GB-Lbl Add. MS 29996

British Library, London, England

organ book: c. 1600

Archive	British Library, London, England (GB-Lbl)
Shelfmark	Add. MS 29996
Numbering System	None
Format	portrait
Notations	black void mensural
Relationships	Tomkins, Thomas (1572–1656) (owner)
External Links	images IIIF manifest
Provenance	England
Contents	214 pieces from 21 composers

General Description

According to Joseph Warren, who owned the ms. in 1847, ff. 6-45 are in the hand of John Redford, Master of the Boys of St. Paul's, temp. Hen. VIII. ; and some of Byrd's compositions (see f. 110 b) are also autograph. Annotated throughout by Thomas Tomkins, with some of his own compositions.

Owned in 17th century by George Moult (f. 6) and George Thomas Woodson (f. 184b). Large additions were made to it in 1647, etc., by Thomas Tomkins, organist of Worcester (see ff. 2, 217b), and others; and in the 19th century, it belonged to Robert Smith (bookplate — doubtless the wine-merchant of St. Paul's Church Yard mentioned on f. 222b), T. Jones (before 1826 — see beginning), Joseph Warren (1847), and J. Bishop.

British Library online catalogue, 2015

Liminary Note

Title: MOTETS, madrigals, fancies, etc., annotated throughout by Thomas Tomkins, with some of his own compositions

British Library online catalogue, 2015

Ruling

Organ book

British Library online catalogue, 2015

DIAMM Note

Digitized with funding from the Arts and Humanities Research Council (UK) for the Tudor Partbooks project at the Universities of Oxford and Newcastle.

DIAMM, 2023

Click an entry to see more information about that item.

