ œ œ œ œ Œ n ˙˙˙ . œ ˙˙˙
? bb ˙ œ . n Jœ œ œ œ œ œ œ n w Ó w
b w w ˙

37
b j
&b b ˙ n˙ ˙ œ œ. œ œ œ œ œ œ ˙. œ Œ n ˙˙ . œ ˙˙
? b ˙˙ œœ œ œ œ n œ œ œ œ n ˙ ˙ œ nœ nœ ˙
w Ó
bb œ œ œ œ œ ˙ ˙ œ œ w w ˙ ˙˙

41
b w C'
& b b œ œ œ œ œ œ ˙œ œ œ ww nn ˙˙
˙˙ œ n œ # œ œ n œ œ œ œ œw œ œ œ œ œ œ œ œ œ n œ
nœ
œ œ œ œ œ nœ œ w
? bb
b w ˙ Œ œ nœ œ œ
w.

45
b
& b b œ œ nœ œ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œŒ œ œ œ Œ n ˙˙ . œ ˙˙
jœ j nœ J J
? b ˙ ‰œ œ ‰ œ œ n˙ Ó ˙ ˙
bb . œ œ. œ œ œ ˙ œ œ w w ˙
J J ˙
 239

31. [Galliard]

Dd.5.78, ff. 19v and 22r Francis Cutting

A
3
&2 ˙ ˙ . œ b œ œœ b ˙œ .. œ œœ œ œœ œœ ˙œ œ ww w˙ . œ ˙œ # œ
Œ J bœ
? 23 ww ˙. œ b˙ ˙˙ œ˙ ˙ œ ˙.
˙ ˙ ˙. bœ ˙

& b ˙˙ wœ # œ œ ˙ œ˙ œ b œ˙ . œ œ ˙ œ ˙˙ . œœœœœœ œw . œ . œ œ œ ˙
Œ œ b ww Ó ˙
? w ˙ œ œ ˙ w ˙˙
˙ ˙

9 A'
& œ œ œ b œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ ˙ œ ˙œ # œ
bœ Œ
˙. œ b˙˙ w
? w ˙ ˙ ˙. bœ ˙

13

& b œ˙ œ œ œ œ # œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ .
œœœœœœœ œ œ œœœ˙
? w w ˙ œ œ w ˙w ˙ ˙˙
˙

17 B
& ˙. œ œ œ˙˙ œ w
w ˙œ # œ œ˙ œ œ ˙œ œ ˙œ # œ ˙˙ .. œœ ˙œ œ
w
? w ˙. œœ˙ ˙ w ˙. œ ˙
˙

Œ
21

& ˙ . œ ˙ œ b ˙œ œ ˙˙ .
œ œœ ˙ œ ˙ œ ˙ w ˙
? ˙ ˙ ˙ ˙. œ œ bœ ˙ ˙ ˙ œ œœ . œj œ œ œ œ ˙˙
Œ ˙ œ œ ˙. ˙
 25 B'
240 & œ œ œ œ œ œ œ œ œ œ œ ww ˙œ # œ œ˙ œ œ ˙ œ ˙œ œ œ # œ œ œ œ œ œ œœ ˙œ œ
œ Œ
? ww ˙ œ œœœœœœ˙ ˙ w ˙. œ ˙

29

& œw œ b œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œœ ˙ œw œ œ œ œ œ ˙˙ wœ . œ œ œ œ œ ˙˙˙
J
? ˙ ˙ ˙ ˙. œ œ bœ ˙. œ œ œ œ
˙. ˙

33 C
& Œ œ œ œœ Œ œ ˙œ # œ ˙ œ Óœ ˙ ˙ ˙.
˙. œ ˙ ˙. œ œ ˙ Œ #œ #˙.
˙˙ . # œ
? Œ œ œ œ ˙ œ œ ˙ ˙ . # œ
œ Œ œ œ œœ ˙
Œ œ ˙ ˙ œ ˙

37

& ˙˙ . Œ œ œ œ
œw œ œ œ œ˙ œ œ˙ œ œ˙ . n œj Œ œ˙ . œ œ œ ˙˙
˙ œ œ #œ .
?˙ œ
œ œ œ œ ˙ œ bœ ˙˙ œœ n œœ œ˙ œ Ó w
œ ˙ w ˙

41 C'
& Œ˙ œ œ œ œ œ œ œ ˙Œ œ œ œ œ œ œ œ # œ ˙ œ Óœ œ ˙œ # œ # ˙˙ .. œ˙ . œ œ œ œ
. œ . Œ œœ
Œ œ œ œœ ˙
? Œ œ œ œ ˙ Œ œ œ œ ˙ ˙ . # œœ ˙ ˙ œ ˙

45

& ˙ œ œ œ œ œŒ œœ wœ œ œ œ œ œ œ˙ œ œ œ œ # œ œ œ b œ œ œ n œ œ œ œ œ
œ œ œ œ œ ˙˙
? œ œœ˙ œ œ ˙ ˙ œ bœ ˙ ˙ w ˙
œ ˙
 241

32. [Galliard]

Dd.5.78, f. 16r Francis Cutting

A
& 23 . œj œ œ ˙ ˙. œ ˙ ˙˙ ˙ # ˙˙
˙ ˙˙ ..
˙. œœ ˙˙ œ œ œ œ ˙
œ œ
? 23 w˙ .
˙ w˙ œ œ œ ˙ ˙ ˙ w˙ œ˙ œ
œ ˙ .
˙. œ œ œ . œ

6 A'
&
œ œ œ œ ˙˙ œ œ w w. œœœœœ œ ˙
˙ œ œ œw œ œ œ œ œ œ œ œ ˙ w
? ∑˙ . œ Œ œ ˙ w. ˙. œ ˙

j
œ˙ œ œ œ˙ . œ # œ˙ œ œ Óœ . œ œ œ œ
10

& œ œ œ bœ œ œ ˙ œœ ˙˙ œ œ œ œ œ œ ˙œ œ
œ
? ˙. œ œ nœ ˙ ˙ œ ˙
˙ ˙. œ œ œ ˙.

14 B
& œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ ˙˙ ˙˙ œ˙ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙˙
? ˙. ˙ ˙ ˙ ˙
œ ˙ w w ˙

18

& ˙ ˙ # ˙˙ ˙
˙ ˙˙ # ˙˙ ˙.
w œ œ˙ œ ˙ ˙˙ œ˙ n œ ˙ ˙ ˙˙
?
˙. œ ˙ w ˙ ˙ ˙ ˙ ˙˙ # ˙˙ ˙˙ w˙ . œ # ˙Œ œ

23 B'
& ˙w ˙ # ˙œ .
œ Œ ˙˙˙ . œ ˙˙˙ œ˙ œ œ ˙˙ œ˙ œ œ œ œ œ ˙ # ˙˙ ˙ . ˙ œ # ˙˙
˙ ˙
? œ˙ œ ww Ó w ˙. œ ˙ ˙. œ ˙ w
w ˙ ˙
 28
242 & œ œ œ œ œ œ œ˙ œ œ˙ # œ œ ˙˙ œ˙ n œ œ œ œ œ œ ˙˙ ˙w œ # œ œ œœj œ œ œj
?˙ ˙ ˙ ˙. #œ ˙˙ w˙ . œ # ˙Œ œ œ œ˙ œ w
w

32 C
& ww ˙˙ j œ œ . œj œ # œ . j ˙ œ # œ œ . n œ
j
œ. œ œ ˙ œ œ ˙ œ
j j
? œ œœœœœœ˙ b ˙˙ œœ Ó œ ˙œ . œ# œ œ . n œ œœ # œ˙ . œ œœ œœ œ˙ œ
w ˙ b˙ nœ ˙ Jœ ˙

36
œ œ œ œ œ œ j
& ˙ œ ˙ œ œ. œ œ ˙ œ ˙. œ ˙ œ ˙ œ ˙
œ . œj œœ œ˙ œ œ œ # œ œ n ˙œ . œ œ ˙ œ ˙œ . œ œ w
? ˙ œ ˙ œ œ œ . œ J œ ˙. œ œ œ ˙ œ œ ˙
J J œ ˙

41 C'
& œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ
œ œ œ œ œ œ bœ œ œ . œj n œ ˙ œ # œ . œj œ
.
? ww . Ó œœ Ó œ œœ . œ œ # œ œ n œ œœ
w. b˙ nœ ˙ Jœ ˙

œ œ . œj œ œ . j œ
45

& ˙˙ œœ # œ œ . n œj ˙ œ ˙ œ œ . œj œ ˙ œ
j j
œ
? #˙ . œ œœ œœ œ˙ œ œ . œ œœ œ˙ œ œœ œ˙ # œ œ n ˙ œ œ œœ œ . œ œj œ ˙ œ œ œœ
˙ œ ‰ J ‰ œ œ ‰ J
J

49
œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ ˙
& œ œœœ œ ˙
œœœœœ œ ˙
? w˙ . œ œ œ ˙ w w. w ˙
 243

33. Galliard

Dd.5.78, f. 63r John Dowland / Francis Cutting

# # 3 A˙ . nœ ˙ ˙
& 2 w ˙ w ˙ w w˙ . œ ˙˙
w ˙ ˙. nœ ˙ w ˙˙ w ˙˙ w ˙˙
? # # 23 ˙ ˙ ˙
w ˙ w. ˙ w

6
#
& # w ˙ w ˙ w ˙ ww .. ˙ ˙. œ
w. j
œ. œ ˙
? # # w˙ . œ ˙˙ ˙ ˙˙ w
˙ ˙
˙˙ ww .. n œ
˙˙
˙ ˙. œ œ w

11
## œ œ nœ œ œ ˙
A'
& Œ ˙œ w œ œ œ ww .. w ˙ w ˙
w˙ . w ˙ œ œ nœ œ œ ˙ ˙˙
? ## Ó w w ˙
w. w w ˙ w. ˙

16
#
& # w ˙ œw œ œ œ œ ˙˙ w ˙ ˙ w ˙
w
w ˙˙ w ˙˙ wœ œ œ œ œ ˙˙ ˙˙ w ˙˙
? ## ˙ ˙ ˙ ˙ ˙
w ˙

21
#
& # œ œœ˙ ˙ ˙ ˙. œ
Œ ˙œ w œ œ œ œ œ œ ww ..
j j
? ## w. ˙˙ œœœœœ œ œ Ó w w˙ .
˙. œ œ nœ w w. w

## B j
œ . Jœ ˙
25
˙ ˙. œ ˙˙ ˙ œ. œ #˙ ˙w..
& w œ œ œ ww ˙
˙ Ó w ˙ ˙w. œ w. ˙ w
? ## ˙ #˙ œ œ ˙
w w w ˙. œ œ œ
 30
#
244 & # ˙ ˙. œ œ œ œ œ ˙˙ ˙˙ . œ # ˙ œ ww
˙ Ó Œ w
Œ ˙
˙ œ ˙ ˙œ . œ œ ˙ œ
? # # w˙ .. ˙
ww ˙ œ ˙ ˙ w
œ ˙ ˙ w œ

##
˙˙ œ œ œ œ œ # œ œ œ œ œ œ œ œ ˙˙ ˙˙ œ œ # œ œ œj œ œ œj
35 B'
& w
Œ ˙œ w œ œ œ ww ... Ó Œ
? ## Ó w ˙ ˙ w
w œ œ ˙ w
w. w

40
#
& # ˙w œ œ œ œ œ œ œ œ œ œ ˙ ˙ œ œ œ ˙ . œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ # œ œ ˙ œ
w ‰œœ Ó Œ
? ## ˙. ˙ ˙.
œ œ
w˙ .
. œ˙ w w
œ œ ˙ ˙

45
#
& # ww Œ œ ˙
˙ ˙œ . œ œ œ œ œ Œ ˙œ w œ œ œ ww ..
w ˙ œJ J
? ## ˙ œ ˙ ˙ w Ó w w˙ .
œ w. w

34. [Galliard]

Dd.5.78, ff. 29v-30r Francis Cutting

bb3
A
& b b 2 œ œ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ œw œ œ œ œ ˙˙
˙ n ˙˙ n w˙ .
˙ ww ˙ ˙ w ˙.
? bb3 w œ œ œ
bb 2

5
bb bœ ˙
& b b n ˙w. œ œ w˙ . œ ˙œ œ ˙˙ w˙ n ˙ œ nœ nœ œ œ nœ œ ˙˙
. ˙
? bb ˙ œ ˙ ˙. œ ˙ w ww ˙˙
bb
 b
A'
& b b b œ n œ œ œ œ œ œ œn ˙˙ œ˙ œ œ œw œ œ œ œ œ œ œ œ ˙˙
9
œ˙ . œ œ œœ ˙˙ nw œ
245

˙ ww ˙ ˙ w ˙.
? bb b w œ œ œ
b

bb nœ bœ b˙
13

& b b n œw œ œ œ œ œ œ œ œ œ œ œ œ̇ œ ˙˙ wœ n œ n œ œ œ œ œ œ œ œ n œ n œ œ œ œ œ œ œ œ
˙. œ ˙ ˙ w
? bb b ˙. œ ˙ w.
b

17
bb
B
˙ ˙˙ ˙˙ ˙ n˙ ww ˙˙ w ˙
& b b n w˙ ˙w ˙ ˙ ˙ ˙ ˙˙ ˙
˙ ˙. ˙
? bb w œ œ œ ˙
˙ ˙ w ˙ w
bb

b
B'

& b b b ˙˙ ..
22
œœ ˙˙ ˙w. œ œ œ n œw n œ œ œ œ œ ˙˙ ˙ ˙˙
œ œ ˙ n w˙
˙ œ œ w w ˙
? bb w w ˙
bb

b
& b b b œw œ œ ˙ ˙ œ˙ n œ ˙˙ ˙œ w
26

œ œw œ n œ œ œ œ œ ˙˙ ˙˙ œ œ œ œ
. b˙
? bb b ˙ œ œ œ ˙ ˙ ˙ w ˙ w
b

b
C

& b b b œÓ œ œ œ œŒ œœ ˙˙ œœœœœœœ
30
˙w . œ n wœœ œ œ ˙˙ ˙w ˙ n ˙˙
œ nœ nœ œ nœ ˙
˙ œ œ w œ ˙
? bb w w ˙
˙.
bb

b ˙ œ œ nœ ˙
& b b b ˙˙ . w n˙
34
˙ œ ˙˙ w ˙ ˙˙ ˙.
nw.
˙˙
. œ ˙ w. ˙. nœ ˙
? b b ww ˙ ˙.
bb
 38
bb ˙˙
C'
246 & b b ˙w ˙ ˙ ˙˙ n ˙˙ n ww .. œw œ œ ˙ . Œ n œœ
? bb b
b˙. œ ˙ ˙ ˙ ˙ œw n œ œ œ n œ n œ ˙ œ ˙. œ ˙
b Œ

b
& b b b œ˙ . œ œ ˙ œ ˙˙ œ œ n œ œw n œ œ ˙ .
42

w œ ˙ . Œ œœ n wœ n œ œ œ œ n œ œ œ œ
Œ œ
. œ ˙ w. nœ ˙
? b b b ww Œ œ ˙. ˙.
b

b
& b b b wœ œ ˙
46
˙œ ˙
n ˙˙ œ œ œ ˙œ n œ œ nœ nœ œ œ œ œ œ œ ˙
b˙. œ œ œ ˙ ˙ ˙ ww ˙˙
? bb b
b

35. Sir Walter Raleigh’s Galliard

Dd.5.78, f. 46r Francis Cutting / Richard Allison

b b 3
A
& b b 2 ˙˙ ˙˙ n ˙˙ ˙w. œ œ˙ œ ˙
Ó
œ˙ œ œ˙ œ n ww ..
? bb3 ˙ ˙ ˙ w ˙ ˙ ˙
bb 2 Œ œ ˙ w

5
bb ˙˙
A'
œ˙ œ œ ˙˙ ˙
& b b œ˙ œ n ˙w œ œ w˙ ˙ n ˙˙ ˙˙ n ˙˙ ˙˙ ww n˙
? bb ˙ œ nœ ˙ œ œ œ œ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙
bb

b
& b b b œ n œ n œ œ œ œ œ œ˙ œ œ œ ˙
10
œ˙ œ ˙œ œ œ œ n wœ œ œ œ œ œ
w Ó nœ ˙
? bb b w. Œ œ ˙ ˙ w œ œ
b
13
bb
& b b œ œ œ œn ˙w œ œ œ œ ˙w ˙ . œ n œœ œ˙ œ œ œ˙ œ ˙œ n œ œw . n œ n œ œ œ œ œ ˙ 247

? bb ˙ œ nœ ˙ œ œ œœœœ˙ ˙ ˙ ˙ w.
bb

b
B
˙ ˙.
& b b b n ˙˙ ..
17

œœ ˙˙ ˙˙ ˙˙ .. œœ ˙˙ ˙˙ ˙˙ œ ˙˙
n ww ˙ w
w œ œ ˙ ˙ w œ œ ˙ ˙ w
? bb
bb ˙ ˙ ˙

B'
22
bb
& b b ˙˙ .. œœ œ˙ œ ˙w ˙ n ˙œ œ w.
nw.
‰ ˙
n œ n œ œ ˙Œ n œ ˙
? b b ˙. ˙ w ˙ w œ œ
bb œ ˙ w