Folio / Pages	Composition / Item title	Source attribution	Composers (? Uncertain)
1r–5r	[Manuscript index, table of contents and other information]	-	-
[Manuscript index, table of contents and other information] Appears on: 1r–5r General Note Annotations/Corrections: on top of f. 5, later pencil annotations explaining that 'Kynton' is 'Strowger' and clarifying that 'Pston' refers to 'J. Preston'; Notes: first index, at end table of contents (referring to the original page numbers, which begin with '1' at the beginning of the music: details on some of the composers on f. 3;
6r	Miserere	mr kyrton	Mr Kyrton
Miserere Mr Kyrton Appears on: 6r Source Attribution: mr kyrton Voice: [no designation] Languages: none Clef: g4 Voice Text: miserere General Note Annotations/Corrections: under the music a little paste-on: 'George monlt ys the owner of this book [...]; some music shining through from the other side of that paste-on, and from the music too; several times figures over notes; Notes: there are older folio numbers in pencil in the top outer corner, beginning with '1' on this folio;
6v	Miserere	-	Rhys, Philip ap (1545–1560)
Miserere Rhys, Philip ap (1545–1560) Appears on: 6v Voice: [no designation] Languages: none Clef: c3 Voice Text: Miserere: General Note Annotations/Corrections: in bottom line, after last 'barline' a stem corr.; at end 'p.j.'; pencil annotation between the two lines of music: 'Price at Philip ap Rice of St. Pauls'; Notes: two parts throughout, bottom part split into two only towards the end;
6v	Miserere (No. 1 in Lbl Add. MS 29996)	mr Redforde	Redford, John (–1547)
Miserere (No. 1 in Lbl Add. MS 29996) Redford, John (–1547) Appears on: 6v Source Attribution: mr Redforde Voice: [no designation] Languages: none Clef: c1 Voice Text: miserere: General Note Annotations/Corrections: 2' in the outer margin before the music; note/stem corr. in top part towards the end; Notes: not sure what the letter(s) before 'Redforde' is: it looks a bit like at @-sign;
6v	Miserere: two parts in one	E. strowge	Strogers, Nicholas
Miserere: two parts in one Strogers, Nicholas Appears on: 6v Source Attribution: E. strowge Voice: [no designation] Languages: none Clef: c3 Voice Text: miserere. ij p[ar]ts in on General Note Annotations/Corrections: 3' in the outer margin before the music;
7r	Miserere (No. 2 in Lbl Add. MS 29996)	mR R.	Redford, John (–1547)
Miserere (No. 2 in Lbl Add. MS 29996) Redford, John (–1547) Appears on: 7r Source Attribution: mR R. Voice: [no designation] Languages: none Clef: c2 Voice Text: miserere: General Note Annotations/Corrections: sharps added in two 'bars'; penultimate note of middle part changed;
7r	Miserere	-	Anonymous
Miserere Anonymous Appears on: 7r Voice: [no designation] Languages: none Clef: c2 Voice Text: miserere: General Note Annotations/Corrections: 5' in the outer margin before the music;
7r	Miserere	-	Anonymous
Miserere Anonymous Appears on: 7r Voice: [no designation] Languages: none Clef: g4 Voice Text: Miserere: General Note Annotations/Corrections: '31' at beginning of bottom part;
7r	Miserere	-	Anonymous
Miserere Anonymous Appears on: 7r Voice: [no designation] Languages: none Clef: c2 Voice Text: Miserere General Note Annotations/Corrections: R' over final note of top part;
7v	Miserere	-	Anonymous
Miserere Anonymous Appears on: 7v Voice: [no designation] Languages: none Clef: g3 Voice Text: miserere: General Note Annotations/Corrections: 7' in the outer margin before the music, beneath that (in pencil) 'good'; Notes: there is an additional (plainchant) F-clef on top of the G-clef in the top line;
7v	Miserere	-	Anonymous
Miserere Anonymous Appears on: 7v Voice: [no designation] Languages: none Clef: g2 Voice Text: miserere:-: General Note Annotations/Corrections: at end: 'ffinis miserere qd mr kyrton';
8r	Miserere	-	Anonymous
Miserere Anonymous Appears on: 8r Voice: [no designation] Languages: none Clef: f4 Voice Text: Miserere General Note Annotations/Corrections: signum congruentiae' at end of top line; there also some scribble like an 'E'; Notes: big stave with 12 lines: four clefs at the beginning, but then only three parts of music noted; 'miserere' written under first four staves; right hand side quite damaged;
8v–9r	Salvator in F fa ut	-	Anonymous
Salvator in F fa ut Anonymous Appears on: 8v–9r Voice: [no designation] Languages: none Clef: g4 Voice Text: SAluator in f faut General Note Annotations/Corrections: some corr. at the end of the top line in the bottom system; in top system of p. 9 '3 verse'; Notes: an additional (plainchant) F-clef on top of the G-clef in the top line' badly damaged outer margin;
9r–9v	Salvator in C fa ut	-	Anonymous
Salvator in C fa ut Anonymous Appears on: 9r–9v Voice: [no designation] Languages: none Clef: c1 Voice Text: Saluator in C fant General Note Annotations/Corrections: between top lines of f. 9v: '.2. verse'; there also '32' under top line and under bottom line, and later a '3' under a note in the bottom line; last two systems of page '3 verse'; Notes: badly damaged outer margin;
10r	Te lucis	-	Anonymous
Te lucis Anonymous Appears on: 10r Voice: [no designation] Languages: none Clef: c3 Voice Text: Te lucis General Note Annotations/Corrections: in third system '2. verse', there also additional (plainchant) F-clef over G-clef;
10v–11r	Christe qui lux	mr Redford	Redford, John (–1547)
Christe qui lux Redford, John (–1547) Appears on: 10v–11r Source Attribution: mr Redford Voice: [no designation] Languages: none Clef: g4 Voice Text: Xpe [= 'Christe' abbreviation] Qui lux:- General Note Annotations/Corrections: in third system '2 verse'; stem corr. on penultimate note in bottom part; in top system of f. 11: '3 verse.'; in third system of f. 11 '4 verse' and in that line also clarification as to where bottom parts belong in relation to top part; two stem corr. in bottom line towards very end; Notes: additional (plainchant) F-clef on top of G-clef in top line;
11v	Primo dierum omnium	mr. R.	Redford, John (–1547)
Primo dierum omnium Redford, John (–1547) Appears on: 11v Source Attribution: mr. R. Voice: [no designation] Languages: none Clef: c2 Voice Text: Primo dieru[m]:- General Note Annotations/Corrections: The cliff hanger.' between lines of second system; stem corr. in bottom part towards the end; some sign in outer margin befor the beginning of the music; Notes: three parts towards the end;
11v–12r	Aeterne rerum conditor	-	Anonymous
Aeterne rerum conditor Anonymous Appears on: 11v–12r Voice: [no designation] Languages: none Clef: c4 Voice Text: Eterne reru[m] conditor:- General Note Annotations/Corrections: some sign in outer margin befor the beginning of the music, in top line of first system several notes have two lines through: this seems to be an ornament rather than a correction; '2 verse' under top line of f. 12: under first bottom line of f. 12: '8 notes lower } this Bahr'; in penultimate system of f. 12 '3 verse' and '.32.' at beginning in top line: '.31.' under bottom line of f. 12, followed by several times '3' under notes: some corr. in bottom line at the end;
12v	Lucis creator omnium	-	Anonymous
Lucis creator omnium Anonymous Appears on: 12v Voice: [no designation] Languages: none Clef: c3 Voice Text: lucis creator:-
13r–13v	Conditor alme siderum	-	Anonymous
Conditor alme siderum Anonymous Appears on: 13r–13v Voice: [no designation] Languages: none Clef: c2 Voice Text: Conditor alme sider[um]:- General Note Annotations/Corrections: 2 verse' in third system of f. 13; in bottom line of f. 13 two notes stemmed together over barline; in first system of f. 13v: '3 verse'; in top line of second system of f. 13v some later scribbles;
13v–14r	Verbum supernum prodiens	-	Anonymous
Verbum supernum prodiens Anonymous Appears on: 13v–14r Voice: [no designation] Languages: none Clef: g3 Voice Text: Verbu[m] sup[er]nu[m] prodiens:- General Note Annotations/Corrections: under first line of f. 14: '2 verse': in penultimate system '3 verse': in penultimate line of f. 14 twice a sign like a '6' or 'G' entered; Notes: additional (plainchant) F-clef over G-clef in top line;
14v–15r	Iste confessor	-	Anonymous
Iste confessor Anonymous Appears on: 14v–15r Voice: [no designation] Languages: none Clef: c2 Voice Text: ISte confessor General Note Annotations/Corrections: 2 verse' in bottom system of f. 14v; '3 verse:-' in third system of f. 15; Notes: on f. 15 the top two systems are shorter - or rather, the following two are extended into both margins (with the bottom system being short again);
15v–16r	Veni redemptor	-	Anonymous
Veni redemptor Anonymous Appears on: 15v–16r Voice: [no designation] Languages: none Clef: g4 Voice Text: Veni redemptor genciu[m]:- General Note Annotations/Corrections: 2 verse' in bottom system of f. 15v; at end of bottom line on f. 15v stem corr.; '3 verse:-' in third system of f. 16; several notes in top line have two strokes through; Notes: three last systems of f. 16 have the staves merged together, with three clefs at the beginning (and three parts noted);
16v–17r	Deus creator omnium	mr k	Anonymous
Deus creator omnium Anonymous Appears on: 16v–17r Source Attribution: mr k Voice: [no designation] Languages: none Clef: g4 Voice Text: Deus creator omniu[m]:- General Note Annotations/Corrections: notes crossed out in second and third lines of f. 16v; some stem corr. in sixth line - at the end of that line note split into two; '2 verse:-' in last system of f. 16v; stem corr. in bottom line of f. 16v; ' 3 verse' in third system of f. 17; ; Notes: additional (plainchant) F-clef over G-clef in top line; three last systems of f. 17 have the staves merged together, with four clefs at the beginning (and three parts noted);
17v	Christe redemptor	mr R	Redford, John (–1547)
Christe redemptor Redford, John (–1547) Appears on: 17v Source Attribution: mr R Voice: [no designation] Languages: none Clef: c2 Voice Text: xpe [= 'Christe' abbreviation] redemptor:- General Note Annotations/Corrections: good:' in outer margin before beginning of music; in pencil 'Redfd' in top outer corner of f. 17v;
17v–18r	A solis ortus cardine	mr J R	Redford, John (–1547)
A solis ortus cardine Redford, John (–1547) Appears on: 17v–18r Source Attribution: mr J R Voice: [no designation] Languages: none Clef: f2 Voice Text: A Solis ortus cardine:- General Note Notes: top and bottom staves merged together to one big one with five clefs (F, C, G, plainchant-F and plainchant-C);
18r	Chorus novae Jerusalem	-	Anonymous
Chorus novae Jerusalem Anonymous Appears on: 18r Voice: [no designation] Languages: none Clef: c2 Voice Text: Cor[us] nove ierusalem:- General Note Notes: several notes in the top part have two lines through the stem;
18r	Aeterne rex conditor (verse of two parts)	-	Anonymous
Aeterne rex conditor (verse of two parts) Anonymous Appears on: 18r Voice: [no designation] Languages: none Clef: f5 Voice Text: A verse of ij parts // Eterne rex conditor General Note Annotations/Corrections: title originally 'Eterne rex altissime': 'altissime' crossed out and 'conditor' entered next to that; Notes: staves merged into one big one of 10 lines, with up to three clefs at beginning;
18v	Glorificamus	-	Anonymous
Glorificamus Anonymous Appears on: 18v Voice: [no designation] Languages: none Clef: c1 Voice Text: Glorificam[us] General Note Annotations/Corrections: good:' in outer margin before the music (in same ink as the music);
18v–19r	Glorificamus	-	Anonymous
Glorificamus Anonymous Appears on: 18v–19r Voice: [no designation] Languages: none Clef: f5 Voice Text: Glorificam[us] General Note Annotations/Corrections: good:' in outer margin before the music (in same ink as the music); Notes: staves merged into one big one of 12 lines, with four different clefs at beginning (F, C, G and plainchant-F);
19r	Lucem tuam [not identified whether (I) or (II)]	mr .J.R.	Redford, John (–1547)
Lucem tuam [not identified whether (I) or (II)] Redford, John (–1547) Appears on: 19r Source Attribution: mr .J.R. Voice: [no designation] Languages: none Clef: g4 Voice Text: Lucem tua[m]:- General Note Annotations/Corrections: good:' in outer margin before the music (in same ink as the music); 'R' of composer name in pencil extended: 'edford'; Notes: in middle of last line, two minims stemmed together;
19v–20r	Lucem tuam	Rychard Wynslate:	Wynslate, Richard
Lucem tuam Wynslate, Richard Appears on: 19v–20r Source Attribution: Rychard Wynslate: Voice: [no designation] Languages: none Clef: g3 Voice Text: luce[m] tuam General Note Annotations/Corrections: stem corr. on first minim on bottom part, bottm line of f. 19v; composer name again in pencil and in later hand under the original one; Notes: ed. in EECM, vi, no.9;
20v–22v	Te Deum	master Iohne Redforde	Redford, John (–1547)
Te Deum Redford, John (–1547) Appears on: 20v–22v Source Attribution: master Iohne Redforde Voice: [no designation] Languages: none Clef: c6 Voice Text: Te deu[m] General Note Annotations/Corrections: some note corr. i top two systems, 'Pleni' text written over erasure; in second line of f. 22, crotchets linked by stem over barline; at end of sixth line of f. 22, signum congruentiae; at end 'laus sit omnipotenti deo / Quod master Iohne Redforde'; Notes: Plainchant C-clef on top of the G-clef; beginning of text at beginning of each section;
22v–25r	Te Deum	Master avere	Master Avery [= David Burton?]
Te Deum Master Avery [= David Burton?] Appears on: 22v–25r Source Attribution: Master avere Voice: [no designation] Languages: none Clef: c3 Voice Text: Alio Te deu[m] General Note Annotations/Corrections: .31.' in top and bottom part at beginning of 'Sanctus' on f. 23; double lines entered in pencil to separate systems; at bottom of f. 23v: 'A verse more then nedythe' (twice: in ink as the music, and beneath that in a later hand in pencil); '.32.' under beginning of last line on f. 24; at top of f. 24v: 'An excellent verse.' ('Saluu[m] fac') - also '.31.' under both parts at beginning of this verse; '.31.' in fourth and sixth line of f. 24v; at end, composer name in ink, and beneath that in pencil 'Master Avere', with an 'y' over the last 'e'; Notes: beginning of text at beginning of each section; occasionally notes split to make up to four parts; composer name at end (f. 25) in ink, like the music - and beneath that ag ain pencil in later hand, seemingly with some correction of the last name ('Averse'?);
25v–28r	The eighth tune, in C fa ut	-	Anonymous
The eighth tune, in C fa ut Anonymous Appears on: 25v–28r Voice: [no designation] Languages: none Clef: g2 Voice Text: The viij tune . in C . faut:- General Note Annotations/Corrections: in first system: 'Prim[us] versus: - play bothe part[es] viij not[es] lower heer'; in second system: '2 verse: - play bothe part[es] viij not[es] lower yis vers'; some major corrections in top system: clefs in top line over erasure and music in at beginning of bottom part over erasure; on f. 26: '3 verse :-' with 'A good verse' in pencil after title; '32' in first bar of bottom part; in the same line two notes stemmed together over a barline, in bottom line of f. 26 stem corr.; in top system of f. 26v extra lines entered to clarify top-bottom part relation (at one point leading to two notes being stemmed together over a barline); '32' in second line of f. 26v; in second system of f. 26v: '3 to ye semBr'; in penultimate system major corr. in pencil or grey ink, referring to an extra two staves entered in the bottom margin; in bottom system '3 verse:-' and twice '31'; in penultimate system of f. 27: '5 verse' and shortly after that four stem corr. in the bottom line; in penultimate system of f. 27v: '6 verse:-'; at end merely 'finis:-'; Notes: third verse: has C-dot opening to the left, in the bottom part it changes several times with cut-C, mostly three parts, four towards the very end; General Note identified by Kirsch as a Magnificat setting [K. 512], (p. 267). Stevens (Tudor Chutrch Music, p.71) proposed Avery Burton as composer on stylistc grounds; John Steele (MGG XI, 95) proposed John Redford.
28v–29r	Deus creator omnium	phelyppe apprys Off Saynt poulls in london	Rhys, Philip ap (1545–1560)
Deus creator omnium Rhys, Philip ap (1545–1560) Appears on: 28v–29r Source Attribution: phelyppe apprys Off Saynt poulls in london Voice: [no designation] Languages: none Clef: c1 Voice Text: Deus creator omniu[m] General Note Annotations/Corrections: Some former ink inscription under title erased; after title an unreadable pencil inscription; on f. 28v, '2 verse:-', '3 verse:-' and '4 verse' in respective systems; at beginning of last system '5 verse';
29r–30r	Gloria in excelsis/Hominibus	-	Anonymous