26
bb ˙˙ ˙ ˙ ˙˙ œ œ
& b b n ww ‰œœœ˙ ˙˙ ˙ w œ œ œ ˙˙
˙ ˙ ˙. œ œ œ œ ˙ w
? bb b ˙ Œ ˙ ˙
b

b
& b b b œ œ œ œ œ œœ œ˙ œ
30
˙œ ˙ . œ œ n œ n œ ˙œ œ œ
Ó Œ n w œ œ œ œ œ n œ ˙˙
? b b ˙. œ ˙ œ œ w w œ œ
bb

C
b
& b b b n wŒ œ œ œ ˙˙ Œ
33
œ œ ˙˙ Œ
nw œ œ œ ˙ nœ ˙w.. nœ œ œ œ
? bb w Œ œ
w
Œ œ ˙
. œ ˙ ww ..
bb

b
& b bb œ œ nœ œ œ œ
37

œ œ œ ˙. œ œ œ wœ n œ n œ œ œ ˙˙ ww
˙ ˙ ˙. œ ˙ ˙ w
? bb b ˙ w.
b
 bb
C'
Œ
41

& b b n œ˙ . n œ œ œ œœ b ˙˙ œ
n ˙ . œ œ œœ ˙˙ œ nœ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ
248

? bb w Œ œ
w
Œ œ ˙
. œ ˙ w.
bb

45
bb
&b b œ œ œ œ ˙ œ œ œ œ œ œ ˙œ. n œ n œ œ œ œ œ œ n œ n œ œ œ n œ œ ˙˙
œ œ nœ œ œ J J w
˙. ˙ w
? bb ˙ ˙ ˙ œ ˙ w ˙˙
bb

36. Galliard

Dd.9.33, ff. 22r and 21v John Dowland / Francis Cutting

b bœ œ œ
A
& b b b 23 ˙ ˙ ˙w. œ œ˙ œ ˙ ˙˙ ˙˙ n ˙w. ˙
˙
? b b b 23 ww
˙ ww ˙˙ ˙˙ w
b n˙ ˙ ˙ w ˙

b .
& b b b w˙
5
œ œ˙ œ ˙. ˙ ˙ œ nœ nœ œ œ œ œ ˙
˙. œ nœ œ n˙
? b b b ˙w œ ˙
w
œ œ
Œ
˙ œ ww ww ˙˙
b . w

bbbb œœ n œ n œ œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ˙ œ
9 A'
& ˙ ˙ ˙
? b b b ww
˙ ww . ˙ ˙
b n˙ ˙ ˙ w ˙

13
bb œ œ
& b b w œ œ œ œ˙ œ wœ . œ œ œ n œ œ œ œ œ œ n œ n œ œ œ n œ œ œ n œ œ œ œ œ œ œ ˙˙
J œ
? b b b w˙ w ˙˙
b . œ ˙ w ˙ ˙ w
 bbbb
B
œ œ œ˙ œ
17

& ˙ ˙ ˙ n˙ ˙ œ w ˙ ˙ n œ n wœ ˙ œ ˙w. 249

Œ œ ˙ nœ œ œ œ
? bb b n˙ ˙ ˙ w ˙ ˙ ˙ ww
b ˙ ˙

j
b
& b b b ˙ww... œ œ œ n œ œ˙ .. œ œ œœ ˙˙
21

œ œ œ œ œ œ Œ n ˙˙ . œ ˙˙
? bb b w w ˙˙ ∑ ˙ Ó w
b ˙ ˙ w w ˙

25
bb B'
œ
& b b œ n œ œ œ œ œ œ œ œ œ œ œ wŒ ˙ n œ œ˙ œ œ œ œ œ œ œ œ œ n œ n œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ

? b b n˙ ˙ ˙ w ˙ ˙ ˙ w
bb ˙ ˙

b œ œ
& b b b œœ œ œ œ œ œ œ n œ œ˙ . œ œ œœ œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n w
29

œœ˙
‰ œ nœ nœ œ nœ ˙
? bb w w ˙ ∑ ˙ ˙˙
bb ˙ ˙ w w

33
b b
C
Œ œ œ ˙˙ Œ œ œ ˙˙ Œ
&b b w œ w œ w œ
œ œ œ œ w ..
w
w w ˙ w ˙˙ w.
? bb b w ˙ w ˙ œ œ nœ
b w ˙.

37
bb Œ
&b b w œ œ œ œ œ nœ œ ˙ ˙ œ ˙ n ˙ ˙ ˙ ˙ œ ˙œ œ ˙˙ n ˙˙
œ
Œ
? b b w˙ . ˙ ˙ ˙ ˙ w
bb œ ˙ ˙. nœ n˙

C'
Œ œ
bbbb w œ n œ œ œ œ ˙˙
Œ œ
41

& Œ n ˙œ ˙ œ œ œ œ œ œ n ˙˙ ww w œ œ œ œ œ ˙˙
w w
? b b Ów . w ˙w
.
w
w ˙ ˙
bb w
 b
& b b b wŒ . œ œ œ œ œ œ œ œ œ ww .. Œ
45
œ
w œ œ œ œ œ œ œ nœ œ nœ œ œ œ œ œ œ œ œ œ
250

? bb w ˙ œ œœœœ w
œ œ œ œ œ nœ ˙. œ ˙ ˙ n˙ n˙
bb w

49
bb ˙
& b b œ œ œ œ œ œ œ œ ˙Œ œ œ œ ˙œ . n œ n œ ˙ œ n œ˙ œ œ œ œ n œ n œ œ n˙ w
œ nœ œ ˙ w
? bb ˙ ˙ ˙ ˙ ww . ˙w w
bb w . .

37a. Galliard

Barley (orph.), f. C1r Francis Cutting

A
& b 23 œ œ ˙˙ n ˙œ
œ
˙ œ˙ œ ˙˙ œw ˙ œ n ˙˙ œ œ ˙@
˙ ˙˙
˙ ˙ Ó
? 3 w ˙ ˙ ˙ ˙˙ ˙ ˙ Œ ˙ ˙ œ n ˙˙
b2 w ˙ ˙

&b ˙ œ œ # œ œ
w œ ˙. œ œ œ œ œ œ˙ œ œœ Œ ˙˙@. œ ˙˙ ..
œ ˙
? œ œœ ˙ ˙ ˙. œ œ œ ˙ œ œ ˙ wÓ ˙ ˙˙ ..
b

9 B
& b .. ˙ ˙ #˙ ˙. œ œ œ ˙
w ˙@ ˙˙ œ œ œ ˙. œœ
˙ ww wẇ .. œ œ œ ˙. œ ˙
? b .. ˙ ˙.
w

˙. œ œ ˙. œ œ ˙ œ
13

& b œ˙ . œ œ ˙ . œ œ œœ œ
˙ œ n œ˙ . œ ˙ œ œ œ œ œ œ
œ w œœ˙
..
.
?b ˙ œ œ œ w ˙ ˙
w. ..
w
17 C
& b .. ˙˙ ˙˙ ˙˙ ˙˙ w˙ . œ ˙˙ w˙ ˙ ww . œ œ 251

˙ ˙ ˙ ˙. œ ˙ ˙ w˙ . œ ˙ ˙ œ œ œ
?
b ..
˙.

21

& b ˙˙ . ˙ ˙ ww ˙˙ œœ œœ œw ˙ Œ ˙. ˙ ..
œ œ œ œ
. ˙.
? ˙ œ œ œ œ œ œ ˙ ˙
˙
Ó˙
.
˙ œ ˙˙
..
b ˙

37b. Galliard

Dd.5.78, ff. 30v-31r Francis Cutting

A
& b 23 œ œ ˙ n ˙œ
œ
˙ œ˙ œ ˙˙ œw ˙ œ n ˙˙ œ œ ˙
˙ ˙˙
w ˙ Ó
? b 23 w ˙ ˙ ˙ ˙˙ ˙ ˙ œ˙ ˙ ˙ œ n ˙˙
˙

&b œ ˙ œ œ˙ # œ œw œ ˙ . œœ ˙ œœ œœ œœ œœ Œ ˙˙ . œ ˙˙

? œ œ ˙ ˙ ˙. œ œ œ œ œ œ œ ˙ wÓ ˙ ˙˙
b

A'

œw ˙ n œ œ œ œ œ œ œ œ ˙
9

& b œ œ œ œ ˙œ œ œn ˙œ œ ˙ œ˙ œ ˙˙ ˙
˙
?b w ˙ ˙ ˙ ˙˙ Œ ˙ ˙ n œ œ œ˙ œ œ œ
˙ ˙ ˙
˙

13

&b œ ˙. œœ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙˙
œ ˙ œ œ œ œ œ #œ œ œ œ
?b œ œ ˙ ˙ ˙ œœœœœ œ œœœœœœœ ˙ w∑ ˙˙
 17 B
252 &b ˙ ˙ #˙ ˙. œ œ œ ˙
w ˙ ˙˙ œ œ œ ˙. œœ
˙ ww wẇ .. œ œ œ ˙. œ ˙
? ˙ ˙.
b w

˙ . œ œ ˙ . œ œ ˙ œ ˙œ œ n œ˙ . œ ˙ œ œw œ œ œ œ œ œ
21

& b œ˙ . œ œ ˙ . œ ˙ œ œ œœœœ
.
? ˙ œ œ œ w ˙ ˙
w.
b w

25 B'
& b ˙ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ w. œ œ œ ˙. œœ
˙ w ww .. œ œ œ œ #œ œ œ œ œ œ œ ˙. œ ˙
? ˙ w
b

˙ . œ œ ˙ . œ œ ˙ œ ˙œ œ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ ˙
29

& b œ˙ . œ œ ˙ . œ œ
˙ œ ˙
?b
˙. œ œ œ w ˙ ˙ ˙˙
w w

33 C
& b ˙˙ ˙˙ ˙˙ ˙˙ ˙w ww œÓ œ
˙˙ ˙w. œ ˙
˙
? ˙ ˙ ˙ ˙. œ ˙ ˙ ˙w. œ ˙. ˙ œ œ œ
b

37

& b ˙˙ . ˙ ˙ ww ˙˙ œœ œœ œw ˙ Œ ˙˙ . œ ˙˙
œ œ œ œ
˙. œ œ œ ˙. œ œ œ ˙ ˙ Ó ˙ ˙
?
b ˙ w ˙

41 C'
& b œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ w˙ . œ œ˙ . œ œ w œ œ ˙ ww œÓ œ
˙ ˙ ˙ ˙. œ ˙ ˙ w Œ œ ˙ ˙ œ œ œ
?b ˙.
45

& b œ˙ . œ œ ˙ ˙œ œ ww ˙˙ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ ˙˙
œ œ œ
253
œ
. ˙.
? ˙ œ œ œ œ œ œ ˙ w w ˙˙
b

38a. Almain

Dd.5.78, f. 31r Francis Cutting

A
& C ˙˙ œ œ œ œœ œ w Œ œœ œ œ
œœ œœ œ . œj œ ˙ œ w œ ˙ œ œ
Œ œ œ
? C ˙˙ œ
œ
œ w
w œ œ œ œ ˙ Œ œ œ œ œ œ
˙. œ œ œ
Œ œ
œ

7 A'

& œ
œ œ œ w œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ w
w
œ ˙.
Œ
œ
? œœœ ˙ œ
Œ
˙ ˙. ˙ ˙. œ œ œ œ ˙ œ œ œŒ œ œ
œ w

B
œ œ ˙.
13

& Œ˙ œ b œ œ œ œ ˙ œ œœ œ œ œ œ w œ œœœ ˙. œ
˙. œ œ œ œ œ œ Œ ˙. ˙˙ ˙˙
?œ œ œ œ Œ œ œœ ˙ ˙ ˙ ˙
˙
œ œ

19
Œ œ ˙ Œ œ ˙ Œ œ ˙ #œ w
& ˙Œ œ ˙ ˙ ˙ # ˙ # œ œ œ # œ˙
˙ ˙ Œ œ Œ w
? ˙. #œ ˙ Œ œ ˙ Œ œ ˙ œ ˙ ww
˙ ˙ ˙ œ œ œ
˙ Œ œ Œ œ Œ œ

‰ œ œ œ ˙ # ‰˙ œ œ œ ˙ # œ Œ˙ œ œ
B'

& œ œ œ œ œ œ ˙˙ .
25
Œ œœ ˙
œœ ˙ œ œ œ ˙ ˙ Œ œ Œ
Œ
? ˙˙ ˙˙ ˙ œœœ œ ˙ ˙ ˙ ˙
˙ œ ˙ ˙ Œ œ
˙
Œ œ
˙
Œ
œ œ œ
 œ . œj
C
œ˙ œ œ œ˙ œ œ . œj œ œ œ œ ˙
31
254 & # œœ œœ œ œ œ œ # œ œ œ œ ˙ #œ œ œ œ
˙ ˙
˙˙ ˙˙ œ œ ˙ œœ ˙œ ˙ # œ
? œ
œ ˙ ˙ # ˙˙ œ . œj œ œ

37 C'
& œ œ œ œ œ œ œœ œœ b œ œœ ˙œ . œ œœ œ # œ œ˙ . n œj ww œ˙ œ œ œ˙ œ œ œ œ œ œ œ
J
? œ
œ œ b œ œ œ œ œœ œœ œ˙ œ Œ ˙. ˙˙ ˙˙ œ œ ˙
œ ˙ ˙

œ . œj œ œ œ
43

œ œ œ œœ œ b œ œ œ ˙œ . œ œœ . œ œ # œ œ . n œ
& œœœ ˙ œ œ j
#œ œ œ ww
˙ J
œ œ # œ œ b œ œ œ ‰˙ œj œ Œ ˙.
? œ œœ œ˙ œ .
œ œœœ œ j œ œ œ œ œ
˙ ˙

38b. Almain

Dd.2.11, f. 100r Francis Cutting

A
& C ˙˙ œ œ œ œœ œ w Œ œœ œ œ
œœ œœ œ . œj œ ˙ œ w œ ˙ œ œ
˙ œ w Œ œ œ
?C ˙ œ œ œ œ ˙ œ œ œ œœ ˙ . œ œ œ
œ œ w œ Œ œ Œ œ

A'
˙œœ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ ˙‰ œ b œ œ œ œ œ
7

& œ œ ˙ w œœ œ
œ
?œœœ ˙ œ ˙œ ˙ . ˙ ˙ œ œ w

11

& œ œ œ œ œ Œœ œ œœ # œ ẇ ‰ œbœ œ œ ˙ œ
‰ œœ œ ˙ œ œ œ œ œbœ œ
? œ. œ ˙œ œ œ œ œ ˙‰ œ œ œ œ œ œ œ
˙
‰ œœœ œ œ
Jœ œ œ œ
 B
œ œ œ œ ˙.
15

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ ˙ œ œœœ ˙.