Gloria in excelsis/Hominibus Anonymous Appears on: 29r–30r Voice: [no designation] Languages: none Clef: g3 Voice Text: gl[or]ia in excelsis hominibus: General Note Annotations/Corrections: beginning of text at beginnings of sections; at end, between blank staves after the last line of music: 'Credo in vnu[m] deu[m]';
30v–31r	[blank staves]	-	-
[blank staves] Appears on: 30v–31r
31v–32v	In die sancte trinitatis (offertorium)	.P.R.	Rhys, Philip ap (1545–1560)
In die sancte trinitatis (offertorium) Rhys, Philip ap (1545–1560) Appears on: 31v–32v Source Attribution: .P.R. Voice: [no designation] Languages: none Clef: f5 Voice Text: Offertoriu[m] In die s[an]cte trinitatis:- General Note Annotations/Corrections: pencil annotation before first line of music;: 'Price'; in sixth line of f. 32 stem corr., in first bar of bottom line on that page a note erasure; composer initials at end extended in penceil ('ice'); Notes: in top system, plainchant F-clef on top of G-clef;
33r–33v	Sanctus	[phelype aprys]	Rhys, Philip ap (1545–1560)
Sanctus Rhys, Philip ap (1545–1560) Appears on: 33r–33v Source Attribution: [phelype aprys] Voice: [no designation] Languages: none Clef: g3 Voice Text: Sanctus:- General Note Annotations/Corrections: before first line of music, in margin, a short intonation in plainchant notation , with text 'Sanct[us]'; on top, in pencil: 'Price'; beginnings of text entered at the beginnings of sections; in fourth line of first page two same notes stemmed together, in third line from bottom of f. 33 erasures in penultimate bar; in penultimate bar of page 'Plenisunt' under pauses, before 'Osanna' beginning in last bar of page; Notes: This is a Sanctus with Benedictus, directly follwed by a threefold Agnus;
33v	Benedictus	[phelype aprys]	Rhys, Philip ap (1545–1560)
Benedictus Rhys, Philip ap (1545–1560) Appears on: 33v Source Attribution: [phelype aprys] Voice: [no designation] Languages: none Clef: g3 Voice Text: Benedict[us] Osanna General Note Annotations/Corrections: in first bar of piece, bottom line: note erased? and note/stem corr.; Notes: music begins only with 'Osanna';
33v–34r	Agnus dei	phelype aprys	Rhys, Philip ap (1545–1560)
Agnus dei Rhys, Philip ap (1545–1560) Appears on: 33v–34r Source Attribution: phelype aprys Voice: [no designation] Languages: none Clef: g4 Voice Text: Angn[us] dei Qui tollis:- General Note Annotations/Corrections: note/stem corr. in top line of f. 34 and in second line two notes barred together; at end of third and fourth line of f. 34, 'angn[us].', and 'Angn[us]' at beginning of next system; at end: 'finis q[uo]d phelype aprys:-'; Notes: begins at end of f. 33v, with short plainchant, then polyphony on 'Qui tollis' at top of f. 34;
34v–36r	Awake and excellent / Precatus est Moses	Iohne Redforde	Redford, John (–1547)
Awake and excellent / Precatus est Moses Redford, John (–1547) Appears on: 34v–36r Source Attribution: Iohne Redforde Voice: [no designation] Languages: none Clef: f5 Voice Text: Awake & excellent [...] Precatus est moyses:- General Note Annotations/Corrections: at top, in pencil: 'Awake'; barlines entered for clarification; under third system of f. 35: '+ note this' (twice, in ink and in pencil); before fourth system of f. 35, in outer margin: 'well'; in bottom system of f. 35 two same notes stemmed together and, and end of line, a paste over with music; in botto three systems of f. 35 some big erasures, overwritten; at end: 'Laus sit omnipotenti deo:- / Quod master Iohne Redforde'; Notes: top and bottom staves merged into one big one of 12 lines, with four clefs: F, C, G, with plainchant-F on top;
36v–37r	Justus ut palma	Master Redforde	Redford, John (–1547)
Justus ut palma Redford, John (–1547) Appears on: 36v–37r Source Attribution: Master Redforde Voice: [no designation] Languages: none Clef: c4 Voice Text: Iustus vt palma:- General Note Annotations/Corrections: stem corr. in bottom part of penultimate system on f. 36v; seemingly some erasures in second system of f. 37; stem corr. in bottom part of penultimate system on f. 37, in the same line note corrections in the middle part; in final line note erasure and note change; Notes: top and bottom staves merged into one big one of 12 lines, with three clefs: C, G, with plainchant-F on top;
37v–38r	Exultabut sancti	mr thorne of york:-	Thorne, John
Exultabut sancti Thorne, John Appears on: 37v–38r Source Attribution: mr thorne of york:- Voice: [no designation] Languages: none Clef: f4 Voice Text: Exultabunt sancti:- General Note Annotations/Corrections: second line on f. 38 slightly extended into outer margin; in composer name at end, the 'e' of 'thorne' has pencil brackets around it - beneath that, in pencil: 'Thorn of York'; Notes: top and bottom staves merged into one big one of 12 lines, with three clefs: F, C, G;
38v–39r	Reges Tharsis	Master prestu[m]	Preston, Thomas (–ca. 1559) (?) Preston, John (?)
Reges Tharsis Preston, Thomas (–ca. 1559) (?) Preston, John (?) Appears on: 38v–39r Source Attribution: Master prestu[m] Voice: [no designation] Languages: none Clef: c6 Voice Text: ReGes tharsis:- General Note Annotations/Corrections: erasure and note corr. in second system of f. 38v; stem cor. in bottom part in top system on f. 39; in composer's name at end 'Tho[ma]s' added in pencil; in bottom margin of final page 'Master Preston'; Notes: top and bottom staves merged into one big one of 12 lines, with the two clefs, plainchant-F and plainchant-C;
39v	Laetamini in domino	Robart Coxsun	Coxsun, Robert
Laetamini in domino Coxsun, Robert Appears on: 39v Source Attribution: Robart Coxsun Voice: [no designation] Languages: none Clef: c4 Voice Text: Letamini in domino: - General Note Annotations/Corrections: in penultimate system, top line slightly extended into inner margin ; Notes: top and bottom staves merged into one big one of 12 lines, with three clefs: C and G, with plainchant-F on top;
40r–40v	Felix namque	Mr Redforde:-	Redford, John (–1547)
Felix namque Redford, John (–1547) Appears on: 40r–40v Source Attribution: Mr Redforde:- Voice: [no designation] Languages: none Clef: c3 Voice Text: Felix namque General Note Annotations/Corrections: in last bar of topline of f. 40v, several notes crossed out; Notes: several notes in top part have two strokes through stem;
41r–41v	Felix namque	phyllype apryce	Rhys, Philip ap (1545–1560)
Felix namque Rhys, Philip ap (1545–1560) Appears on: 41r–41v Source Attribution: phyllype apryce Voice: [no designation] Languages: none Clef: g3 Voice Text: Felix namque General Note Annotations/Corrections: seemingly some corr./erasures near the beginning; note corsed out in fourth line; note corr. in third line of f. 41v; '.23.' in fifth line of f. 41v, there also 'Alleluya:-'; at end 'phyllype apryce'; in bottom margin pencil annotation (corrected): 'Philip Aprisce / Organist of St Paul's'; Notes: title twice: under top and under bottom line; plainchant F-clef over G-clef;
42r–42v	Felix namque (II)	I. Redforde	Redford, John (–1547)
Felix namque (II) Redford, John (–1547) Appears on: 42r–42v Source Attribution: I. Redforde Voice: [no designation] Languages: none Clef: c2 Voice Text: Felix namq[ue] General Note Annotations/Corrections: at end: 'laus sit deo # quod # master . I. Redforde'; Notes: some of the F-clefs have a flat;
43r–45r	Veritas mea	Robart coxsun	Coxsun, Robert
Veritas mea Coxsun, Robert Appears on: 43r–45r Source Attribution: Robart coxsun Voice: [no designation] Languages: none Clef: c2 Voice Text: Veritas mea:- General Note Annotations/Corrections: several notes in the top part have two strokes through the stem; '32' in fifth and in sixth line of f. 43v; in two bottom lines of f. 43v, cut-C; '.31.' in top line of f. 44; at end 'Robart coxsun'; in bottom margin of final page (f. 45), long annotation in pencil: 'As far as here the pieces are in the hand writing of John Redford / The following is in a different hand. As far as folio 62. / It looks like Tallis's, see the facsimile of his autograph. ' (there is also some text crossed out after 'different' - possible due to a rewording on the folio 62 issue); Notes: plainchant F-clef over the G-clef; mostly in two parts, only occasionally more;
45v–47v	Felix namque (I)	mr p[re]ston	Preston, Thomas (–ca. 1559)
Felix namque (I) Preston, Thomas (–ca. 1559) Appears on: 45v–47v Source Attribution: mr p[re]ston Voice: [no designation] Languages: none Clef: g5 Voice Text: ffelix namq[ue] General Note Annotations/Corrections: 2' over longa note in very first bar; two stem corr. in third line , with one note going over the barline, ; at end of penultimate line of f. 45v 'fol'; on f. 46, several lines extended into outer margin; possibly some erasures in top two and in bottom lines of f. 46v; at end 'qvode mr preston / ffinis';
47v	[three lines of music partly crossed out]	-	-
[three lines of music partly crossed out] - Appears on: 47v
48r	(Fantasia) Upon la mi fa	-	Anonymous
(Fantasia) Upon la mi fa Anonymous Appears on: 48r Voice: [no designation] Languages: none Clef: f5 Voice Text: vppon la mi je General Note Annotations/Corrections: pencil annotation next to title: 'Upon la mifa'; at end of top line, sharp written over a note; in fifth line of f. 48, several barlines crossed out; in seventh line '32' under a note; at end a '2' over a longa; at end a D-clef with some more notes (in two parts) and continuation signs; Notes: clef is plainchant F-clef; f. 48v is blank;
49r–51v	Diffusa	Thom[a]s p[re]ston	Preston, Thomas (–ca. 1559)
Diffusa Preston, Thomas (–ca. 1559) Appears on: 49r–51v Source Attribution: Thom[a]s p[re]ston Voice: [no designation] Languages: none Clef: g2 Voice Text: Diffusa General Note Annotations/Corrections: some erasures at end of first bar in both top and bottom part and at beginning of first bar, bottom line f. 49; at end of penultimate bottom line on. f. 49 'fol' in margin; several erasures in bottom part on f. 50; in second bar of second system on f. 50, first notes on bottom part entered later?; in second bar of f. 50v, in bottom part, one minim crossed out, and '3i' under one note; in bottom system of f. 50v, an extra line through the bar for clarification; on f. 51, in first bar a stem corr.; some corr. at end of second system on f. 51 (also in line below); f. 51v, corr. in top lines and '3i' under first note of third line; at very end 'da gloriam deo / Thom[a]s p[re]ston'; Notes: title under both, top and bottom part; in second bar of f. 49v: both C and C-dot on top of each other - triplets against quadruplets also neatly shown graphically;
51v–53r	Benedicta	thom[a]s p[re]ston	Preston, Thomas (–ca. 1559)
Benedicta Preston, Thomas (–ca. 1559) Appears on: 51v–53r Source Attribution: thom[a]s p[re]ston Voice: [no designation] Languages: none Clef: c3 Voice Text: Benedicta General Note Annotations/Corrections: lines entered for clarification of how parts belong together; several notes erased at end of second line; in penultimate line of f. 52, two notes stemed together over barline; f. 52v, sixth line, big erasure; top systems of f. 53: barlines readjusted, stem corr. in middle parts, notes stemmed together over barline, erasure of note; line extended into outer margin; in third line from bottom, erasure and a stem corr.; at end 'da gloriam deo / thom[a]s p[re]ston';
53v–54v	Felix namque (II)	thomas p[re]ston	Preston, Thomas (–ca. 1559)
Felix namque (II) Preston, Thomas (–ca. 1559) Appears on: 53v–54v Source Attribution: thomas p[re]ston Voice: [no designation] Languages: none Clef: g4 Voice Text: ffelix na[m]q[ue] General Note Annotations/Corrections: barline adjusted in top system; in second system two stems crossed out in middle part (although they are right), in third system, top part, a precautionary note due to a change of clef; corr. in first bar bottom system; in penultimate system of f. 54 legato slur over barline; several corr. and erasures, in top system f. 54v; at end 'da gloria deo / ffinis / thomas p[re]ston';
54v–56r	Felix namque (III)	thoms p[re]sto[n]	Preston, Thomas (–ca. 1559)
Felix namque (III) Preston, Thomas (–ca. 1559) Appears on: 54v–56r Source Attribution: thoms p[re]sto[n] Voice: [no designation] Languages: none Clef: g4 Voice Text: ffelix namq[ue] General Note Annotations/Corrections: note corr. in bottom line, third bar and one erased in top line fourth bar; some erasure? and scribbles in sixth line of f. 55; in second line of f. 55v, several notes erased and corr., also in the next line - on same page a stem corr., barline adjustment and erasures; erasure in top line of f. 56; at end 'da gloriam deo / ffinis / da gloria deo / q[uo]d thoms p[re]sto[n]'; Notes: title under both top and bottom line; next piece follows on from this one very closely, not on a new line;
56r–57r	Felix namque (IV)	T p[re]ston	Preston, Thomas (–ca. 1559)
Felix namque (IV) Preston, Thomas (–ca. 1559) Appears on: 56r–57r Source Attribution: T p[re]ston Voice: [no designation] Languages: none Clef: c1 Voice Text: ffelix namq[ue] General Note Annotations/Corrections: erasure at beginning of second system of the piece; on top of f. 56v, several erasures; in second system of f. 56v, barline adjusted; corr. in third system, incl. slur over barline; barline adjusted and slur over barline on top of f. 57; near the end two stem corr. and an erasure in the bottom line; at end 'da gloria[m] deo q[uo]d T p[re]ston / da gloria[m] deo q[uo]d t p[re]ston'; Notes: follows on from previous piece very closely, not on a new line; next piece follows on from this one very closely, not on a new line;
57r–58v	Felix namque (V)	thoms p[re]ston	Preston, Thomas (–ca. 1559)
Felix namque (V) Preston, Thomas (–ca. 1559) Appears on: 57r–58v Source Attribution: thoms p[re]ston Voice: [no designation] Languages: none Clef: g4 Voice Text: ffelix na[m]q[ue] General Note Annotations/Corrections: stem corr. at end of top line on f. 57v; two stem corr., an erasure and two notes stemmed together over barline in penultimate line of f. 57v; some erasure and corr. in third bar from end, top line; finalnotes, each but one, have a '2' written over them: at end 'ffinis' between the staves, then 'da gl[ori]a / thoms p[re]ston'; Notes: follows on from previous piece very closely, not on a new line;
58v–59r	Felix namque (VI)	thomas p[re]ston	Preston, Thomas (–ca. 1559)
Felix namque (VI) Preston, Thomas (–ca. 1559) Appears on: 58v–59r Source Attribution: thomas p[re]ston Voice: [no designation] Languages: none Clef: g3 Voice Text: ffelix namq[ue] General Note Annotations/Corrections: several erasures in first two systems and two notes stemmed together over barline; on f. 59 possibly erasures in third line; stem with two strokes through at end of line three on f. 59, and in penultimate bar of fline 4 a minim insterted; in third line from bottom on f. 59: stem corr on first bar, double stroke through in second bar (ornament?), in bottom line barline adjustment and erasures/corrections in final notes: final longas all three have '2' written over them: at end twice (on top of each other) 'da gloriam / deo / q[uo]d thomas p[re]ston'; Notes: title under both top and bottom line;
59v–60r	Felix namque (VII)	T p[re]sto[n]	Preston, Thomas (–ca. 1559)
Felix namque (VII) Preston, Thomas (–ca. 1559) Appears on: 59v–60r Source Attribution: T p[re]sto[n] Voice: [no designation] Languages: none Clef: c4 Voice Text: ffelix na[m]q[ue] General Note Annotations/Corrections: notes stemmed together over barline in second line; major erasures in third and fifth line; barline adjustment in sixth line; in top two systems of f. 60, additional barlines/lines for clarification; major corr. towards the end; for last few notes, staves extended into margin; '2' over all four final notes; at end, between staves : 'da glor[iam] deo T p[re]sto[n]'; Notes: There is a nother C-clef at the beginning of the first bottom stave; both C-clefs are in plainchant style (just semi-circles);
60r–60v	Felix namque (VIII)	mr p[re]ston	Preston, Thomas (–ca. 1559)
Felix namque (VIII) Preston, Thomas (–ca. 1559) Appears on: 60r–60v Source Attribution: mr p[re]ston Voice: [no designation] Languages: none Clef: c1 Voice Text: ffelix namq[ue] General Note Annotations/Corrections: several erasures and corr. in first two systems; at end of first line note tied on to beginning of next line with legato slur; several ersures and corr. in first two systems of f. 60v; '2' over final notes; at end (twice, after top and after bottom stave): 'da gloria[m] / deo / q[uo]d mr p[re]ston'; Notes: C-clef in plainchant style (just semi-circle); flat only in bottom stave;
61r–61v	Beatus laurentius	mr p[re]ston	Preston, Thomas (–ca. 1559)