Œ
œ ˙ œ ˙˙
255

?œ œ ˙˙ ˙˙ ˙ ˙ ˙. #œ
˙ ˙ ˙ œ œ ˙ ˙

Œ œ Œ œ j
Œ ˙ œ. œ #œ ˙ ˙
20

& ˙˙ ˙ # œ˙
˙ œ Œ œ # ˙ Œ #œ œ œ ˙ ˙
Œ œ ˙ Œ œ ˙ œ ˙
?˙ ˙ ˙ œ œ œ œ w˙ ˙
Œ œ Œ œ Œ

B'
œœœœœœ œ œœœœ
25

& œ œ œ œ œ ˙ œ œ œ œ œ œ œ # œ œ œ œ œ œœœœœœœœ
œ œœœ œœ œ œ
? w œ
˙ œ ˙ ˙

˙
28

& ˙˙ ˙ œ œ œ œ œ # œœ œœœœœœœœœœœœ
œ œ œ œ œ œ œ Œ œ #œ œ œ œ œ œ Œ #œ œ
?˙ ˙ ˙ œ
˙ ˙ œ œ œ œ
Œ œ Œ œ Œ ˙

œ . œj
C
œ˙ œ œ œ˙ œ œ . œj œ œ
32

& # œ œ œ # œ œ œ œ œ ˙˙ œ œ œ̇ # œ # œ˙ œ œ œ
˙˙ ˙˙ ˙˙ œ œ ˙ œœ ˙œ ˙
? ˙ œ . œj œ œ

37

& œ˙ œ œ œ œ œ œ œ bœ œ
œ œ ˙œ . œ œ #œ œ . n œj ‰ œœ œj ˙˙
œ J œ .
œ œ œ bœ œ œ œœ œœ œ˙ œ Œ œ ˙
? œ ˙ ˙
œ

41 C'

& œœ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ
‰ œ œ œ #œ œ
? w
w ˙ œ œ
˙ ˙
 .
& # œ œ œ œ œ œ œ œœ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ
44
256

? œ. j œ œ œ bœ œ ˙
œ œ œ œ

47

& œ œ œ œ œ œ #œ ˙ œ œ œ œ œ œ œ œ œ ˙˙
≈ œ
?œ œ ˙ œ œ œ œ œ œ œ œ ˙˙ ˙˙

38c. Almain

Barley (lute), ff. F1v-2v Francis Cutting

A
& C ˙˙ œœ œœ œ . œj œ œ œ œœ œœ œœ w Œ œœ œ@ œ
œ w œ @ ˙ œ œ
? C ˙˙ œ œ@ w œ œ œ œ
Π@
˙ œ œŒ œ œ œ œ œœ ˙Œ œ œœ œœ
œ œ w

7 A'
& œ œ œ œ w ˙œœ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ ‰˙ œ b œ œ œ œ œ
œœ œ
@
? œ œ œ œ˙ œ ˙œ ˙ . ˙ ˙ œ w
œ

œ ˙@ œ œ œ
11

& œ œ œ œ œ@ œŒ œ œœ # œ w
˙
‰ œbœ œ
˙ ‰œ ˙
‰ œ œ œ œbœ œ
@ @
? œ. œ ˙‰ œ œ œ œ ˙‰ œ œ œ œ œ œ œ œœ ‰˙ œ œ œ œ ˙œ œ
Jœ œ @ @

B
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ@ œ œ œ œ œ œ˙ . ˙ . œ ˙Œ œ ˙
15

œ @ @ ˙
?œ œ ˙˙ ˙˙ ˙ Œ ˙ #œ
˙ ˙ ˙ @ œ œ ˙ ˙
 Œ Œ œ j
Œ œ ˙ œ . œ # œœ ˙ ˙
20

& ˙˙ ˙ œ # œ˙ .
Œ œ #˙ Œ #@œ @œ œ #˙ ˙ 257
˙
@
Œ œ ˙ Œ œ ˙ œ ˙
?˙ ˙ ˙ œ œ œ w˙ ˙
Œ œ Œ œ Œ œ

B'

& œ œ œœœœœœœœ œ
25
˙
˙ ‰ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ ˙
˙ œ œœœœœœ
@
œ œœ œœ
‰˙ œ œ œ œ œ@
? w ˙
œ œ ˙ ˙ Œ œ
˙

C
œ ˙ @ œ
29

& ˙ œ #œ œ œ œ œ œ Œ #œ œ œ œ œ
œ
# œœ œ œ œ œ œ œ œ œ œ œ œ # œ@ œ œ œ œ œ œ ˙˙ œ˙ œ œ œ˙ œ
Π@ @ @
?˙ ˙ œ ˙˙ ˙˙
˙ œ œ œ ˙ ˙
Œ œ Œ œ ˙

. j
& œ . œ œ@ œ œ œ ˙œ@# œ # œ˙ œ@ œœ œœ œ œ œ œ œ œ œœ
j
34
œbœ œ ˙œ . œ œœ œ # œ œ˙ . n œj
œ œ J
ww
? @œ œ ˙ œœ ˙œ ˙ œ ˙œ
. œœ œ
œ œ œ bœ œ œ œœ œœ œ˙ œ
œ Œ ˙.
˙ ˙
J œ @

. œj
C'
@ @ œ
41
œ œ
& œœœœœœ œ œ b œ œ œ œ œ
œ œœœœ œ œ b œ œ œ
œ œ œ œ œ œ œ œ œ ˙ œ #œ œ œ #œ œ œ œ œ œ
Œ œ ‰œ œ @
?w ˙ ˙ œ œ ˙ œ . œj œ œ

45

& œ œ œ œ œ œ œ‰ œ œœ b œ œŒ œ ˙œ . œ œœ . œ œ œ œ # œ œ œ b œ œ œ n œ œ œ œ œ œ œ œ œ œ ˙˙
J J œ
? œ œ œ b œ œ œ œ œœ œ ˙ ˙ ˙˙
œ
258

39. Almain

Dd.9.33, f. 9r Francis Cutting

A
&C ˙ œ œ ˙˙ œ œ œœ œœ œ˙ # œ ˙˙ œ˙ œ œ œ œ œ œ œ œŒ œœ œœ œœ
˙ ˙
? C ˙w. œ bœ œ ˙ œ œ œ œ œœ œœœ œ œ
œ ˙. ˙.

7 A'
& b œœ œœ œ˙ . œj œ˙ . œj ˙˙ œ œ œ œ œ œ œœœœœ œ œ œ œ œœ
œ œœœœœœœ
? b œ œ œ˙ n œ Œ œ ˙
œ. ˙ w ˙. œ
‰

œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ
11

& œœ œ œœ œ œ œ œ # œ
˙ ˙
? bœ œ ˙ ˙ ˙ œ
œ œ œ œ ˙ œ

B
œ ˙
15

& b œœ œ œ œ œ œ œ œ œ œ œ œ ˙œ œ œ #œ œ˙ œ œ œ œœ œœ œ œ # œ
œ œ œ œ œ ˙˙ ˙ œ
? bœ œ ˙ ˙ ˙
˙˙ œ œ
œ œ
˙˙
˙˙ œ œ œ œ ˙

20
ΠB'

& ˙ œ œœ œœ œœ œœ œ œœ œœ # œ œ œ œ œ œ œ œ œ œ œ œ ‰ œœ . œ
j
˙˙ œ œ œ œ #œ
˙ œ œ œ bœ œ œœ œœ œ œœ œœ œ ˙ œ œ œœ œ œœ Œ œ ˙˙ ˙˙ œ œ
? œ œ ˙ œ œ
˙ œ

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ ˙œ . œ œ œ œ # œ ˙œ . œ œ œ œ
26

œœ œ b œ œ b œ œ œ œ œ œ œ
œ œ œœœ
?˙ œ œ œ ˙ œ œ bœ
œ ˙.
( 29 )

& œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ ˙˙
259
œ
? œ œ œ œ œ œ œ œ
œ ˙
˙ ˙

40a. Almain

Barley (orph.), f. C2r Francis Cutting

A
& b C œ@. œj œœ œœ b œ˙ . œj œ@ œ b œœ œœ œœ n œœ œ˙ œ œ œ œ œ
œ œœ œœ@ œ œ œ œ b œ
@
? C ˙ œœ œ b ˙ . œ œœ œ œ ˙ ˙˙ œ œ œœ œ œ œ œ œ
b œ œ œ œ œ œ
˙ ˙ œ œœ

B
œ . œ œ@ œ œ˙@ œ œ œ œ
7
.. .. j
&b œ œ œ œ œ@ ˙ . œ œ œ˙ . œ œ@ œ œ@ œ œ œ œ J œ
? b œœ œ œœ n œ ˙˙ œ ˙ . . Œ ˙. n œœ ˙. œ ˙ ˙˙
˙ œ . . ˙ . ˙ ˙˙ ˙. œ ˙

13
j j @ . .
C

& b œ. œ œ œ œw. œ œ œ œ œ œ ˙ œ˙@ œ œ . . œ b œ œœ œ œ œ œ œ œœ œœ œ œ

œœ .. œj œ . œj ˙œ . œ œ œ Œœ œœ œ˙ n œ ˙˙ œœ .. ..
?b w ˙œ œ œ œ ˙œ
J œ . œœ œ œ
J

19

& b œœ œ@ œ œ œ œœ œœ ˙˙ Œ œ œ œ œ œ œ œ œ œ@ ˙ . ..
˙ b œ œœ œ œ œ ˙ ˙.
? b ˙œ . œ
œ œ ˙ œ ˙ ˙ œ œœ œ œ n œ ˙ œ ˙
bœ œ. œ œ œ ˙ ..
Jœ œ œ œ œ œ œ. œ œ œ
J J ˙ œ
260
40b. Almain

Dd.9.33, f. 8v Francis Cutting

A
&bC j . j œ œ œ˙ œ œ œ œ œœ œœ œœ œ œ œ œ
œ . œ œœ œœ b œ˙ œ œ œ b œœ œ œ n œœ œœ
? C ˙ œœ œ b w˙ . œ œœ ˙˙ ˙˙ œœ œ œ œ œ œ
b ˙ œ œ œ œ œ œ œ œœ

7 A'
& b œ œ œ œ œ œœ ˙ ˙ bœ œ œ
œ nœ œ œ œ œ œ œ œbœ œ œ œ œ œ œ bœ œ œ œ œ œ œ
˙ ˙ œ
?b œ œ ˙ œ b˙. œ œ œ
Œ ˙. ˙

( 11 )

& b œœ . œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ œœœœœœœœœœœœœœ
œ œ
? ˙ œœ œ œ œ œ œ
b œ œ œ œ œ ˙
˙ œ œœ œ

16 B
œ˙ . œj œ œ œ. œ œ
& b œ œœœ ‰
œœœ œ œ œ œ œ œ œœ J œœ œ˙ œ œ œ œ

?b ˙ ˙˙ .. n œœ ˙˙ œ ˙ ˙˙
˙ ˙. ˙ ˙. œ ˙

21
j B'
& b œ . œ œ œ œ . œj œ œ œœœ ˙ œ˙ œ œ œ n œ œ œ œ œ œœ˙ œ œ œ œ œ œ œ œ œ œ œ
j
˙. œ
œ . œ œ . œj ˙ Œ œ œ nœ ˙˙ ˙˙
?
b w œ . Jœ œ œ œ œ ˙ ˙ œ œ

26

& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ . œj
œ œ
œ . œj œ œ œ œ œ
?b ˙ ˙ œ ˙ ˙ ˙
˙ œ ˙
30 C
& b œ˙ . œ œ œ œ œ œœ œ œ œ œœœœœœœœœœ œ œ
œ n œ œ œ œ œ œœ œœ b œ œœ œ œ
œœ 261
. Œ œ
? b ˙œ . œœ œ œ œ ˙ ˙ ˙˙ ˙œ œ
J . œœ
J

34

& b œ œœ œœ œ œ œœ œ œ œ œ œœ œœ ˙˙ Œ œbœ
œœ œ
Œ œœœ œ œ
œ œ œ œ œ
jœ j
œ
˙ ˙
? b œ œ ˙œ ˙œ . wœ œ œ œ
œ œ bœ œ. œ ˙œ . œ ˙ œ œ ˙w.
œ Jœ œ J J

40 C'
& b œ˙ œ ‰ œ b œ œ œ œ œ ‰ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œœ œœ ˙˙
˙ œ
?b w ˙œ œ œ œ ˙œ j wœ œ œ
. œœ œ . œœ œ œ bœ
˙ ˙ J œ

45

& b ‰ œ bœ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙˙
˙ œ œ ˙. œ
j ‰ œ. œ
? b œ. œ œ. j
œ ˙ œ œ w ˙
œ

41. Jig

Dd.2.11, f. 98r Francis Cutting

j
œ . œ œ œ ˙w
A
& C ˙w œ œ ˙˙ ˙˙˙ w ˙
j
b œw. œ œ œ bb ˙˙˙ œ˙ œ œ œ œ œ w
?C w ˙ ˙ w w b˙ b˙
œ œ ˙ ww
w

A'
œ œ œ œ œ œ œ œ ˙˙ ˙˙
5

& œ œ œ œ œ ˙˙ ˙˙ bœ œ œ œ œ œ œ œbœ bœ œ œ œ œ œ œ œ w
∑ ˙ ∑ ˙
? w ˙ ˙ ˙ ˙ w b˙ b˙ œ œ ˙ w
w
 jœ
œ b œ œ œ œ n www
9 B
262
& .. œ . œj b œ œ ˙ ˙ b œw. œj œ œ b ˙˙ b
˙˙ b œ œ œ˙ œ wwœ . œ ..
b˙ ˙ b˙
˙
˙ ˙
? .. ww b˙ bœ œ ˙ ..
˙ ˙ w b˙ bw ˙ ˙ w

42a. Toy

Add.2764(2), f. [7]r Francis Cutting

. j 1.

œ œ˙ .
A
& 64 œ œ . œj œ ˙˙ . œ ˙
˙. œ ˙˙ œ ˙
˙.
œœ ˙˙˙ .. Ó
Ó
..
. .
? 64 Œ ˙. ˙˙ .. ˙˙ .. Ó
˙. ˙. Ó ..
˙. ˙.

B
jœ jœ
2.
.. ˙
4 1.

& ˙˙ .. Ó. œ œ. œ ˙ œ œ . œj œ œ . œ œ ˙ ..
Ó. @ ˙. ˙.
˙˙ . ˙. ˙˙ .. ˙˙ . œœ # ˙˙ ˙w. ˙.
? ˙. Ó. .. ˙ . . ˙. . . ..

C
.. œ œ ˙
2.
œ ˙ œ
8

& ˙. ˙ ˙˙ . ˙˙ œ ˙ ˙@ œœ Ó ..
@ ˙. ˙ œ ˙ ˙ œ œ ˙˙ .. Ó
? ˙˙ .. ˙˙ .. ∑ Œ ˙ Œ # ˙˙ .. Œ œ œ Œ œ œ Œ œ œ ˙˙ .. ÓÓ ..
˙

42b. Toy

Dd.2.11, f. 80r Francis Cutting

œ œ œ œ
A
& 64 œ œ . œj œ ˙˙ . œ ˙ œœ ˙˙ œ ˙
w. ˙˙ .. ˙˙ ..
˙ . ˙. ˙
? 64 Œ ˙ œ ˙ œ ˙ œ ˙. ˙ ..
w. ˙.
 B
œ œ . œj œ
( 4)

& .. œ ˙ ..
˙ œ œ . œj œ ˙ j 263
œ œ. œ œ ˙. ˙
? .. Œ ˙. ˙. ˙˙ . ˙. ˙˙ . # œ ˙˙ ..
w. . ˙.

C
˙
( 8)

& .. œ œ œ ˙ œ ˙. œ ˙ œ œ œ œ œ œ ˙. ˙
..

? .. Œ Œ ˙ ˙ œ ˙ œ ˙ œ ˙ œ ˙˙ .. ˙˙ ..
œ ˙

43. The Squirrel’s Toy

Dd.2.11, f. 77r Francis Cutting

œ .
œ ˙˙ . œ ˙˙ . œ œ . Jœ œ Jœ œ œ . œ œœ ˙˙
A
j
& 64 j
œw.. œ œ ˙
..
œ ˙
? 64 œ ˙. ˙ œ ˙. ˙. ˙. ˙ # œœœ ˙˙ ..
˙ . ˙

B
(4)
j j jœ . j
& ..
œ œw.. œ œ ˙ œ œ. œ œ ˙ œ œ . œ œ œ œ œ . œj œ ˙ ..
œ œ . œj œ ˙
? .. œ ˙. ˙ œ ˙ # œ ˙˙ .. œ
œ . Jœ ˙ œ ˙. ˙ ..

44. Cutting’s Comfort

Barley (orph.), f. D1v Francis Cutting

A
jœ A'

&bc ˙ œ œ œ˙ .. œ œœ ˙˙ œ˙ œ œœw.. œ
j˙@ œ œ œ œ. œ œ œ œ œ œ œ
J
˙. œ
? b c ˙˙ œœ œœ œ œ. œ ˙ ˙. œ
˙˙ ˙˙ ˙. œ
˙. J ˙
 7 B

& b ˙˙ œ@ œœ œ œ œ œ œ œœ œ˙ œ œ œ@ œ b œ œ œ œ œ œ œ œ œ œ œ@
˙ œ
264
œ
œ ˙˙ . ˙ ˙˙
?b œ œ œ œ ˙ ˙. œ b œœ œ œ ˙œ
œ œ œ ˙

12 B'

& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œœ @
œ œ œ œ œ œ œ œ ww
? b ˙. œ ˙ œ bœ œ œ œ œ
œ œ ˙ œ ˙.

45. Greensleeves

Add.31392, f. 29r Francis Cutting

b 1
j j œ œ . œj œ
& b b 64 ˙ œ ˙ œ œ. œ œ ˙ œ œ . œ
j
œ œ. œ ˙ œ
œ
? b b 64 Œ
˙ œ ˙ œ ˙˙ œ n ˙˙ œ ˙ n œœ ˙˙ œ n ˙ œ n ˙˙ œœ
b ˙. ˙ œ . œ ˙ œ ˙ œ ˙

b œ . n œj œ
5

&b b ˙ œ ˙ n œœ ˙ . ˙. œ . œj œ œ . j ˙.
˙.
nœ nœ w.
˙. ˙ œ w.
? b b ˙ œ ˙ œ w˙ .
b . ˙. œ . Jœ œ n ˙˙ œ ˙w.. ˙. w.
˙. ˙.
œ

b
œ . œj œ œ . œj œ ˙ œ ˙ œ ˙ n œ ˙˙ . œ ˙˙ œœ
10
j
& b b œ. œ œ ˙. ˙w..
˙ œ ˙ .. w. œ n ˙
˙ œ
œ ˙ ˙. ˙ œ
? bb ˙. ˙˙ ˙. ˙. ˙ ˙ œ ˙ œ ˙. ˙ œ
b . ˙

15
b j 2 j
& b b œ˙ . œ n œ œ . œj œ n œ . œj œ ˙ . œ œ. œ
jœ œ œ œ .
œ œ . n œœ ˙œ . Jœ œ
œ
˙ Œ ˙ œœ ˙˙
? bb ˙ œ ˙ n œ ˙˙ œœ ˙˙ .. Œ ˙. ˙
œœ ˙ .
˙.
b œ
19
b j
& b b œ . œj œ œ . œj œœ œ œ #œ ˙ œ œ . œ œ œ œ nœ œ œ œ œ
œ œ
265

˙ Ó n œ n ˙˙ œœ ˙ ˙˙ Œ nœ Œ œ
? b b ˙ n œœ ˙˙ . œ ˙. ˙ œ ˙ œ œ œ œ œ œ œ
b ˙

23
b j ˙. œ nœ œ œ œ œ œ
& b b ˙ œ œ. nœ œ nw. j
œ œ œ. œ œ œ œ œ
j œœ n œ œ
? b b n ˙œ . œ œœ n œ˙ . œ œœ ˙ . ˙ . ˙ ˙ œ ˙˙ .. ˙ œ Ó œ
b J w. œ œ ˙ œ ˙. ˙ œ œ œ œ

j
b œ . n œj œ œ . œj œ œ . œ œ n œ˙ . œj œœ
28

&b b ˙j j œ . œj œ w.
œ
œ. œ œ œ . œ œ ˙. ˙. ˙ œ n ww ..
? b ˙ œœ n ˙˙ œœ ˙˙ .. ˙. ˙. ˙.
˙ œ ˙. w.
b b n˙ ˙ ˙. ˙.

46. My Lord Willoughby’s Welcome Home

Dd.5.78, f. 28v John Dowland / Francis Cutting

1 j
& b C
w˙ ˙ œw. œ œ œ œ œ œ œ œ # www
Œ œ œ # œ œ œ œ œ œ œ œ œ ww
œ. #w
Œ ˙. ww œ œ ˙ w Œ ˙.
? b C ww w ˙. œ ˙ ˙
w ˙ ˙ ˙ ˙

˙.
5

& b œ . œj œ œ œ œ œ œ œ œ œ œ˙ n œ ww ˙˙ n œ # œ ˙. œ œ œ œœœ ww
w œ œ œ œ œ œ ˙
˙˙ . Œ #˙ .
? ww
b
œ œ œ œ œ œ ˙ w œ œ œ œ . œ
˙ ˙ ˙ ˙

‰ œ œ œ œ œ #œ
2
&b ‰œœœ˙œœœw
9
‰ œœ œœœ
Ó ‰ ‰œœœœœœœ œ œ #w
œ. j œ œ œ Œ ˙. œ
?b w w œ ˙.
w ˙ ˙
 (11)
œ . œ # œjœ n œ œ œ œ œ
& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ # www œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ
266
‰ Jœ ˙
?b
Œ ˙. w œ œ œ œ
˙ ˙ ˙ ˙ w

j
œœ . œ œ œ œœ n œœ œ œw b œ œ œ œ œ œ œ œ œ œ œ œ œ ˙‰ œ œ œn Œœ œ ## œœ œ œ˙ .n œ b œ œ œ œ œ œ œ œ œ œœ œ œ
14

&b œ
œ nœ
?b œ Œ ˙ w œ œ œ œ w

3
‰ œ œ œ œ œ œ nœ ˙
16

& b œ˙ œ œ œ œ œ œ w œœ œ ˙ œœ
˙ w ‰ œ œ œ ˙ œ œ œ œ œ œ œ œœ œœ # ww
Œ . Œ ˙.
?b
˙ ˙ ˙ #˙ ˙ w ˙ ˙ œ. œ ˙ ˙ ˙
J

œ œ œ
& b œ œ œ œ œ nœ #œ œ œ œ œ bœ œ ˙
19
j
œ œ œ œ # ww œ. œ œ œ œ œ œ œ œ
? b w˙ . œ œ œ ˙ ‰ œ œ œ Œ ˙. ˙˙ œ œœ œ œœ . œj
œ . œ œœ œ˙ ˙ ˙ œ. J œ œ œ œ
J

n œ # œ œ . œj ˙œ œ œœ . œj ˙
22

& b œ nœ ˙ ‰J œœ
œ œ wœ
˙ ˙
œ ˙ Œ ˙ œ œ œ # œ ˙˙ ˙˙
? b œœ œœ œ ˙
œ. œ œ œ œ œ œ
. œ Œ ‰ œj# œ œ œ ˙
˙ J ˙ ˙ ˙ ˙ ˙

47. Packington’s Pound

Barley (orph.), f. C4v Francis Cutting

bb3 j
œ œœ
A
jœ jœ œ˙ . œ œ œ
& b b 4 œ. œ œ œ n œ@ œ œ. œ œ œ n œ@ œ
? b b b 34 ˙
˙ œœ ˙˙ œœ ˙ œ œ
b ˙. ˙. ˙
 bb œ œ n@œ œ œ n@œ
7 B
& b b œ œ n œœ ˙. ˙. ˙. 267
@ @
? b b ˙˙ œ ˙œ .
bb œ ˙ ˙ œ ˙. ˙ œ ˙.

j
b œ œ n œ œ œ œ œ n œ œ œ @œ ˙ .
C
& b b b œ n œ @œ œ œœ
13
œ˙ . œ œ œ
@ @ @
? bb ˙ ˙ œ ˙ œ
bb œ ˙ œ ˙ œ ˙.

j
b
& b bb œ.
jœ œ. nœ œ nœ œ œ
19

œ œ œ nœ œ @
œ ˙.
˙. œ œ n˙.
? bb b ˙
˙ œ Œ œ œ
Œ ˙
˙. œ j
b œ ˙ œ. nœ œ œ ˙ ˙.

48a. Walsingham

Dd.2.11, f. 96r Francis Cutting

1
bb3
& b b 2 œw œ ˙ ˙˙ ˙˙ ˙˙ ˙˙ œ œ ˙ ˙˙ ww ..
w ˙ ˙ ˙˙ ˙ Ó œ œ˙ n œ ˙ w. ˙
? b b b 23 ˙ œ ˙
b w ˙ ˙ ˙ ˙

b
& b b b œ˙ œ n ˙œ ˙ ˙ œ
5
˙ œ n œ n œ œ œ n œ n ˙˙ n ˙˙ œw n œ n œ œ œ œ œ ˙˙
? b b œw œ ˙ ˙ œœ œœ œ˙ œ ˙˙ œ ˙ ˙ w ˙
œ n œ œ
bb ˙ ˙

2
b
& b b b wœ œ ˙
9
˙˙ ˙˙ ˙ œ˙ . œ ˙ œ ˙˙ ww ˙˙
˙
˙ ˙ ˙. ˙ œ ˙
? b b ww ˙
œ˙ œ œ œ ˙
˙ ˙
w
˙
bb w ˙ ˙
 b œ
& b b b œ˙ . œ ˙ œ œ n œœ ˙˙
13
nœ ˙
˙ n œœ œ n œ œ ˙˙ œw n œ n œ œ œ œ œ œ œ œ œ ˙˙
268
˙
? b b b ˙w. w ˙˙ œ œ ˙ ˙ w ˙
nœ ˙ œ œ nœ ˙ ˙
b Œ œ œ

3
17
bb
& b b œ˙ . œ ˙ œ ˙œ œ ˙˙ ˙ œw œ ˙ ˙˙ ˙w. œœœ œ
˙
˙
? b b w˙ ˙ ˙ ˙ œ œ wœ
œœœ œ ˙œ œ œ w˙ w œ œœ
bb

21
bb
& b b œ n œœ œ œ œ œ œŒ œœ ˙˙ ˙ ˙ œœ n œœ œœ œœ ˙œ n œ œw n œ n œ œ œ
Œ ˙ œ œ nœ œ ˙
Œ ˙ œ nœ œ ˙
? bb b œ œ ˙ ˙ ˙ œ œ˙ œ ˙˙ w.
b

4
25
bb œœœœœ
& b b œ œ œ œ ˙‰ n œ œ œ œ œ œ œ ˙‰ œ n œ œ ˙ ‰ œœ w
œ ‰œœ œ œ œ œ
‰ œœ˙
? bb w ˙ ˙ b ˙œ ˙ ˙
bb w

b
& b b b ww ... œœ .. œj ˙
28

˙ ˙ ˙
w w œ nœ œ œ
? bb œ œœœœœ œ œ œ œ œ nœ œ
bb œ œ œ œ nœ œ œ œ œ œ œ . œj œ œ œ œ ˙

5
b
& b b b œ œ œ n œ œ . œ œ œœ n œœ n œ œœ Ó
31
‰ œ nœ œ ˙ ‰œœœ˙ ˙
Œ ‰ œ n œ n œ ˙ ˙˙
J
œ œ wÓ ‰ œ œ nœ œ œ œ œ
? bb b œ ˙ ˙
b nœ ˙ w ˙

bb nœ œ œ œœ ˙œ œ 94 w . œ œ œ œ nœ
j
34

& b b œ œ ˙ n ‰˙ œ œ œ Óœ œ œ œ œ . Jœ œ œ œ œ œ œ œ œ .
[h = h.]

Œ
œ. j ˙
? b b b w œ œ œ œ œ ˙˙ œ œ ˙ 94 w .
b Ó ˙. ˙ nœ ˙.
 bbb œ. œ œ œ œ Œ j nœ
23
38
j œ . œ œ
& b
J œ œ. œ œ nw.œ n œ n œ˙˙ .. œ œ n œ œ œ œ œ œ n œ œ œ œ ˙˙ .. 269

? bb b w. ˙. ˙. ˙. w. ˙. 23
b ˙. ˙.

6
b 3
& b b b 2 œ˙ . œ ˙ ˙ œ n œœ ˙œ œ n œ ˙œ œ n ˙˙ w˙ œ œ Œ˙ œ
[h. = h]
41
œ˙ . œ ˙ œ œ ˙œ œ œ
J J
? b b b 23 œ˙ œ wœ œ ˙ w ˙œ w œ œ œ œ œ œ ˙ œ
b œ œ ˙ œ ˙ œ nœ ˙ w

45
bb j
& b b œœ œœ ˙œ œ ˙œ œ œ œœ œœ ˙œ n œ œ œ n œ œ n œ œœ œœ œœ œ . j
œ‰ .
˙ nœ œ œ nœ œ œ nœ nœ ˙
? bb ˙ ˙ ˙ ˙ ˙ œ ˙ . n œ œ œ œ˙ . œj n œj œ œ œj˙˙
bb œ. J .

7
j
bb
œ˙ . œœ œ œœ œn œ˙ b œ
49

& b b œ˙ . œ ˙ œ ˙œ œ œ œ˙ œ ˙œ œ ˙˙ œœw œ œ œ œ œ
w ˙ ˙ œ œ
? bb b w ˙ ww ˙
˙ ˙ ˙ ˙ œ œ œ
b ˙.

b j
& b b b œœ œ ˙˙
53

œ œ ˙ œ n œ œ˙ œ œ˙ n œ œ n œ œ˙ œ œ . œ œ n ˙w. œ ˙˙
œ nœ
? b b ˙. wœ w ˙ ˙
œ œ nœ œ nœ
bb œ œ œ œ œ œ˙ ˙ ˙ ˙

48b. Walsingham

Barley (orph.), ff. D2r-3r Francis Cutting

1
bb3
& b b 2 wœ œ ˙ ˙˙ ˙˙ ˙˙ ˙˙ œ œ ˙ ˙˙ Œ ˙˙ .. ˙˙
w ˙ ˙ ˙˙ ˙ Ó œ œ˙ n œ ˙ Œ ˙ ˙ œ ˙
? bb3
bb 2 w ˙ œ ˙
˙ ˙ ˙ ˙
 b
& b b b œ˙ œ n ˙œ ˙ ˙ œ
5
270 ˙ œ n œ n œ œ œÓ n œ n ˙˙ n ˙˙˙ œw n œ n œ œ œ œ œ ˙˙
? b b wœ œ ˙ ˙ œœ œœ œ˙ œ ˙˙
bb œ nœ œ œ ˙ ˙ w
˙

2
9
bb
& b b œ˙ . œ ˙ œ ˙˙ ˙˙ ˙ œw œ ˙ ˙˙ Œ ˙˙ .. ˙˙
˙
w ˙ j
œ˙ . œ œ œ ˙ w ˙ Œ ˙. œ ˙
? bb b w ˙ ˙ ˙ ˙
b w ˙ ˙.

13
bb œ n œœ ˙˙
& b b œw œ ˙ œ ˙ ˙
n œœ n œœ n œ œ ˙˙˙ œw. n œ n œ œ œ œ œ œ œ œ œ ˙˙
˙
? b b w˙ . nœ ˙ w ˙˙ œ œ ˙ ˙˙ w ˙
bb Œ œ œ œ œ nœ ˙ ˙

3
b
& b b b œ˙ . œ ˙ œ ˙œ œ
17
˙˙ ˙ œw œ ˙ ˙˙ ˙w. œœœ œ
˙
˙
? b b w˙ ˙ ˙ ˙ œ œ wœ
œœœ œ ˙œ œ œ ˙w w œ œœ
bb

21
bb
& b b œœ n œœ œ œ œ œ œœ ˙˙ ˙ œ œ
œ n œœ œœ œœ ˙œ n œ œ n œ
œ˙ Œ œ n w nœ œ œ nœ œ ˙
Œ. j œ ˙ œ nœ œ ˙
? bb b œ œ ˙ ˙ ˙ œ œ˙ ˙˙ w.
b

4
bb
œœœœœ
25

& b b œ œ œ œ ˙‰ n œ œ œ œ œ œ œ ˙‰ œ n œ œ ˙ ‰œœœ w
‰œœ œ œ œ œ
? bb w ˙ ‰œœœ˙
bb ˙ b ˙ ˙ w ˙

bb
œœ .. œj ˙
28

& b b ww .. ˙ ˙ ˙
w œ nœ œ œ
? bb œ œœœœœ œ œ œ œ œ nœ œ
bb œ œ œ œ nœ œ œ œ œ œ œ . œj œ œ œ œ ˙
 5
bbbb Ó
31

& œ œ œ n œ œŒ . œ œ œœ n œœ n œ œœ ‰ œ n œ n œ
‰ œ n œ œ ˙˙
˙ ˙
‰œœœ˙ ˙ 271
J
? bb b œ ˙ ˙ wÓ ‰ œ œ nœ œ œ œ œ
b nœ ˙ ˙ ˙
w

œ j
œ œ œ 4 w . œ œ . œ œ œ œ œ œ œ œ@. œ œ œ œ n œ
34
b bbb œ ‰ œ œ n œ . œ œ ˙ 9
[h = h.]
j
& œ ˙ n ˙˙ œ œ Ó Œœ
j
Œ J œ
.
? b b b œw œ œ œ œ œ ˙˙ Œ œ œ œ ˙ 94 w . ˙. ˙ nœ ˙.
b

b j
& b b b œ . Jœ œ œ œ œ œ . œj œ n wŒ . œ n œ œ . œ n œ n œ˙˙ .. œ œ œ n œ œ œ œ œ œ n œ œ œ œ
@
23
38

.
˙˙ ..
? bb b ˙. ˙. ˙ nœ ˙. ˙. ˙. ˙. 23
b ˙. ˙. ˙.

6
b
[h. = h]

& b b b 23 œ˙ . œ ˙ ˙ œ n œœ œw œ n œ œ œ n ˙˙ Œ
41
œ˙ . œ ˙ œ œ ˙œ œ œ ˙w œ œ ˙ œ
J J
? b b 3 œ˙ œ wœ œ ˙ w ˙œ w œ bœ œ œ œ œ ˙ œ
œ n œ ˙
bb 2 œ œ œ œ œ œ œ œ w Œ

45
bb j
& b b œœ œœ ˙œ œ ˙œ œ œ œœ œœ ˙œ n œ œ œ œ‰ . n œœ n œœ n œ œœ œœ œœ œ . j œ n œ n œ ˙
˙ nœ œ œ
˙ ˙ ˙ n œ œ œ œ . j n œj œ œj ˙
? bb ˙ ˙ œ . Jœ ˙ . ˙. œ œ œ
bb œ

7
bb
œ˙ œ œœ œœ n œ˙ b œ
49

& b b œ˙ . œ ˙ œ ˙œ œ œ˙ œ ˙œ œ ˙˙ œœw œ œ œ œ œ
˙ œ œ
? b b ww ˙
ww ˙
˙ ˙ ˙
bb ˙ ˙ ˙. œ œ œ

b j
& b b b œœ œ ˙˙
53
œ.
œ œ œ ˙ œ nœ œ œ œ˙ n œ n œœ n œ ˙œ œ œ œ n wœ . n œ n œ œ œ œ œ œ œ œ œ ˙˙
? b b ˙. wœ œ œ nœ œ w ˙
œ œ œ œ n œ œ̇ n œ œœ ˙
bb œœ œ w ˙
272

49. Lullaby

Dd.9.33, ff. 4v-5r William Byrd / Francis Cutting

b
&b C ˙. œ ˙ n˙ œw œ ˙ ˙ # ˙ w
˙. œ ˙ ˙ w ˙ ˙ ˙w. œ
? bb C w ˙. œ ˙w n ˙ # ww
w ˙w œ n œ ˙ w
w.
˙˙ ˙ ˙ w
ww

5
b ˙. ˙
&b w œ ∑
˙. œ ˙ ˙ #˙ ˙
˙ ˙˙
˙ ˙ w ˙. œ ˙ ˙ ˙
˙ ˙˙ . # ˙ œ w ˙
? bb w ˙˙ ˙ ˙ œ œ œ œ
˙ #˙ ˙ ˙ w ∑

8
b w
& b # w˙ Œ œ ˙˙
˙ œ
œ ˙ ˙˙w œ œ
Ó
˙ ˙˙ ˙˙ ˙
˙ ˙ ˙
? bb w n˙ ˙w ˙˙ .. œ ˙˙ œ˙ œ ˙˙ ˙
Ó ˙
˙˙
n˙ . . œ n ˙˙