Beatus laurentius Preston, Thomas (–ca. 1559) Appears on: 61r–61v Source Attribution: mr p[re]ston Voice: [no designation] Languages: none Clef: g4 Voice Text: Beat[us] laurencius General Note Annotations/Corrections: several corr., barline adjustments and erasures throughout; in third line '2' under noe in top part; over final longas, each time '2'; at end, twice: 'da gloria[m] / deo / mr p[re]ston'; Notes: the two middle parts are colorated;
61v–62v	Confessio	mr p[re]ston	Preston, Thomas (–ca. 1559)
Confessio Preston, Thomas (–ca. 1559) Appears on: 61v–62v Source Attribution: mr p[re]ston Voice: [no designation] Languages: none Mensuration: cut-c Clef: g3 Voice Text: Confessio General Note Annotations/Corrections: erasures at end of top system of f. 62; tied on note in top part at end of second system; major corr. and barline adjustment in penultimate line of f. 62; barline adjustments and additional sharps in top two systems of f. 62v; over final longas in top an bottom parts a '2'; at end (twice) 'da gloria[m] deo / q[uo]d mr p[re]ston'; Notes: time signature is in outer margin, semi-circle opening to the left; in both the upper part staves and the lower part staves, in each the upper part is colorated; longas going over barlines at end of top line on f. 62;
62v–63v	Resurrexit (Easter Day office)	-	Anonymous
Resurrexit (Easter Day office) Anonymous Appears on: 62v–63v Voice: [no designation] Languages: none Clef: g4 Voice Text: [E]st[er] Day [y]e offic[e] Resurrexit General Note Annotations/Corrections: note crossed out in second bar, top part; flat added, stem crossed out and additional colorated note in third bar, bottom part; note erased in fourth bar, bottom part; tied on note crossed out in bottom line of f. 62v; clef corr. at beginning of top line of f. 63; note corr. at end of fourth line of 63; in fifth line stem corr. note corr. and barline adjustments; also noted tied together over barline; note crossed out at beginning of penultimate line of f. 63; in top system of f. 63v, clef. corr., barline adjusted, '32' under note in last bar; in penultimate system, '2' over the longa clusters in top and bottom stave, then 'Tu cognovisti' under top and bottom stave; from here on in three parts; final longas all three have '2' on top; final 'barline' of piece is a field, chequered; Notes: title written in outer margin and the first letters partly cut off; 'Resurrexit' under both the top and the bottom stave;
64r–64v	Resurrexit	T p[re]sto[n]	Preston, Thomas (–ca. 1559)
Resurrexit Preston, Thomas (–ca. 1559) Appears on: 64r–64v Source Attribution: T p[re]sto[n] Voice: [no designation] Languages: none Clef: c3 Voice Text: Resurrexit General Note Annotations/Corrections: an 'j' in the inner margin before the first system; in the first two system some erasures, adjusted barline, tied notes over barline; in third system of f. 64 clarifying lines between two top parts; in last bar of penultimate line of fo. 64, accidental at beginning erased; in final bar of piece, stem corr. and sharps added, '2' over each of the four longasl pencil line under composer name and corresponding pencil cross in outer margin; final barline is chequered field; Notes: title under both top and bottom line;
64v–65r	Haec dies/Confitemini	mr p[re]sto	Preston, Thomas (–ca. 1559)
Haec dies/Confitemini Preston, Thomas (–ca. 1559) Appears on: 64v–65r Source Attribution: mr p[re]sto Voice: [no designation] Languages: none Clef: c3 Voice Text: Hec Dies/Co[n]fitemini General Note Annotations/Corrections: in top line, 'hec dies' entered again in cursive hand between 'Hec Dies' and 'Co[n]fitemini'; several barline adjustments in top two systems; in second system 'Take in' written under top parts, in dirfferent ink; erasures in second system: not only in the music, but it also looks as though initially text had been entered; sharp added in different ink in last bar of second system; in bottom system of f. 64v: in first bar of top line a stem corr., in next bar '64' under a full-circle, in penultimate bar '3.2' in different ink, in last bar '4:3' in differenc ink under the C time signature and lines for clarification; in first bar of f. 65 '4.3.' and in next one '4.3:' - both are in different ink and the second '4' is in a different style to the first; in top two systems of f. 65 later lines entered to clarify bars; sharp entered in penultimate bar; final two longas have '2' on top in same ink as music; final barline is chequered field, in this is written 'da glo[ri]a / deo / mr p[re]sto'; under chequered field is an 'X' in pencil; Notes: title under both top and bottom line;
65r–65v	Alleluia	mr p[re]ston	Preston, Thomas (–ca. 1559)
Alleluia Preston, Thomas (–ca. 1559) Appears on: 65r–65v Source Attribution: mr p[re]ston Voice: [no designation] Languages: none Clef: g4 Voice Text: alleluya General Note Annotations/Corrections: at beginning erasures over clef in bottom part; after first bar of second system a double barline, with '2' over the preceding three longas; at beginning of next bar ' V[er]soz' and then (in different ink) 'a good sharpe verse', barline adjustment at beginning of this verse; in second system of f. 65v, twice barline adjusted; three times '2' over longas, then 'ij Epulemvr' under both top and bottom part; in next bar, bottom part, stem corr.; at end '2' over the three longas, after single barline 'da gloria[m] / deo / mr p[re]ston';
66r–67v	Sequence: Fulgens	-	Anonymous
Sequence: Fulgens Anonymous Appears on: 66r–67v Voice: [no designation] Languages: none Clef: g3 Voice Text: seqvence[?] ffulgens General Note Annotations/Corrections: In last two systems of f. 66 'ij v[er]sez', then 'e v[er]sez'; between these verses a broad, chequered barline; at beginning of second verse '32' under top part, also barline adjustment and note corr. in first bar; in first bar of third verse '32' under bottom part; in first system of f. 66v 'iiij v[er]soz' and 'v v[er]soz'; erasure in third bar of second line; in second system '6 v[er]soz'; in third system, after richly ornamented barline, '7v[er]soz': in this verse several erasures/corr. and barline adjustments; on to top of f. 67 several extra barlines, in top line one corrections that is then crossed out again; at beginning of second system of f. 67 '8 v[er]soz', with '32' in both top and bottom line, stem corr. un second bar; after ornamented barline, in third bar of second system of f. 67 '9 versoz' under top line and '9 43' under bottom line, which has heavy corr./erasures in first bar; in bottom two systems of f. 67 some note corr., a stem corr., an additional barline and notes tied together over barline; in top system of f. 67v '6i' and '10 v[er]soz' under top line and '32' and 'x +) versse' under bottom line, erasures in top two systems of f. 67v; in second system '32' and 'ii v[ersoz]' under top line and '32' and 'xi verse' under bottom line; at end of third system 'ir verse' under top line and 'xij versse' under bottom line; in bottom line of f. 67v note in bass part crossed out only to be entered again further along, to be graphically aligned with the top part; in last bar of bottom system 'xiij' under top and bottom line; last note of bottom part split; generally a '2' over last longa of a section/verse; Notes: ffulgens' under both top and bottom part;
68r–68v	In nomine	-	Anonymous
In nomine Anonymous Appears on: 68r–68v Voice: [no designation] Languages: none Clef: g3 Voice Text: In nomine General Note Annotations/Corrections: major corr. in third line; several times double strokes through stems; in middle bar of fourth line two notes in the bass look as though entered later (in same hand); in third system an additional barline and some other corr.; at end of top system on f. 68 corr. in bottm part; final longas of piece have '3' written over them; final barline chequered; Notes: writing is distinctly different to that in the preceding pieces;
68v–69r	In nomine (V) a5	mr bird	Byrd, William (ca. 1540–1623)
In nomine (V) a5 Byrd, William (ca. 1540–1623) Appears on: 68v–69r Genres: In nomine, Viol piece Source Attribution: mr bird Voice: [no designation] Languages: none Clef: g3 Voice Text: In nomine mr bird General Note Annotations/Corrections: several corr. and barline adjustments throughout; right after title a pencil cross, and at the bottom of the first page '+ M Bird' (there may also be some thin scribbles in ink); Notes: same hand as the preceding 'In nomine';
69v–70r	Three Parts of Mr Byrd's	Mr Birds.	Byrd, William (ca. 1540–1623)