11
b
& b ˙Ó ˙ w œ œ
Ó
˙ ˙˙ ˙Ó œ˙ œ ww œ˙ œ ˙˙
˙ ˙
? bb ˙
˙ ˙ œw œ ˙ ˙w ˙˙ ˙ Ó ˙ ˙
˙˙ ˙ ˙ ˙
˙ w w ˙ ˙

14
b w ˙
& b n œw œ ˙ # ˙w ˙ œ œ œ˙ . n œ ˙
Ó œ ˙œ œ
˙
˙. œ #œ œ ˙
? b b w˙ .
w #˙ ww˙ œ œ˙ . n œ ˙˙ œ ˙œ .
œ ˙ œ ˙œ . œ œ ˙œ ˙ n œ # ˙œ œ
w

17
b œ
& b ˙ . œ œ œœ ˙ ˙ œ œ œ œ #w
˙
∑œ
œ œ œ w
Ó Œ œ
œ œ ˙ Ó
˙ œ œ œ œ œ œ œ œ œ œ #˙
? b b œw
œ w ˙ w ˙ œ œ˙ w ˙ ˙˙
20
b Œ œ
&b ˙ ˙ Ó Œ œ œ œ ˙ Ó
˙. œ ˙ ˙˙
œ œ ˙
˙. œ ˙˙ # ˙œ œ
273
˙. œ ˙ ˙
? b ˙ ˙ œ˙ ˙ ˙ # œ œ œ ˙ œœ ˙ # œ œ œ ˙ œ œ ˙˙ œ
b ˙ #˙ ˙ #˙ ˙ ˙ Œ œ #œ œ ˙ œœ

b U
2 26
23

&b ˙ ˙˙ w n œ ˙w ˙ ˙ ˙œ œ w˙ œ œ œ # œ n œ ˙œ œ 2 n www
˙ ˙.
j
? b b œœ n œ # ˙˙ n ˙˙ ˙ œ œ . œ œœœ ˙˙˙ ˙ ˙˙ œ˙ œœ œ˙ œ ˙˙ 22 ww
œ ˙ ˙. ˙ ˙˙ w 26
u
Fine

27
b6 Ó
& b 2 ∑∑ .. ˙Ó ˙˙ ˙˙ ˙ ˙ w
[h = h.]

n ˙œ . ˙ # œœ n œ ˙˙ n w˙˙ . ˙ . œ Ó n˙
œ œ ˙ ˙ ˙
? b 6 Ó ˙ ˙ n˙ ˙ ˙ ˙ ˙w b ˙ ˙˙ ww # ˙˙ ˙˙ ˙ ˙˙
b 2 ˙ ˙ ˙ w ˙ ˙ ˙ ˙ w #˙ w ˙ ˙

b
& b n ˙Ó ˙w w w ˙ .
30

œ œ˙ n œ ˙ ˙ # ˙ ˙ ˙ w Ó
˙ w ˙ n˙ ˙ w n˙ w ˙ ˙
˙ ˙
? bb w ˙˙ ˙˙˙ œ ˙˙ ww ˙. œ
w ˙
œ n œ œœ
w ˙ w ˙ ˙w œ œ ˙ w˙ . œ b ˙˙
˙ ˙ ˙ w b˙

33
b w ˙. ˙.
& b ˙ ˙ œ ˙˙ w˙ w ˙ ˙ œ w œ ˙ . ˙ œ ww . n˙ w˙ ˙ ˙˙
˙.
? b ww Ó w ˙ ˙ . œ ˙ ˙˙ œ œ ˙ ˙
b ˙. œ ˙ w ˙˙ wÓ ˙ ˙ w ˙ ˙. œ ˙˙ ˙˙
˙

36
b
& b ˙. œ ˙ ww ˙ ww ˙˙ n ww ˙˙ œ œ ˙ n˙ ˙ ˙. b˙ œ
˙ w ˙ ˙ ˙. œ ˙ ˙
˙. n˙ ww ˙
? bb ˙ n˙ ˙ w
˙ w
˙ Ó wœ w
w
œ œ
œ œ ˙˙ n ˙
˙ w ˙
w ˙ w ˙ ˙ œ œ

39
b ˙. œ ˙ w
& b w˙ ˙ ˙œ œ ˙ ww w. ∑ ˙ # w˙ . œ ˙˙
˙ w
˙ ˙ w
? b b w˙ ˙ ˙˙ ˙˙ ˙ ˙ ˙ œ œ ˙ #w .
˙ w ˙ œ ˙˙ ww œ n œ n œ˙ . œ # ˙ œ ˙˙
w w ww ˙
 42
b œ˙ œ ˙ ˙
274 &b ∑ ˙ ˙ # ˙˙ .
Œ n œ œ œ ˙˙ . w œ ˙ # w ˙ ˙ w
œ œ ˙ œ nœ ˙ œ˙ w.
? b ˙ # ˙˙ ˙˙˙ #œ œ
b w
˙ ˙ œ nœ nœ œ
˙ ˙˙ ˙˙ . ˙n œ ˙ œ # œ˙ œ œww œ œ ˙˙ ˙˙ ww
˙ w ˙ w˙ ˙ w

45
b ˙w w n ˙ ˙w ˙ ˙˙
&b ˙˙ ˙˙ n ˙˙ # ˙w ˙ # ˙˙ # ˙w. w
œ ˙˙ ˙ ˙ ˙˙
Ó
w
jœ œ ˙
? b b n ˙˙˙ ˙w
˙˙ ˙ w ˙˙ ww ˙˙ n ˙ . n œ ˙˙ ˙ w˙ ˙ œ . œ
˙ ˙˙ ˙˙
˙
˙ w ˙˙ ww nw ˙

48
b ˙ nw
& b # ww ˙˙ ∑ ˙ # w˙ ∑ ˙ n w˙ w ˙
nw #˙ ˙ n ww ˙ Ó nw
? b b ww ˙˙ ˙˙ n w ˙ w˙ ˙ Ó n ˙˙ w Ó ˙ n ww ˙ w˙ ˙
ww ˙˙ nw ww w w
n˙ w Ó Ó

51
b Ó ˙
& b w˙ ˙ ww ˙˙ ˙œ œ w˙ ˙ ˙ . ∑
œ ˙ ˙˙ n ˙ . œ ˙
∑
˙ w ˙ ˙ ˙ ˙
w ˙˙ ˙˙ .. œœ # œœ œ œ œ ˙˙ . ˙ œ n œ˙ œ
? b ˙ ˙ ˙ ˙
b ˙ w ˙ w ˙
˙ ˙ ˙. œ ˙ ˙ ˙. œ œ œ w˙˙ # ˙ ˙˙˙
˙

54
b 3
& b n ˙˙ . ˙ œ ˙˙ ˙˙ # ˙˙ ˙ ˙ n œ n ˙œ . œ œ ww . 2 ww ˙˙
˙ œ ˙ ˙ œ œ # ˙˙ nw ˙
˙˙˙ ˙ œ œ ˙˙ ˙ # w˙ . w ˙˙
? bb n˙ œ ˙˙ . nœ nœ œ ˙ 23 w
˙ ˙ ˙ ˙˙ ˙ w w ˙
D.C. al Fine

50. [Short Almain]

treble
Dd.9.33, f. 59r John Johnson / Francis Cutting

œ œ œ œœœœœœ œœœœœœœœ œ œœœœ

nœ nœ œ nœ nœ œ œ œ œ œ
1
b
Vb bC

œ œ œ œ œ œ œ œ œ œœ ˙ œ œ œ œœœœœœ
b œ œ œœœœ œ œ
Vb b œœ
5
 œ œ œ œ œ œ nœ œ nœ œ œ œ œ nœ œœ œ œ
10
bb œ œ œ œ bœ œ œ œ œ œ œ œ œ nœ nœ œ œ œ 275
V b

œ œ nœ œ œ œ
2 œœ œ
œ œ œœœ œœœœœœœœ œ œ
15
bbb nœ œ œ
œ nœ œ œ œ œ nœ nœ œ œ œ #œ
V

œœ œœœœœœœœ œ œœœœ
20
b œ œ œ œ œ œœ
V b b œ œ œ œ œ œ œ œ œ œ œ œ œ nœ nœ œ œ

b œ œ œ œ œ œ œ œ œ œ nœ nœ œ œ nœ #œ œ
nœ nœ œ œ œ œ œ nœ œ nœ œ œ bœ bœ œ
25

Vb b

œ œ œ nœ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ 3
œ œ œ nœ œ œ
bbb œ œ œ œ
29

V œœœœœ œ nœ œ

œ œ nœ œ œ œ nœ œ nœ œ œ œ œ nœ œ œ nœ œ œ œ
34
bb #œ œœœ œ œœœœœœ œ œœœ
V b œœœ

œ œ œ œ œ œœ œ œ œ œ œ œœœœ
b œ œœœœ œœœœ
39

Vb b œ œ œ œ œ œ

œ œœœœœœ œ œ
44
bbb œ œ œ œ œ œ nœ œ œ œ œ nœ œ nœ nœ œ œ œ œ œ nœ œ œ œ bœ œ œ œ
V

49
b
4
œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ nœ nœ œ œ nœ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ nœ
V b b œ n œ n œ œ

œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœœœœœœœ
54
b œ œœ œœœœœœ œ
Vb b

nœ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ nœ nœ œ œ œ œ œ œ
59
b œ œ œ œ œ nœ œ œ œ nœ œ œ œ œ nœ ˙
Vb b ˙˙
276
ground
Pickeringe, f. 14r [Anonymous]

b
&b bC œ œ ˙˙ ˙˙ ˙˙ ˙ n˙. œ n˙ ˙ œ œ ˙˙
? b C Ó ˙w ˙ ˙˙ ˙˙ w ˙ ˙ w˙ ˙
bb w w

6
b
&b b ˙ ˙˙ ˙w. œ ˙w œ œ ˙ ˙˙ ˙˙ ˙
j
˙ ˙ nœ. œ œ nœ
? bb w ww ww w˙ ˙ ˙˙ ˙˙ w
b w

12
b ..
&b b ˙ ˙˙ œw œ œ œ j
n˙ ˙ n ˙˙ œ. œ ˙ ˙
? b w ˙ ˙ œ œ ˙ ˙˙ . ˙ œ ˙˙ ..
bb ˙ ˙
 APPENDIX A

Works of uncertain ascription

278

51. Lachrimæ Pavan

Barley (lute), ff. E[1]r-[E]2v John Dowland / [Anonymous]

b A
˙ œ œ œ œ œ #w
& b C w˙ . œœ˙ w w˙ ˙. œ ˙
@ @
? b C ˙. ˙ œ œ
w œ ˙ ˙
w
˙ ww ˙˙ ˙@. œ@ ˙
b ˙ ˙˙ œ ˙. œ
.

4
b œ ˙œ . œ n œœ ˙œ œ # ˙˙ @
&b œ œ ˙ ˙w. œ ˙œ . œ œ œ œ œ œ # ˙˙ n œ˙ œ
œJ J
j
? b œ˙˙ œ œ˙ œ wœ .
@ œ # ˙@ w œ ˙ ˙˙ ˙˙
b w ˙
˙.

7
b jœ j
A'
& b wœ œ ˙ œ #œ nœ œ œ n ˙œœ .. œ ˙œ œ œ www ˙w œ œ œbœ œ œ œ
J œ @ w
œ œ @ @ @
? b b ˙ œ œ˙ œ ˙w. Œ ˙. Œ ˙. ˙
w ˙ ˙ ˙

( 9)
b œ œ@ œ œ œ@ œ œ œ@ œ # w
& b œ œ œ œ œ n œ ˙˙ w œ œ œ œ œ@ œ œ œ œ@ œ œ œ œ œ œ ˙
œ @
w ww Ó ˙@
? b w
b ˙. œ ˙. œ

12
b œ ˙˙ .. œ n œ ˙œ # ˙
&b œ œ ˙ œ œœ œœ œ
˙w. œ œ ˙ œ œ œ œ œ œ œnœœ
œ j j œ
? b b ˙˙ œ œ˙ œ wœ œ # œ@n œ œ œ œ œ # œ œ œ œ œ n ˙ ˙˙ w
˙.

( 14 )
b @
& b # ˙˙ n œ˙ œ œw œ ˙ # œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ n wwœ œ œ œ œ n œ œ œ œ œ œ www
œ œ œ œ@
? b ˙œ . œ œ œœ Œ ˙.
b ˙ ˙ ˙œw w ˙ ˙
J
 œ˙ œ@ œ œj œ œ œj ˙
B
17
b œ@ œ@ œ ˙˙
& b ˙. w. . w ˙ @
œœ œ˙ . œ # œ œœ œ œ@ œ
279

@
? b b w˙ w . ˙ ˙ w
w
˙. œ œœ œ ˙˙ n œ ˙˙ n œœ
œ œ

20
b j ˙
&b Œ ˙ œ ˙
Œ œ . œ Œ @ j@
œ ˙ œ Œ œ ˙ Œ œœ ˙ œ œ . œ ˙Œ œ
Œ
œ ˙@ œ ˙ œ ˙
? b ˙
b Œ œ ˙ Œ Œ Œ œ œ . œj ˙ Œ œ œ . Jœ

b j B'
œ@ œ .
23

&b Œ ˙ œ œ œ œ œ Œ œ # œ@ n œ ww ˙. @ ˙
w w. œ œ œ ˙
j
? b b œ˙ ..
œ ˙ # œ ˙˙ Œ ˙. w ˙ w.
˙ w w w ˙ ˙

26
b j
& b œw œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙w ˙ œœ œ˙ .. œ # œ œœ œ ˙ Œ
œœ˙
@ Œ œœ˙
w œ@ Ó n œ@ ˙ œ Œ ˙
œ œœ
? b w
b ˙. œ œ œœ œœ ˙ œ œ . Jœ n œ ˙ Œ œ œ ˙ Œ

b
œ@ œ œ œ œ œ œ n œ œ œ@œ œ œ
29

& b Œ œ œ ˙˙ Œ œœ œ œ˙ œ œ œ ˙ Œ œ@ œ œ ˙ Œ˙
œ œœ œ w
j
? bb ˙ Œ œ œ ˙ Œ œ œ œ˙ .. œ ˙# œ ˙
œœœœ˙ Œ œœœœœ ˙

bb
32 C
& # œ œ n œ œ œ œ œ œ n œ œ œ œ œ œ œ ww #˙. œ ˙w ˙ œ œ ˙ œ # œ@n œ œj œ œj

? b w œ˙ ˙ . ˙ ww # w˙ . œ ˙w œ œ ˙w. œ
b

35
b ˙.
&b ˙˙ .. b œ œœ œ ˙
œ œ bœ œ # ˙w. ∑ Ó @ œ ˙
œ ˙ ˙
@ @ Œ ˙.
? b n˙. œ œ œ ˙ ww n w˙ . ˙. #œ
b ˙. œ w w
 38
b œ œœ œ œ œ 22 œ
280 & b œ œ ˙˙ ˙ ˙ # ˙
˙ n œ
˙ œ œ œ œœ #œ nœ œ œ œ œ œ œ œ œ C
˙ œ œ œ œ
? b w œ ˙ ˙ ˙œ ˙ 2 ww C
b ˙. . œ˙ ˙ 2
J

41
b C'
& b C ˙œ . œ œ˙ w # œ . n œj œ œ w˙ ˙ œ œ ˙ œ #œ nœ œ œ œ œ œ œ œ œ
n œ . J œ œ œ ww
@ @
? bC Œ ˙ . Œ ˙. ww # ˙w. œ w˙ œ œ w
b w ˙ ˙ w

b
˙œ œ œ n œ œ œ œ œ œ b œ œ œ œ œ œ œ œœ œ œ œ œ œ@ œ # w˙ .
44

&b ∑
nœ œ œ Œ œ œ œœœœœœ˙
@ @
? b œ œ œ ˙ ww n ˙w.
b ˙. œ

b
& b Ó @˙ œ œœœœœœ˙ œ œ œ œ œ œ œ œ@œ 22
46
œ œœœœœœ˙ ˙ ˙ # ˙ n œ
˙ ˙ œ œ œ œ ˙ ˙
Œ
? b ˙. ˙. # œ w˙ . œ ˙ ˙ ˙œ
. œ˙ ˙ ˙ 2
b w w J 2

49
b2
& b 2 # œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ C wœ œ n œ œ
nœ œ œ œ œ œ œ œ œ œ œ œ www
@ @
? b2 w C Œ ˙.
b 2 w ˙ ˙

52. Quadro Pavan

Dallis, pp. 28-29 F. C.

A
j j
&C . œ œ . b œ œ œ ˙˙ ˙ ˙ ˙
œ œ ˙w. œ w œ œ œ œ ˙ ˙ œ œ œ œ ˙ œ œ w
œ
Ó ˙ ˙ b ˙˙ ˙ ww ww ˙˙ ˙ ˙ ˙
?C Ó w w. w ˙ ˙ b˙ ˙ ˙ w
5

& ˙w. œ œ œ œ œ ˙ ˙ ˙ ˙ Œ œ. œ Œ œ. œ œ 281

˙. œ œ œ œ œ œœ œ
? wÓ w w ˙ ˙ ˙ ˙ #˙ ˙˙ w ˙ ˙ ˙ ˙ ˙
˙ ˙ w w w w w

& ˙ œ œ œ œ œ œ œ . b Jœ œ œ œ . œj œ w œ œ œ œ œ˙ . œ b œ ˙ œ œ˙ œ œ n œ
œ
Œ œbœ ˙ œ œ
? ˙w ˙ ˙ ˙ Ó w
w w ˙ ˙ . œ œ œ ˙˙ w œœ˙

13 j j j
& w œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ˙ . œ œ˙ . œ œ b œ œ œ œ œ œ ww
. b œ
Œ œ œœ œ œ œ ˙ ˙ ˙˙ n ˙˙ Œ ˙.
? w œœ œ œ œ œ ˙ ˙ ˙ w
œ œ w Ó ˙

17 A'
& œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . j œ œ . b Jœ œ
œ œ bœ œ œ bœ œ
?w w ˙ œ bœ w ˙ ˙ ˙ ˙

20

& œ ˙˙ b œ˙ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ ˙
œ œ nœ
œ œ œ ˙ Œ
? ˙. w w w œ nœ ˙ #œ

23
j j Œ œ . jœ
b œ
&
œœœœ œœœœœœœœœ . .
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ w.
œœœœ

? w ˙ œ œ œ œ w˙ w . ˙ ˙ ˙
w ˙ ˙ w

27

& w œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Œ œ . b œj œ
?˙ ˙ œ œ œ œ w w w
w
 30 B
& bœ œ œ œ ˙ œ œ ˙ ˙w. œ ˙˙ ˙˙
282
œ œœ œ œ œ ˙ Œ ˙˙ . œ ww
œ œ œœ n œœ ˙˙ w ˙ œ˙ œ Ó w .
?
w
˙ w œ œ œ œ ˙w ˙ w˙ ˙

œ˙ œ œ œ œ œ œ # œ
34
j
& w ˙.
w œ wœ . œ œ b œ
? ww
œ œœœœ
# œ œ œ œ œ œ œœ œ œ ˙ ˙ ww
œ œ œ œ w w œ ˙ w

j
37

& œ˙ . œ œ œ œ œ œ œ œ œw œ œ œ œ œ œ˙ œ
œ œ œ ˙˙ œ œœœ œ œ œ ˙
? ww w w ˙ ˙ ˙ ˙w ˙ ˙ ˙
˙

40 B'
& œ œ œ œ œ œ œ œ œ #œ ˙w. # œ œ œ œ œ œ œ œ œ œ œ œ
w œ w œ
˙ w. œ œœœœ
? w œ œ ˙ w #œ
› w

43

& œ œ œ #œ œ œ œ œ œ œ w œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ
œ œœœ Œ œœœ
? w w w ›
w w

46

& ‰ j œ œœœœœœ bœ œ œ œ œ
œ œ œ œ œ œ œ œ œ œœœœ œ œ ww
? œ œ œ œ œ œ œ œ ˙. œ w Œ ˙.
œ ˙. Ó ˙
 283

53. Passion Galliard

Trumbull, f. 19r Anthony Holborne / Francis Cutting

b 3 œ ˙
A
b˙.
& b b 2 œww ˙˙ ˙. œœ ˙˙ ˙˙ .. œœ ˙˙ n w˙ . œ ˙˙
w ˙ ˙ ˙ ˙
? b b 23 w ˙ ˙ ˙ w w ˙ ˙
b w

5
b ˙ ˙ ˙ ˙ ˙ ˙. œ ˙˙ ..
&b b ˙
˙ œ œ ˙˙ .. œ œ œ Œ œ w
n˙ n ww ˙
˙.
? bb ˙ ˙ ˙ ˙. œ œ œ
˙
w ˙ ..
b w

b
B
˙
9

& b b .. ˙w . ˙. œ ˙. w˙ ˙œ w˙ œ˙ n œ
˙w œ n œœ œ ˙ ˙
œ œ˙ œ ww
? b b .. w˙ . œ ˙
w˙ .
˙.
œ n˙ ˙. œ ˙
b

13
b ˙ ˙
& b b ˙w . ˙w. œ nœ œ ˙ ˙ #˙ w ˙ ..
n œœ œ n œ œ œ œ œ ˙˙
? bb ˙.
w œ n œ˙ œ ˙˙ . œ œ œ nœ œ ˙. œ ˙
b w ˙ w ..
w ˙

C
17
b
& b b .. j œ n ˙ # œ ˙˙ .
bœ n ˙˙ ˙ œ œ ˙ œ œ œ
nœ. œ œ nœ œ œ
? b .. w ˙ n œ n ˙ œœ ˙˙ ˙ œœ œœ ẇ . œ
b b ˙. œ n˙ ˙ œ ˙ ˙ ˙ œ ˙

21
b j œœ œœœ ˙ œœ n ˙˙ n œœ ˙ œ j .
& b b wœ . n œ ˙ ˙ œ ˙ n˙ œ œœ ˙œ n œ n œ˙ .. œ œ œ œ œ .
? b b w˙ .
œ ˙ ˙
b
œ œ œ n˙ œ ˙. œ ˙ œ œ ˙ ..
284

54. Galliard

Welde, f. 8r William Byrd / [Anonymous]

b A
& b b b 23 œ! œ ˙˙@ n ˙˙@ ˙˙ ˙w n ˙@ œ! œ œ Œ˙ n œ ˙˙
@
n ww@
˙˙
@
? b b b 23 Ó
˙˙ ˙ œÓ œ ˙˙ ˙ ˙˙ ˙˙ ˙˙ ˙. œ ˙
b ˙ ! ˙

b
& b b b ˙˙ ˙@
5

n ˙˙ ˙. œ œ œ ˙w . œ nœ œ œ nœ œ Œ ˙˙ .. ˙˙@
˙˙ Ó˙
? bb b w
b w˙ ˙ ˙˙
!
˙˙ ww . nw œ ˙

b
A'
& b b b œ! œ œ@ œ œ n ˙˙@
9

ww! . n ˙@ œ˙ œ œ œ œ œ œ œ œ œ œ n œœ n œ œ œ œ œ œ œ œ œ œ
? bb b w œ œ œ œ œ ˙˙ ˙ ˙ ˙ w ˙
b ˙ ∑

b
& b b b œ œ n œ œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ n œ@ œ! n œ n œ œ œ œ œ œ œ ˙˙!
13

œœ
? bb w ˙ ww ˙ ˙ w ˙
bb w ˙

bb œ . œj n œ œ ˙!
17 B
& b b n ˙˙@.. œœ ˙˙ ˙w@.. œ ˙ @ j
n œw. œ œ n œ ˙! n˙
. œ œ œ w. w.
? b b b ww . w˙
. ˙ w
b

b
& b b b œw . ˙
21
œ ˙ @
n ˙w. œ ˙œ œ n ˙œ œ ˙ . œ œ n œw@. œj œ n œ ˙˙@
nœ ˙
? bb b ˙. œ œ œ w ˙ ˙ w w ˙
b
 b
B'
& b b b n ˙˙ .. œ œ œ œ œ œ œ nœ œ ˙
25
@ œ nœ œ ˙
œ n œ n œ œ œ œ ˙w.. œ œ œ œ 285

w.
? bb b w.
ww . ˙.
b . ˙. ˙. ˙.

b
& b b b œ œ œ œ œ œ œ œ@ œ œ œ œ œ œ n œ Œ nœ nœ œ bœ œ œ
29
.
œ n œ n œ œ œ œ œ w! . œ nœ nœ œ! œ œ n œ n œ ˙!
˙˙ w Ó
? bb b w
b
˙ w. w. w

33
b
bb b
C
œ˙ œ œ œ ˙
& ˙@. œ œ nœ ˙ œ n˙ nœ ˙˙ ˙˙ nœ ˙
. ˙œ .. œ œ œ . œ œ
? b b ˙˙ œ œœ œœ œ
J J ˙ n˙ ˙ ˙ n˙. œ
bb

37
bb
& b b ˙Œ œ n œœ n œœ œ œ n w˙ . œ œ œ ˙
w. œ nœ nœ œ œ œ œ œ œ Œ ˙. ˙
? bb ˙ ˙ ˙ Ó ˙ ˙ ˙˙ Ó˙ ˙ œ ˙˙
bb Œ ˙ . b ˙ ! ww .

b
C'
& b bb œ nœ œ œ œ œ œ œ œ. nœ œ œ ˙ nœ œ œ ˙ ˙
41
œ˙ œ œ œ ˙ n œ
œ ˙
? bb b ˙ œœ œ ˙˙ . œ œ . Jœ œ ˙˙ n ˙˙ ˙˙ ˙ n˙.
b
˙ œ

b
& b b b œ œ œ œ œ œ œ œ œ œ œ œ n œœ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ n œ œ œ œ œ w
45

œ ˙˙
‰ œ œ nœ œ œ nœ œ ˙
? bb b ˙ ˙ ˙ w b ˙ ˙ w w ˙
b
286

55. The Woods so Wild

Euing, ff. 33v-34v William Byrd / [Anonymous]

1
& b 64 ˙ œ ˙ œ ˙ œ ˙.
j
œ. œ œ ˙ œ ˙ œ ˙ b œœ
Œ Œ ˙ Œ œ Œ œ Œ œ œ Œ œ œ Œ œ œ Œ ˙
? 6 ˙. ˙ ˙ œ œ
b 4 ˙. ˙ .. ˙. ˙. ˙. ˙. ˙. ˙.

& b ˙˙ . œ ˙˙ . œ ˙ œ ˙ ˙ œ ˙˙ œ œ. nœ œ œ œœ . ˙ œ œ œ ˙ ˙
Œ ˙ Œ Œ
Œ ˙ Œ œ n œœ ˙˙ .. ˙˙ ..
?
b ˙. œ . Jœ œœ b˙ œ ˙˙ . œ œ . œ b œ ˙
J

9 2
&b ˙ œ ˙ j Œ œ œ ˙
˙˙ .. œœ .. œ œœ b ˙˙ œœ ˙˙ . œ œœ .. œœ œœ ˙˙ œœ ˙. œ
Œ œ bœ
J J
? ∑ ∑ ∑ ∑
b

13

& b ˙œ œ ˙ b œ œ b ˙œ œ ˙œ b œœ œ . n œ œ œ . œ œ œ ˙ .
˙ œ. J œ œ œœ ˙˙ . œ ˙ n œœœ ˙ . Œ ˙
? ∑ ∑ ∑ w˙ .. ˙.
b

17 3
& b ˙.˙. ˙. ˙. ˙. ˙. ˙. ˙. œ ˙ œ ˙
j ˙
? ˙ œ ˙ œ ˙ œ ˙ œ œ˙ .. œ œ ˙˙ . œ ˙ . œ ˙˙ . œ ˙ œ ˙ œ
b ˙. ˙. ˙. ˙. ˙. ˙.

22 4
&b
œ ˙ œ œ œ ˙. œ . n œj œ œ˙ .. œ œ œ ˙ . ˙
j
œw.. b œ œ œ ˙
Œ
œ ˙ œ b œœ ˙˙ n œœ Œ ˙ Œ
? ˙ œ ˙˙ .. ˙˙ .
b ˙. ˙
˙. œ. J ˙. ˙. ˙ .
 j
œ˙ .. œ œ œ œ œ
26

&b œ. ˙œ
jœ
œ˙ . ˙ œ . ˙ œ œ ˙œ . ˙ 287
˙. Ó œ Œ Œ J
w. œ ˙ ˙ bœ
? b œw. b œj œ œ ˙ ˙˙ .. ˙˙ ..
.

30 5
& b ˙. Ó jœ j œ
œ œ. œ œ nœ œ œ œ w. œ. bœ œ œ œ œ
jœ
œ . œ œ œœ n œœ ˙ . b œ Ó n œœ œ œj œ œ œ
?b œ ˙ œ ˙ ˙ w.. œ œ œ w˙ .. ˙.

34
j œ
&b œ ˙ ˙. œ. œ œ œ œ œ œ ˙ ˙. œ. bœ œ œ œ œ œ
œ œ ˙œ . œ œ œ œ˙ ˙
j
? b œ˙ . b œj œ ˙œ œ œ œ œ˙ . ˙ ˙ . œ
˙ .
. ˙˙ .
. . . .

38 6
&b ˙ ˙ œ œ. œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ Œ œ bœ œ œ œ œ œ œ œ œ
œ nœ
˙
? b œw. b œ œ œ œ œ œ œ˙ œ ˙
Ó n œœ ˙ . ˙˙ .. ˙˙ . œ ˙˙ . œ
. ˙ . ˙. ˙.

42

&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ
œœœ
? b ˙˙ œ ˙˙ . œ ˙ œ ˙ œ ˙ œ
. .
˙
˙ . ˙ . ˙ . ˙.

œ
45

& b œ b œ œ œ œ œ œ œ œ œ œ œw . œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ
nœ œ œ œ
? b ˙˙ œ ˙ œ ˙ œ œ ˙ œ Ó˙
. ˙. ˙. ˙
˙. ˙ . œœ

48 7
&b . ˙ œ ˙ œ ˙˙ . œ
˙ ˙. w. ˙˙ ..
? œ˙ . œ œ œ œ œ ˙˙ .. œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ
b œ œ œ nœ œ
 51
288 & b œ. œ
jœ ˙ œ ˙ œ ˙ œ ˙˙ . œ ˙ œ
˙. ˙. ˙. ˙. ˙.
? œœœœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ bœ œ œ
b

54

&b ˙ œ ˙˙ . œ ˙ œ œ . œj œ ˙ œ ˙.
bœ œ œ. j
? b bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ n œœ ˙œ œ œ œ œœ ˙˙ ..
œ œ

8
Œ œ œ ˙
œ Œ˙ œ œœ ˙Œ œ b œœ
57

& b ˙Œ . œ œ ˙˙ . œ Œ œ œ ˙ œ ˙˙ ..
Œ œ œ ˙
? b ˙˙ . Œ œ œ
˙.
˙
˙. œ Œ˙ œ œ ˙˙ .. ˙. ˙. œ ˙.
. .

61

& b ˙Œ œ œ ˙ œ Œ œ œ ˙ œ œ œ œ nœ
œ œ œ ˙. ˙.
? ˙. Œ œ œ ˙ ˙. œ Œ œ œ
b ˙. ˙. ˙. œ Œ bœ œ œ œ œ œ œ w. œ œ œ

65 9
& b ˙. œ œ bœ œ œ œ œ bœ œ œ œ œ ˙. ˙ œ œ œœœ œœœ œœ
œ œ œ œ œ œ œ œ œ ˙. ˙˙ .
? b Œ œ œ œ œ œ b œ œ ˙˙ .. ˙. œ ˙. .

69

&b ˙ œ œ œ bœ ˙ œ ˙ œ ˙ œ ˙ œ œw .œ œ œ œ ˙.
˙ œ Œ œœœ
˙ œ œ œ œ œ ˙ . Œ n œj œ œj Œ œ œ ˙.
?b œœœ bœ œ œ b˙ Œ Œ œ œ œ œ ˙. ˙. ˙.
Œ œœœ

73 10
& b œ œbœ œ œ œ œ œ œ ˙˙ .. ˙˙ .. œ œ œ œ œœ œ œ œ ˙
˙. ˙. œ
˙˙ .. Œ œ
? .
b ˙ ˙. œ˙ . œ b œ œ œ œ˙ . œ œ œ œ ˙. ˙. œ œ œ
 œ œ œ œ œ œ b œ œ œ œ œ œ b œ œ œ œ œŒ œ œœ œ œœ œ ˙˙ ..
76

&b Œ ˙. 289

? œ˙ . œ œ œ œ œ b œ˙ . œ œ œ œ œ ˙ . ˙ . ‰œ œœœœœ
b ˙. ˙. ˙ . b œ œ œ œ œ˙ .

79 11
& b ˙˙ .. ˙˙ n œœ ˙ œœ ˙˙ .. œ . œj œ œ œ . œj œ œ
˙. ˙ w. ˙ w. ˙
? œ˙ . œ œ œ œ œ œ œ
˙. ˙. ˙˙ . œ . œj œ œ˙ ˙ œ . œj œ
b nœ œ œ œ œœœœœ ˙. . ˙. . ˙.

83
j
& b œ. œ œ œ ˙ œœœœœœ˙ bœ œ bœ œ œ œ œ ˙.
œ œ . œj œ
? ˙. ˙ ˙. ˙˙ .. œ˙ . œ œ œ œ œ œ˙ . ˙ œ˙ .b œ œ œ œ œ
b

86

& b œ bœ œ œ œ œ ˙. ˙ œ œ œ œ œ œ œ ˙.
œ ˙
? œ œ bœ nœ ˙
œ˙ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ . œ ˙.
b ˙. ˙.

12
j
89
j
& b œ œ œ. j œ œ œ œ. j
œ œ bœ œ.
j
œ œ œ œ. j œ
œ œ œ œ. œ œ nœ œ.
Œ Œ Œ Œ
? b ˙˙ . ˙. ˙ ˙. ˙ ˙. ˙. ˙ ˙. ˙
.

92

& b œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ
œ œ œ œ œ œbœ œ œ œ nœ œ œ
œ œ œ œ œ
Œ œ œ œ œ ˙ œ ˙ œ
? b ˙. ˙. œ ˙. ˙. œ ˙˙ œ ˙˙ .
.