Three Parts of Mr Byrd's Byrd, William (ca. 1540–1623) Appears on: 69v–70r Source Attribution: Mr Birds. Voice: [no designation] Languages: none Clef: g3 Voice Text: 3 parts of Mr Birds. General Note Annotations/Corrections: several corr. and erasures throughout; several times notes tied together over barlines and double strokes through stems; on f. 70, the bottom system is entered later in the bottom margin (not quite filling the space lengthwise); at bottom of first page pencil annotation: 'for the same hand see ff. i21.b(?), 196.b, 206.b' [question mark original]; Notes: writing different from that in all the preceding pieces; G-clef looks more like a minim;
70v	-	-	Anonymous
[Unknown Title] Appears on: 70v
71r	[blank staves]	-	-
[blank staves] Appears on: 71r General Note Notes: this folio unnumbered in modern foliation;
71v	-	-	Anonymous
[Unknown Title] Appears on: 71v General Note Notes: this folio unnumbered in modern foliation;
71bisr	[fragment of untexted three-part piece in score]	-	-
[fragment of untexted three-part piece in score] Appears on: 71bisr Voice: [no designation] Languages: none Mensuration: c Clef: c2 Voice Text: [fragment of untexted three-part piece in score] General Note Notes: folio counted as '71';
71bisv–72r	-	-	Anonymous
[Unknown Title] Appears on: 71bisv–72r General Note Annotations/Corrections: pencil annotation on top of f. 72: 'off'; Notes: 71bv is ablank page, followed by two blank, unnumbered folios; f. 72 (counted as such) also blank, only with shine-through;
72v–74r	Fancies for viols, no: 1	Alfonso	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Fancies for viols, no: 1 Ferrabosco, Alfonso (the younger) (ca. 1575–1628) Appears on: 72v–74r Source Attribution: Alfonso Voice: [no designation] Languages: none Mensuration: cut-c Clef: c1 Voice Text: Alfonso) 4 p[ar]ts. Fancyes to the Vyolls: 20 General Note Annotations/Corrections: Top system of each page gas bracket in outer margin; on f. 72v and 73; under top line of music: (going over verse and recto) 'All of them excellent good } But made only for the vyolls & organ / w[hi]ch is the Reason. that he Takes Such liberty of Compass} w[hi]ch he would haver Restraynd: If it had Bin made for voyces only:'; at bottom of f. 72v, in pencil: 'In the handwriting of Byrde'; two or three minor corr. in top line of second system of f. 72v; in second line of second system of f. 73, sharps entered under notes; similarly on f. 73v; on f. 74, no bracket around top system, but on bottom system, where next piece begins - generally in these pieces several ink smears; Notes: The scribe of this and these pieces uses both: notes tied together over a barline, but also notes (e.g. a minim) actulaly divided by a barline); composer name only noted at very top (i.e. over first of the Fantasies);
74r–75v	Fancies for viols, no: 2	[Alfonso]	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Fancies for viols, no: 2 Ferrabosco, Alfonso (the younger) (ca. 1575–1628) Appears on: 74r–75v Source Attribution: [Alfonso] Voice: [no designation] Languages: none Mensuration: cut-c Clef: c1 Voice Text: the Second' General Note Annotations/Corrections: on f. 74v, before top line of second system, in outer margin signum congruentiae ; Notes: final barlines at the end of the top system of f. 75v (and bracket at the front), but this is followed by another system with music on this page, seemingly an interlude leading into the next, 'The third' piece that begins on the following page;
76r–78r	Fancies for viols, no: 3	[Alfonso]	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Fancies for viols, no: 3 Ferrabosco, Alfonso (the younger) (ca. 1575–1628) Appears on: 76r–78r Source Attribution: [Alfonso] Voice: [no designation] Languages: none Mensuration: cut-c Clef: c1 Voice Text: The third: General Note Annotations/Corrections: top system of f. 76, first and third lines extended into margin (although only third with music); Notes: 76v-77 are just blank staves;
78r–79v	Fancies for viols, no: 4	[Alfonso]	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Fancies for viols, no: 4 Ferrabosco, Alfonso (the younger) (ca. 1575–1628) Appears on: 78r–79v Source Attribution: [Alfonso] Voice: [no designation] Languages: none Clef: c1 Voice Text: The 4th:
79v–81v	Fancies for viols, no: 5	[Alfonso]	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Fancies for viols, no: 5 Ferrabosco, Alfonso (the younger) (ca. 1575–1628) Appears on: 79v–81v Source Attribution: [Alfonso] Voice: [no designation] Languages: none Mensuration: cut-c Clef: g2 Voice Text: The 5.th Fantasi. General Note Notes: NB The clefs have changed (in comparison to the preceding pieces);
81v–83v	Fancies for viols, no: 6	[Alfonso]	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Fancies for viols, no: 6 Ferrabosco, Alfonso (the younger) (ca. 1575–1628) Appears on: 81v–83v Source Attribution: [Alfonso] Voice: [no designation] Languages: none Mensuration: cut-c Clef: g2 Voice Text: The 6.th Fantasi. General Note Annotations/Corrections: some major corr. (or at least ink smears) in third line of penultimate bar; in fnal bar, bass note changed from longa to two tied breves; on f. 81, middle of top system, over bass line: 'Here[?]: The Bahs Channgeth the Cliff' (it had changed to C3 at the beginning of the bottom system of f. 80, now chages backto C4 for three bars, then C3 again at beginning of bottom system); Notes: final note of tenor part is on final double barline (and the sharps in this line are beneath the notes);
83v–86r	Fancies for viols, no: 7	[Alfonso]	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Fancies for viols, no: 7 Ferrabosco, Alfonso (the younger) (ca. 1575–1628) Appears on: 83v–86r Source Attribution: [Alfonso] Voice: [no designation] Languages: none Mensuration: cut-c Clef: g2 Voice Text: the 7th: Fantasi.
86r–88r	Fancies for viols, no: 8	[Alfonso]	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Fancies for viols, no: 8 Ferrabosco, Alfonso (the younger) (ca. 1575–1628) Appears on: 86r–88r Source Attribution: [Alfonso] Voice: [no designation] Languages: none Clef: g2 Voice Text: the 8th: Fantasi General Note Annotations/Corrections: barline adjustment in second bar of alto part (the second line); in top system of f. 84, over the third line: '{the cliff channges in the tenor}' [from C3 to F2] and beneath that, between the third and fourth line: '{the Tenor cliff agayne}' and also two sharps at end of bar; double barline at end of top system of f. 84; bottom line of f. 84, in final bar three auxiliary lines for notes above the stave and then stave extended into outer margin; on f. 84v, final bar of bottom line, some note corr.; barline corr. and bottom line extended into outer margin in bottom system of f. 85; on f. 85v, over bottom line of top system: 'A Tenor cliff' (the clef beneath is heavily corrected in ink and thus not readable);
88v–90v	Fancies for viols, no: 9	[Alfonso]	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Fancies for viols, no: 9 Ferrabosco, Alfonso (the younger) (ca. 1575–1628) Appears on: 88v–90v Source Attribution: [Alfonso] Voice: [no designation] Languages: none Mensuration: cut-c Clef: g2 Voice Text: The 9th. Fansy: General Note Annotations/Corrections: some corr. or ink smear in bottom system of first page; corr. in last two parts of bottom line on f. 89; Notes: cut-C only once in outer margin before first system; double barlines at end of top system of f. 90 (music does not actually fully fill the lines);
91r–92v	Fancies for viols, no: 10	[Alfonso]	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Fancies for viols, no: 10 Ferrabosco, Alfonso (the younger) (ca. 1575–1628) Appears on: 91r–92v Source Attribution: [Alfonso] Voice: [no designation] Languages: none Mensuration: cut-c Clef: g2 Voice Text: The xth. Fansi. General Note Annotations/Corrections: clef of bottom linwe was originally C4, then corr. in a slightly darker ink; second system of f. 91, sharps beneath notes in second and bottom line (but in bottom line there is also one before a note) - some of these are just reminders; barline adjustment in third line of f. 92; in top system of f. 92v, lines extended into inner margin; Notes: cut-C only in tenor part, and in inner margin before the top line;