95 13
&b œœœ œœœœ œ œœ
œœœœœ œ œ ˙˙ .. ˙˙ ..
? ˙˙ . œ œ˙ œ n œœ ˙ n œœ ‰ œ œ b œ œ ‰ œ œbœ œ œ œ
b ˙ ˙. ˙. œœœœœ
 98
290 &b œ ˙˙ . œ ˙˙ œ
˙. ˙˙ .. ˙˙. œ
œœœ œœœœ
? œbœ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b

101

& b ˙˙ . œ ˙ œ œ œ œ œ œ œ œ̇ . ˙. ˙ nœ
˙. b œ œ œ œ œ
bœ œ œ œ œ œ
Ó
? ‰ œ œ bœ œ œ œ œ œ œ œ œ b˙
œ
œ Ó
œ œ œœœœ œ œ
b ˙.

104 14
& b ˙Ó . œ ˙˙˙ ... ˙
˙.
œ ˙
˙. œ ˙ œ ˙.
j
œ. œ œ ˙ œ
? b œ œ œ œ œ œ ˙.
Œ
˙˙ . ˙
Œ
˙˙ . ˙
jœ ˙. œ˙ œ œ
b œ˙ . œ œœ ˙œ . œ œ œ . Jœ œ
. . . J

108

& b ˙œ œ œœ ˙œ . œ b œœ ˙˙ œœ ˙˙ . œ b ˙œ œ œœ j
. œ œœ ˙œ . œ œ n œ œ œ œœ œ œœ . œ œ n œœ n œœ
. J J J
œ œ
œ ˙ œ œÓ . œ b œ œ . œj œ œ œ œ œ œ œ œ œ œ
?
b
œ J bœ ˙. ˙ œ œ œ œ bœ ˙

112

& b œ˙ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œœ œ ˙˙ ..
nœ bœ n œ œ œ œ œ œœ . J
? ˙ œ œ œœ œ œ œ œ œ œ œ
b œ œ . J ˙.
 APPENDIX B

Works for Bandora

292

56. Galliard

Dd.2.11, f. 64r Francis Cutting

A
V 23 œ œ ˙ ˙˙ ˙w. œ ˙˙ ˙˙ ˙˙ # ˙˙ ww ..
w. ˙˙ ˙˙ ˙œ # œ ˙˙ .. œœ ˙˙
w
˙ w ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ww ˙
t3 w w
2 w

7 B

V ˙ œ ˙œ . ˙ œ ww ˙˙ .. .. œ œ ˙˙ ˙
˙ www ˙˙ œ˙ œ œ b ˙œ œ ˙˙ ww ..
œ œ w ˙ ˙
t ˙ w www ... ˙ ˙ ˙ ˙ œ˙ œ ˙ w
.. .. w w

13 C
V ˙w ˙ b ˙˙ ww œ˙ œ ˙˙ ˙˙ ˙˙ ˙˙ ww .. .. ˙ ˙ ˙
˙˙ ˙ ˙ w˙w
˙ ˙
˙
w ˙ ˙ b˙ ˙ w ˙w w ˙ b˙ b˙
t ˙ . .. .. ˙ w

19

V ˙˙ ˙˙ .. œ ˙ b˙ ˙˙ ww ..
˙˙ ˙˙ ˙˙ ˙˙ # ˙˙ b ˙˙ ˙ ˙œ œ ˙˙ . œ ˙ ˙ w
˙ ˙ w˙ ˙ b ˙˙ ˙ b˙ ˙ w
tŒ œ ˙ ˙ œ . Jœ w www ... ..

57. The New Hunt sundry Ways

Barley (band.), ff. B3v-C1r Francis Cutting

1
3
V 2 ˙˙ ˙˙ ˙˙ ww .. j œ œ œ ˙w ˙ . b œ@ w˙ . œ œ œ
œ. œ œ @
˙ ˙ ˙˙ ˙ w w ˙˙ ˙. bœ œ œ ww ˙
t3 ˙
2 ˙ w. œ . Jœ œ œ ˙.
 œ@
6

V Óœ œ ˙˙ . œ # w˙ .. œ œ œ # ww .. ˙w.. b œ œ œ ˙w . ˙ . 293
#˙ @ @
@ Ó w Ó w ww . w˙
t b˙ w w. w. . . œ ˙

j
œw.. œ œ œ œ œ@ ˙˙ ˙@ œ
11

V w˙ .. œ œ œ œ œ œ œ œ
œ ˙
˙.
w. w˙ ..
t w. ˙. œ œ œ œ œ œ œ œ w

15 2
œ œ ˙˙˙ ˙˙˙ ˙˙ ˙ ˙˙˙
V ˙w.. œ œ œ œ œ ww .. ˙˙
ww ..
w. ˙ ˙˙
w. ˙ w ˙ ˙ ˙ ˙ ˙ ˙
t w. w. ˙ w

20
˙ œ œ w˙ . œ œ@ œ ˙˙ ˙ # ˙@ œ ˙ . œ œ@ œ œ # w@ .
V ww ˙ w ˙. # ww ..
Ó w
t
˙ œ œ ˙ w ˙ b˙ w w. w.

25
˙ b ˙˙ ˙˙ ˙ ˙˙ www ˙˙
V ˙w ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙˙ . ˙ ˙
t ww ˙
w
˙ œ œ˙ œ ww
˙ ˙
Ó Ó
˙

3
˙@ œ œ@ ˙ w
30

V ˙ẇ . w˙ ˙w.. œ œ œ œ@ ww .. w œ œ
œ œ ˙ ˙ w
w. w.
t Ó w w œ œ ˙ ˙ w
w. Ó w ˙ w.

35
@
V ˙˙ .. œœ ˙ ˙. œœ œœ b œœ œw œ œ œ b ˙œ œ ˙œ œ nœ
œ œ œ # œœ œœ
@
˙.
t œ œ œ œœ œ˙ œ œ œ œ bœ œ œ w˙ œ ˙˙ b˙ w
˙. .
 ˙w b œ œ ˙œ@ œ wœ œ œ œ œ œ œ . œj ˙ ˙
39
294 V # w˙ .. œ œ œ # ww .. w
@
Ó w Ó w ww wœ œ œ œ œ œ œ
t w. w. Ó œ œ ˙.

j
44
œ˙ .. œ ˙ œ œœ œœ œw. œj œ œ œ ˙ ˙ œ œ w .
V w œ ˙˙ œ œ œ . œ œ œ œ . Jœ @˙ . œ ww ..
J
t w. w ˙ w ˙. œ œ œ œ w.
Ó w. Ó w

4
œœ b œ@
49

V œw œ œ œ œ b œ œ œ œ œ œ ˙˙ ww w
w Ó ˙. œ
œ œœœ œœ œ
t ww ˙ ˙
w.
w w bœ œ œ œ œ œ œ œ
œ œœ ˙.
bœ œ œ

V œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ
53

# wwÓ .. w
tw ˙ b˙ w w. w.

57

V œœ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ . œ œ œ ˙ œ œœ ˙œ œ
w.
t w. ˙ œ œ œ œ œ w œ ˙
˙ ˙ œ œ œ œ ˙

61
@ œ œ œ˙ œ œ œ
V œœ œ˙ . œ b œ œœ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ ww ...
Œ œ œ w
t œ bœ œ œ œ œ œ œ œ œ œ œ
w. Ó w

5
˙@ @
65

V ww . ww .. ww ˙œ œ ˙.
w œ œœ b œœ
@
˙ w. bœ œ œ œ ˙ œ œ œ bœ œ œ
t wœ . œ œ œ ˙ ˙
w
œ œ œ œ ˙.
J ˙
69

V ww b˙ œ ˙ ˙ # ˙@ œ # œœ œœ œœ œœ # ww ..
# œ œœ œ ˙ œ
295
œ œ @
Œ
œ w
t œ œ bœ œ œ œ œ œ w w.
Ó
w.

73
@
V ww ˙˙ œw œ b œ œ œ œ œ œ ˙ ˙ œw œ œ œ œ œ
w.
t œ œ œ œ œ œ bœ œ œ œ œ œ ˙.
œ œ œ ˙. œ œ œ

œ@ œ ˙˙
77

V ˙w ˙œ œ ˙ ˙ ˙. œœ œœ œœ
œ œ œ œ œ ˙. ww ..
w œ œ ˙ ˙ w w.
t ˙ w. w
Œ ˙ œ ˙ w Ó
APPENDIX C

Lost Lute work

298

58. [Pavan]

partial reconstruction

b
A
&b bC ˙ ˙
. œ˙ œ œ œ œ œ n œ œ . œj œ ˙ ˙ œ œ œ ˙ ˙ ˙ œ œ œ . œ œ œ
? bb C w w ˙ œœ
b n˙ ˙ œ œ œ œ ˙. œ ˙ œ nœ ˙. nœ œ œ ˙

5
b B
.. ..
&b b ∑ ∑ ∑
˙. nœ nœ œ ˙
? b
bb ˙ œ œ œ œ ˙. œ œ ˙ w
.. ..
w œ nœ nœ œ œ
˙ œ ˙ ˙

b œ œ œ œœ œ œ œ œ œ œ . j Œœ
9

& b b ˙. œ œ œ œ nœ w œ œ œ n˙ ˙ œ œ ˙
? bb w
b œ œ œ œ œ ˙. œ œ ˙ œ ˙ œ . œ œ . Jœ ˙ . ˙œ œ œ˙ œ œ œ ˙
œœ œ J Œœ ˙

j
b
&b b œ ˙ œ œ˙ œ œ˙ . œ
13 C
œ œ œ ˙ j j .. .. ˙ .
˙ #œ œ ˙ œ œ nœ œ œ œ œ w
? b ˙ ˙ ˙ w w .. .. ˙
bb ˙ w ˙ ˙ ˙

17
b j
& b b œ . Jœ œ . Jœ œ . œ œ œ œj œ œ œ œj ˙ œ œ ˙ œ œœœ œ ˙ œ
œ
? bb œ œ œ œ œ œœ˙
b
˙ ˙ ˙ œ œ w w

20
b ..
& b b œœ ˙œ ˙ œ œ œ œ œ
n œ œ œ œ ˙ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ n ww
? b b ˙ œ œ œ . Jœ œ . œ œ œ ..
b J ˙ ˙ œ œ ˙ ˙ ˙ œ œ œ œœ˙ w
 LIST OF SOURCES

The following list contains all the sources of lute music by Francis Cutting in alphabetical
order. The folio or page number concerned is followed by: the title and the number of the piece
in the present edition; a ‘T’ when the title is given in the source; a ‘(T)’ where the source
provides a fragmentary title; the ascription to the composer (‘FC’ stands for Francis Cutting,
except perhaps the ascription F. C. in Dallis).

Add.2764(2)
f. 7 22. Galliard — —
f. 7 42. Toy — —

Add.3056
f. 33v 33. Fr. Dac. Galliard T J.D.
ff. 48v-49 1. Mrs. Anne Markham’s Pavan — —

Add.31392
f. 26 38. Almain T FC
f. 29 45. Greensleeves T FC
ff. 29v-30 9. Pavan T FC
f. 34 22. Galliard T FC
ff. 36v-37 1. Mrs. Anne Markham’s Pavan (T) —
ff. 37v-38 2. Galliard — —

Add.31992
ff. 21v-22 49. Lullaby (lute accompaniment) T Byrd

Add.38539
ff. 28v-29 1. Mrs. Anne Markham’s Pavan — —

Aegidius
ff. 150v-151 35. Sir Walter Raleigh’s Galliard — —

Barley, New booke of Tabliture

ff. (L) D1v-3 9. Pavan T FC
ff. (L) D3-4v 5. Pavan T FC
ff. (L) E1-2v 51. Lachrimæ Pavan T Dowland
ff. (L) F1v-2v 38. Almain T FC
ff. (L) F4-G1 27. Galliard T FC
f. (O) C1 37. Galliard T FC
f. (O) C2 40. Almain T FC
f. (O) C4v 47. Packington’s Pound T FC
f. (O) D1v 44. Cutting’s Comfort T FC
ff. (O) D2-3 48. Walsingham T FC
ff. (O) D3v-4v 21. Pavan (Pavana Bray) (T) FC
ff. (B) B3v-C1 57. The New Hunt Sundry Ways (bandora) T FC

Besard, Thesaurus
f. 111 35. Sir Walter Raleigh’s Galliard — —

Board
f. 23v 35. Sir Walter Raleigh’s Galliard (T) Allison
300 Browne
f. 19 9. Pavan (bandora, consort part) T FC

D.245
pp. 212-213 58. Pavan (viol) — FC

D.246
p. 239 58. Pavan (viol) (T) FC
pp. 259-262 22. Galliard (viol) T FC

Dallis
pp. 28-29 52. Quadro Pavan (T) F. C.

Dd.2.11
f. 1v 15. Pavan — Alfonso
f. 6v 20. Pavan T FC
ff. 11v-12 17. Pavan — FC
f. 53v/1 4. Galliard — —
f. 53v/2 24. Galliard — FC
ff. 57 and 56v 5. Pavan — —
f. 58 33. Fr. Dac. Galliard T —
f. 58v 46. My Lord Willoughby’s Welcome Home T Dowland
f. 64 56. Galliard (bandora) T FC
f. 71v 22. Galliard T FC
f. 72 15. Pavan T FC
f. 73 11. E. Porter’s Pavan T FC
ff. 73v-74 14. Galliard T Phs
f. 77 43. The Squirells Toy T FC
f. 79v 35. Sir Walter Raleigh’s Galliard T FC
f. 80v 42. Toy T FC
ff. 83 and 82v 53. Passion Galliard T Holborne
f. 84v 13. Pavan Sans Per T FC
f. 96 48. Walsingham T FC
f. 98 41. Jig T FC
f. 100 38. Almain T FC
f. 101v 54. Galliard — Byrd

Dd.3.18
f. 59 50. Short Almain (treble) — FC

Dd.5.78.3
ff. 10v and 20 5. Pavan — FC
ff. 13v-14 13. Pavan Sans Per — FC
f. 14 14. Galliard T FC
ff. 14v-15 9. Pavan — FC
f. 15v 10. Galliard — —
f. 16 32. Galliard — FC
f. 17v 17. Pavan — FC
ff. 19v and 22 31. Galliard — FC
ff. 20v and 11 6. Galliard — —
ff. 22v-23 4. Galliard T FC
f. 23 25. Galliard — FC
f. 24 8. Galliard — —
ff. 24v-25 2. Galliard — FC
f. 28v 46. My Lord Willoughby’s Welcome Home — FC
ff. 29v-30 34. Galliard — FC
ff. 30v-31 37. Galliard T FC
f. 31 38. Almain T FC 301
ff. 33v-34 29. Galliard — FC
ff. 37v-38 23. Galliard — FC
f. 41 28. Galliard — CG
f. 45v 7. Pavan T FC
ff. 46 and 45v 35. Sir Walter Raleigh’s Galliard — FC
ff. 50v-51 48. Walsingham T FC
f. 55 12. Galliard T FC
ff. 60v-61 7. Pavan T FC
f. 63 33. Galliard T FC

Dd.9.33
ff. 4v-5 49. Lullaby T Byrd / FC
f. 8v 40. Almain T —
f. 9 39. Almain T FC
ff. 9v-10 3. Pavan T FC
f. 10v 30. Galliard T FC
ff. 11v-12 16. Pavan T Byrd / FC
ff. 12v-13 21. Pavan (Pavana Bray) (T) Byrd / FC
ff. 18v-19 19. Sir Fulke Greville’s pavan T FC
ff. 22 and 21v 36. Galliard — FC / Dowland
ff. 32v-33 1. Mrs. Anne Markham’s Pavan T FC
ff. 34v-35 18. Groninge Pavan T FC
f. 36v 26. Galliard — FC
ff. 59v-60r 54. Galliard — —
f. 74 28. Galliard — FC

Euing
f. 29 22. Galliard — —
ff. 32v-33 13. Pavan Sans Per — —
f. 33 1. Mrs. Anne Markham’s Pavan — —
ff. 33v-34v 55. The Woods so Wild — —
f. 39 34. Galliard — —
f. 40 35. Sir Walter Raleigh’s Galliard — —
ff. 43v-44 48. Walsingham — —
f. 46 27. Galliard — —
f. 48 4. Galliard T FC
f. 58v 46. My Lord Willoughby’s Welcome Home — —

Hirsch
f. 2r 54. Galliard — —
ff. 6v-7 34. Galliard — —
f. 9v 5. Pavan — —
f. 10 9. Pavan — —
f. 12 18. Groninge Pavan — —
ff. 12v-13 15. Pavan — —

Leipzig II.6.15
p. 218 22. Galliard T Dowland
p. 234 22. Galliard T —

Marsh
p. 386 22. Galliard T Alfonsus

Mynshall
f. 1r 46. My Lord Willoughby’s Welcome Home T —
302 Nürnberg
f. 3v 35. Sir Walter Raleigh’s Galliard (T) Glaziers
f. 4 35. Sir Walter Raleigh’s Galliard (T) Glaziers
f. 16v 35. Sir Walter Raleigh’s Galliard (T) —

Pickeringe
f. 14r 50. Short Almain (ground) — —
ff. 18v-19 13. Pavan Sans Per (T) FC
ff. 21v-22 1. Mrs. Anne Markham’s Pavan (T) FC
f. 25r 46. My Lord Willoughby’s Welcome Home T Dowland
ff. 31v-32 38. Almain T FC

Thysius
f. 33 22. Galliard T Maister Hayls

Trumbull
f. 19r 53. Passion Galliard (T) Cuttings

Welde
f. 8r 54. Galliard T Byrd

Wickhambrook
f. 12r 46. My Lord Willoughby’s Welcome Home T Dowland

LIST OF ABBREVIATIONS
Unless stated otherwise, sources are for lute solo.
Add. 2764(2) — Cambridge University Library,
Add.MS 2764(2), c.1585-90.
Add.3056 — Cambridge University Library,
Add.3056 (known as the Cosens Lute Book),
ca. 1610.
Add.31392 — Londen, British Library, Add.MS
31392, c. 1605.
Add.31992 — Londen, British Library, Add.MS
21992, c. 1590–1600 (lute accompaniment
parts).
Add.38539 — Londen, British Library, Add.MS
38539, The M.L. Lute Book, c. 1610–1640 (for-
merly known as John Sturt’s lute book; facs. ed.
R. Spencer, Kilkenny 1985).
Aegidius — Prague, Narodni Museum, IV.G.18:
Lute Book of Joannes Aegidius Berner de Ret-
tenwertt, c. 1623–1637.
Allison, Lute Music — The solo Lute Music of
Richard Allison, with Bandora and Cittern ar-
rangements, ed. by John Robinson and Stewart
McCoy, with a biographical sketch by Robert
Spencer, s.l., 1995 (The Lute Society Music edi-
tions).
Ballet — Dublin, Trinity College Library,
Ms.408/1, c. 1595 and c. 1610.
Ballet-2 — Dublin, Trinity College Library,
MS.408/2, c. 1605.
Barley — A new Booke of Tabliture – – – [for]
the Lute, Orpharion and Bandora, William Bar-
ley, London 1596 (from the copy in Londen,
British Library) (ed. in: Newcomb, Lute music
of Shakespeare’s time).
Besard, Thesaurus — Thesaurus Harmonicus –
– – per Ioannem Baptistam Besardvm – – –,
Coloniæ Agrippinæ 1603.
Board — London, Royal Academy of Music,
Robert Spencer Collection, MS 603: Margaret
303
Board’s Lute Book, c. 1620–1635 (facs. ed. R.
Spencer, Kilkenny 1976).
Brown, Instrumental music — H.M. Brown,
Instrumental music printed before 1600. A bib-
liography, Cambridge, Massachusetts 1965.
Browne — London, Royal Academy of Music,
Robert Spencer Collection, MS 600: the Browne
(formerly Braye) Bandora (c. 1600) and Lyra
viol (c. 1635–1640) Book (from: Edwards, Mu-
sic for Mixed Consort).
Byrd, Keybord Music — William Byrd, Key-
board Music, ed. by A. Brown, 2 vols., London
1969–1971, 2/1976 (Musica Britannica 27, 28).
Byrd, Music for the Lute — William Byrd, Mu-
sic for the Lute, ed. by Nigel J. North, London
[1973] (Music for the Lute 6).
Byrd, Psalms, Sonets and Songs — William
Byrd, Psalms, Sonets and Songs (1588), ed. by
E.H. Fellowes, London 1948 (The Collected
vocal works of William Byrd 12).
Carpenter, ‘Lute Music of Francis Cutting’ —
S. Carpenter, ‘The Lute Music of Francis Cut-
ting’, Lute News 38 (June 1996), p. 3 (a report
by S. Haynes of a paper delivered at a Lute So-
ciety meeting, April 1996).
Chappell, Popular Music — W. Chappell, Popu-
lar Music of the Olden Time (London 1855–
1859, repr. New York 1965).
Craig-McFeely, Lute Manuscripts and Scribes
— Julia Craig-McFeely, English Lute Manu-
scripts and Scribes 1530–1430 (D.Phil. thesis
University of Oxford 1994; on-line edition,
1997).
Cutting, Selected Works — Francis Cutting, Se-
lected Works, ed. by Martin Long, London
[1968] (Music for the Lute 2).
D.245 — Oxford University Library, Bodleian
MS D.245, c. 1630 (viol).
304 D.246 — Oxford University Library, Bodleian
MS D.246, c. 1630 (viol).
D.247 — Oxford University Library, Bodleian
MS, c. 1630 D.246 (viol).
Dallis — Dublin, Trinity College, MS 403 (for-
merly D.3.30): Thomas Dallis’ Lute Book, c.
1583–1585.
Dd.2.11 — Cambridge University Library, MS
Dd.2.11.(B), c. 1585–1595.
Dd.3.18 — Cambridge University Library, MS
Dd.3.18, c. 1585–1600 (lute solo and parts of
duets and for mixed consort).
Dd.4.23 — Cambridge, University Library, MS
Dd.4.23, c. 1595 (cittern solo).
Dd.5.21 — Cambridge, University Library, MS
Dd.5.21, c. 1595 (descant and flute parts for
mixed consort).
Dd5.78.3 — Cambridge University Library, MS
Dd.5.78.(3), c. 1595–1600.
Dd.9.33 — Cambridge University Library, MS
Dd.9.33.(C), c. 1600–1605.
DNB — L. Stephen and S. Lee (eds.), The Dic-
tionary of National Biography, 22 vols., Lon-
don 1885–1900; repr. in 2 vols., London 1975.
Dodd, Thematic Index — Gordon Dodd, The-
matic Index of Music for Viols, [London, 1980]
(Viola da Gamba Society of Great Britain; kept
up-to-date by supplements).
Dowland, First Booke of Songes — John Dow-
land, The first Booke of Songes and Ayres – – –,
Peter Short, London 1597, repr. 1600, 1603,
1606, probably 1608, and 1613; facs. ed. by
Diana Poulton, Menston 1978 (English Lute
Songs 1597–1632. A Collection of Facsimile
Reprints, no. 14).
Dowland, Lute Music — The collected Lute
Music of John Dowland, transcr. and ed. by
Diana Poulton and Basil Lam, London 1974.
Dowland, Variety of Lute-lessons — Robert
Dowland, Varietie of Lute-lessons – – –, Tho-
mas Adams, London 1610; facs. ed. by Edgar
Hunt, London 1958.
Edwards, Music for Mixed Consort — W.
Edwards, Music for Mixed Consort, London
1977 (Musica Britannica 40).
Elizabethan Popular Music — Elizabethan
Popular Music for the Lute, ed. by Brian Jeffery,
London [1966] (Music for the Lute 1).
Euing — Glasgow, University Library, MS
Euing 25 (formerly MS R.d.43), c. 1610.
Ferrabosco, Opera omnia — Alfonso Ferrabosco
the elder (1543–1588), Opera omnia, IX: Instru-
mental music, ed. by Richard Charteris, Neu-
hausen-Stuttgart 1988 (Corpus Mensurabilis
Musicae 96).
Ferrabosco, Works for Lute — Alfonso Ferra-
bosco of Bologna, Collected Works for Lute and
Bandora, part I: Lute, ed. by Nigel North, Ox-
ford University Press, 2 vols., London [1974]
(Music for the Lute 8).
FWVB — Cambridge, Fitzwilliam Museum,
Music MS 168: the Fitzwilliam Virginal Book,
1609–1619 (ed. by J.A. Fuller Maitland en W.
Barclay Squire, Londen/Leipzig 1899, repr. New
York 1963).
Harwood, Cambridge lute manuscripts — Ian
Harwood, ‘The origins of the Cambridge lute
manuscripts’, LSJ 5 (1963), pp. 32-48.
Harwood, ‘Le Roy’s Lute Instructions’ — Ian
Harwood, ‘On the Publication of Le Roy’s Lute
Instructions’, LSJ 18 (1976), pp. 30-36.
Hirsch — Londen, British Library, MS Hirsch
M.1353: The Hirsch Lute Book, c. 1595 or c.
1620 (facs. ed. R. Spencer, Kilkenny 1982).
Holborne, Cittharn School — A. Holborne, The
Cittharn School – – –, London 1597 (The com-
plete Works of Anthony Holborne, vol. II, Mu-
sic for Cittern, ed. by M. Kanazawa, Cambridge
Mass./London 1973 (Harvard Publications in
Music 5).
Holborne, Music for Lute & Bandora (ed.
Kanazawa) — The complete Works of Anthony
Holborne, vol. I, Music for Lute & Bandora, ed.
by M. Kanazawa, Cambridge Mass./London
1967 (Harvard Publications in Music 1).
Holborne, Music for Lute and Bandora (ed.
Spring) — Anthony Holborne, Music for Lute
and Bandora, ed. by Rainer aus dem Spring, 2
vols., s.l. 2001 (The Lute Society Music edi-
tions).
Holborne, PGA — Anthony Holborne, Pavans,
Galliards, Almains, Londen 1599 (ed. B. Tho-
mas, London 1980).
Vanden Hove, Florida — Florida sive Cantio-
nes, – – – ad Testvdinis vsum accommodatæ
opera atque industria Ioachimi vanden Hove
Antverpiani, Vltraiecti, Apud Salomonem de
Roy, & Ioannem Guilelmi de Rhenen, 1601.
Hulse, ‘Francis and Thomas Cutting’ — Lynn
Hulse, ‘Francis and Thomas Cutting: father and
son?’, LSJ 26 (1986), pp. 73-74.
Hulse, ‘Hardwick MS 29’ — Lynn Hulse,
‘Hardwick MS 29: A New Source for Jacobean
Lutenists’, LSJ 26 (1986), pp. 63-72.
Hulse, Musical Patronage — Lynn Hulse, Mu-
sical Patronage of the English Aristocracy c.
1590–1640 (Ph.D. thesis King’s College, Uni-
versity of London, 1993).
Johnson, Complete Works — Robert Johnson,
Complete Works for Solo Lute, ed. A. Sunder-
man, London [1972] (Music for the Lute 4).
Johnson, Lute Music — John Johnson, Collected
Lute Music, ed. by Jan W.J. Burgers, 2 vols.,
Lübeck 2001.
Johnson ‘William Barley’ — G.D. Johnson,
‘William Barley, “Publisher & Seller of Book-
es”, 1591–1614’, The Library, 6th series 11
(1989), pp. 19-35.
Kingsford, ‘Bath Inn or Arundel House’ — C.L.
Kingsford, ‘Bath Inn or Arundel House’, Archae-
ologia 72 (1922), pp. 243-277.
Krummel, English Music Printing — D.W.
Krummel, English Music Printing, 1553–1700,
London 1975 (Bibliographical Society publica-
tion).
Lavin, ‘William Barley’ — J.A. Lavin, ‘William
Barley, Draper and Stationer’, Studies in Bibli-
ography: papers of the Bibliographical Society
of the University of Virginia 22 (1969), pp. 214-
223.
Leipzig — Leipzig, Musikbibliothek der Stadt,
Ms. II.6.15, 1619.
Lumsden, Anthology — An Anthology of Eng-
lish Lute Music (16th century), ed. by David
Lumsden, with a foreword by Thurston Dart,
London [1953] (Schott’s Series of early Lute 305
Music 2).
LSJ — The Lute Society Journal (1959– ; since
1982: The Lute. The Journal of the Lute Soci-
ety).
LSJA — Journal of the Lute Society of America
(1968– ).
Lute News — Lute News. The Lute Society
Magazine (1986– ).
Marsh — Dublin, Archbishop Marsh’s Library,
MS Z3.2.13, c. 1595 (facs. ed. R. Spencer, Kil-
kenny 1981).
Mynshall — London, Royal Academy of Mu-
sic, Robert Spencer Collection, MS 601: Rich-
ard Mynshall’s Lute Book, c. 1597–1599 (facs.
ed. R. Spencer, Kilkenny 1975).
Morley, Plaine and Easie Introduction — Tho-
mas Morley, A Plaine and Easie Introduction to
Practicall Musicke – – –, London 1597 (facs.
Amsterdam/New York 1969).
Neighbour, William Byrd — O. Neighbour, The
Consort and Keyboard Music of William Byrd,
London 1978, 19842 (The Music of William
Byrd 3).
Newcomb, Englischen Lautenpraxis — W.W.
Newcomb, Studien zur englischen Lautenpraxis
im elisabethanischen Zeitalter, Kassel etc. 1968.
Newcomb, Lute music of Shakespeare’s time —
W.W. Newcomb, Lute music of Shakespeare’s
time. William Barley: A new Booke of Tabliture,
1596, London 1966.
New Grove 1980 — The New Grove Dictionary
of Music and Musicians, second ed., ed. S. Sadie,
20 vols., London 19806.
New Grove 2001 — The New Grove Dictionary
of Music and Musicians, second ed., ed. S. Sadie,
29 vols., London/New York 20017.
Newton, ‘Francis Cutting’ — Richard Newton,
‘Francis Cutting: a bibliography’, Lute Society
Journal 1 (1959, publ. 1963), pp. 38-47 (a re-
print from the old series 1/6 (1959), pp. 106-
118, 135-138).
Nordstrom, ‘Cambridge Consort Books’ — L.
Nordstrom, ‘The Cambridge Consort Books’, in:
LSJA 5 (1972), pp. 70-103.
306 North, Byrd Lute Music — see Byrd, Music for
the Lute
Nn.6.36 — Cambridge, University Library, MS
Nn.6.36, c. 1610–1615.
Nürnberg — Nürnberg, Bibliothek des Germa-
nischen Nationalmuseums, MS 33748/M.271,
Fasc. I, c. 1610.
Otley — Matthew Otley’s Cittern Book, after c.
1600 and after 1650; owned by John M. Ward,
Cambridge, Mass. (from: Allison, Lute Music).
Pickeringe — Londen, British Library, MS
Egerton 2046: Jane Pickeringe’s Lute Book, c.
1616–1650 (facs. ed. R. Spencer, Kilkenny
1985).
Playford, English Dancing Master — John
Playford, The English Dancing Master, London
1651 (facs. ed. with Introduction, Bibliography
and Notes by M. Dean-Smith, London 1957).
Poulton, ‘Francis Cutting’ — D. Poulton,
‘Francis Cutting’, New Grove 1980, vol. 5, pp.
106-107.
Poulton, John Dowland — D. Poulton, John
Dowland, London 1972 (rev. ed. 1982).
Poulton, ‘Thomas Cutting’ — D. Poulton, ‘Tho-
mas Cutting’, New Grove 1980, vol. 5. p. 107.
Robinson, ‘Cotton’ — John H. Robinson, ‘Col-
lected Lute Music of Brewster, Bulman, Cot-
ton, E. E., Fernyer and Weston’, Lute News 58
(June 2001, Supplement).
Ryding, ‘Cutting’s “Lachrimae”?’ — Erik S.
Ryding, ‘Cutting’s “Lachrimae”?’, Lute Society
of America Quarterly 24, no. 2 (May 1989), pp.
20-21.
Simpson, Broadside Ballad — C.M. Simpson,
The British Broadside Ballad and its music, New
Brunswick 1966.
Stevens, ‘A songe of fortie partes’ — D. Stevens,
‘A songe of fortie partes, made by Mr. Tallys’,
Early Music 10 (1982), pp. 171-181.
Stephens, The Wickhambrook lute manuscript
— The Wickhambrook lute manuscript, transcr.
and ed. by Daphne E.R. Stephens, s.l. 1963 (The-
sis Yale University; Collegium Musicum 4)
Spencer, ‘Francis Cutting’ — R. Spencer, ‘Fran-
cis Cutting’, New Grove 2001, vol. 6, p. 791.
Spring, Lute in Britain — Matthew Spring, The
Lute in Britain. A History of the Instrument and
its Music, Oxford/New York 2001.
Thysius — Leiden, Bibliotheca Thysiana, MS
1666: Het luitboek van Thysius, c. 1595–1646.
Trumbull — Cambridge University Library,
Add.MS 8844 (formerly Reading, Berkshire
Record Office, Trumbull Add.MS 6): William
Trumbull’s Lute Book, c. 1595 (facs. ed. R.
Spencer, Kilkenny 1980).
Ward, ‘Barley’s Songs’ — J. Ward, ‘Barley’s
Songs without Words’, LSJ 12 (1970), pp. 5-22.
Ward, ‘Dowland miscellany’ — J.M. Ward, ‘A
Dowland miscellany’, LSJA 10 (1977), pp. 5-
152.
Ward, Music for Elizabethan Lutes — J.M.
Ward, Music for Elizabethan Lutes, 2 vols.,
Oxford 1992.
Welde — John Welde’s Lute Book, c. 1600–
1605, owned by Lord Forester, Willey Park,
Shropshire.
Wentzel, Lute pavans and galliards — Wayne
Clifford Wentzel, The lute pavans and galliards
of John Johnson, Anthony Holborne, Francis
Cutting, John Dowland and Daniel Bacheler :
a stylistic comparison, s.l. 1976 (D.Phil. thesis
University of Pittsburgh).
Westminster — Westminster Abbey Library. MS
105, early 17th c., fragment (facs. in Lute News
53 (April 2000, Supplement)).
Wickhambrook — Yale University, School of
Music, Special Collection Ma.21.w.632: The
Wickhambrook Lute Book, c. 1590 (ed. in:
Stephens, The Wickhambrook lute manuscript).
TREE EDITION