93r–94v	Fancies for viols, no: 11	[Alfonso]	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Fancies for viols, no: 11 Ferrabosco, Alfonso (the younger) (ca. 1575–1628) Appears on: 93r–94v Source Attribution: [Alfonso] Voice: [no designation] Languages: none Mensuration: cut-c Clef: g2 Voice Text: The iith: Fansia General Note Annotations/Corrections: in bottom line of first page, two sharps under notes (both for F); similarly on the following pages; Notes: clef in inner margin before first system of music;
94v–96v	Fancies for viols, no: 12	[Alfonso]	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Fancies for viols, no: 12 Ferrabosco, Alfonso (the younger) (ca. 1575–1628) Appears on: 94v–96v Source Attribution: [Alfonso] Voice: [no designation] Languages: none Mensuration: cut-c Clef: g2 Voice Text: The 12th: Fancy General Note Annotations/Corrections: some corrections and big ink smears in top line of f. 95; lots of sharps under note on fols. 95v to 96v - while at the same time several in front of notes; on f. 96, fourth bar of top system, an 'X' beneath the second line of music; Notes: clef in outer margin before first system of music; double barline at end of top system of f. 95;
96v–98r	Fancies for viols, no: 13	[Alfonso]	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Fancies for viols, no: 13 Ferrabosco, Alfonso (the younger) (ca. 1575–1628) Appears on: 96v–98r Source Attribution: [Alfonso] Voice: [no designation] Languages: none Clef: c1 Voice Text: The 13th Fancy: General Note Notes: most of the sharps beneath notes, only a few in front of a note;
98v–100r	Fancies for viols, no: 14	[Alfonso]	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Fancies for viols, no: 14 Ferrabosco, Alfonso (the younger) (ca. 1575–1628) Appears on: 98v–100r Source Attribution: [Alfonso] Voice: [no designation] Languages: none Clef: c1 Voice Text: The 14th. Fancy General Note Annotations/Corrections: note corr. in bottom line of f. 98v and in penultimate line of f. 99; in second line of f. 99v, crotchet changed to two quavers; Notes: at the end of f. 99v a double barline;
100r–101v	Fancies for viols, no: 15	[Alfonso]	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Fancies for viols, no: 15 Ferrabosco, Alfonso (the younger) (ca. 1575–1628) Appears on: 100r–101v Source Attribution: [Alfonso] Voice: [no designation] Languages: none Mensuration: cut-c Clef: c1 Voice Text: The 15th: Fantasy: General Note Annotations/Corrections: erasure and corr. in third bar of alto/second line; Notes: clef in inner margin before first line of music;
102r–103r	Fancies for viols, no: 16	[Alfonso]	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Fancies for viols, no: 16 Ferrabosco, Alfonso (the younger) (ca. 1575–1628) Appears on: 102r–103r Source Attribution: [Alfonso] Voice: [no designation] Languages: none Clef: g2 Voice Text: The xvj The i6.th Fansy General Note Annotations/Corrections: double barline at end of first page (line not quite filled out), then, on f. 102v: 'The Second part of it:';
103r–105r	Fancies for viols, no: 17	[Alfonso]	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Fancies for viols, no: 17 Ferrabosco, Alfonso (the younger) (ca. 1575–1628) Appears on: 103r–105r Source Attribution: [Alfonso] Voice: [no designation] Languages: none Clef: g2 Voice Text: The 17th. Fancy: General Note Annotations/Corrections: in third bar, top system on f. 103v, an 'X' under the second line - the same in the bottom system; f. 104v, bottom system, third bar, big ink smear (possibly due to a corr.?); at end of f. 104v all four lines extended into inner margin and double barlines;
105r–106v	Fancies for viols, no: 18	[Alfonso]	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Fancies for viols, no: 18 Ferrabosco, Alfonso (the younger) (ca. 1575–1628) Appears on: 105r–106v Source Attribution: [Alfonso] Voice: [no designation] Languages: none Mensuration: cut-c Clef: g2 Voice Text: The 18th. Fancy: General Note Annotations/Corrections: bottom line of f. 105v extended into margin (also third from bottom slightly); f. 106, all four lines of bottom system extended into margin; Notes: clef in inner margin before first system of music;
106v–108v	Fancies for viols, no: 19	[Alfonso]	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Fancies for viols, no: 19 Ferrabosco, Alfonso (the younger) (ca. 1575–1628) Appears on: 106v–108v Source Attribution: [Alfonso] Voice: [no designation] Languages: none Clef: g2 Voice Text: The 19th. Fansye: General Note Annotations/Corrections: f. 107, bottom system, second bar, top line: corrected in the score, but also a tick beneath it, then, right beneath this, in the bottom margin, the whole bar entered on additional stave, with a bow over it; Notes: most of the sharps beneath the notes;
108v–110v	Fancies for viols, no: 20	[Alfonso]	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Fancies for viols, no: 20 Ferrabosco, Alfonso (the younger) (ca. 1575–1628) Appears on: 108v–110v Source Attribution: [Alfonso] Voice: [no designation] Languages: none Clef: g2 Voice Text: The 20th. Fancye: General Note Notes: at end of top system of f. 109, double barlines (lines not quite fille out); on f. 109v and f. 110 occasional ink splashes;
110v–111v	Is love a boy	-	Byrd, William (ca. 1540–1623)
Is love a boy Byrd, William (ca. 1540–1623) Appears on: 110v–111v Voice: [no designation] Languages: none Clef: c1 Voice Text: Is loue a boy General Note Annotations/Corrections: at beginning, annotation in ink under the top line of music (ink different to that of music and title, but contemporary handwriting): '[These Following are all w[ith]in the Compass of the Hand} & so mo[re] Fitt to Be played w[ith] ease}; between second and third line of music, at beginning, in same ink as music, something like '1 i'; under the bottom line of music a single minim and in the outer margin some short word washed out; later pencil annotation at top: 'Bird's 4 pt Songs'; at bottom of first page two more pencil annotations (different pen and writing to 'Byrd'-annotation): after three diagonal lines 'The whole of these songs are in the autograph of Wlliam Byrde, and were printed in his "Songs of Sundry Nature Imprinted at London by Lucretia East 1610. The annotations are in the handwriting of his pupil Thomas Tomkins'; next to that (in different pencil and writing) some unreadable scribbles with '1589' and a crossed out '1575'; on f. 111, fifth bar of bottom system, second line has major corr./erasures; on f. 111 three pencil lines between top and bottom system; Notes: f. 111, top system, fourth bar: in second and third line two minims tied together;
111v–113r	Boy pity me	-	Byrd, William (ca. 1540–1623)
Boy pity me Byrd, William (ca. 1540–1623) Appears on: 111v–113r Voice: [no designation] Languages: none Clef: c1 Voice Text: Boy pitty me General Note Annotations/Corrections: at beginning, between second and third stave, half in the margin: 'song ye 2d'; between the top system and bottom system on f. 111v three pencil lines, and also at bottom of f. 111v (this scheme repeats on the following pages); f. 112v, top system: the lines are numbered in the outer margin as '1', '2.', '3.', '4.': there is a paste over in the third line from the fourth to the seventh bar of that line, over and beneath the bottom line in the fourth bar, there are two signa congruentiae;
113r–114r	Wounded I am	-	Byrd, William (ca. 1540–1623)
Wounded I am Byrd, William (ca. 1540–1623) Appears on: 113r–114r Voice: [no designation] Languages: none Clef: c1 Voice Text: wounded I am. 3 General Note Annotations/Corrections: 3' after title added in different ink; at beginning, next to lines in outer margin numbers '1' to '4'; note corr. in last bar, bottom lind, top system of f. 114;
114r–115v	Yet of us twaine	-	Byrd, William (ca. 1540–1623)
Yet of us twaine Byrd, William (ca. 1540–1623) Appears on: 114r–115v Voice: [no designation] Languages: none Clef: c1 Voice Text: Yet of us twayne: General Note Annotations/Corrections: before title a '4' in different ink; on f. 115, top system, in first bar some corr. in third line, in second and third bar signum congruentium in each part, in top line corr. in third bar; at end signum congruentia in both second and third line with beginning of repeat written out, 'finis' over third and fourth line;
115v–116r	From Citheron - 1a pars (of 3): From Citheron the warlike boy	-	Byrd, William (ca. 1540–1623)
From Citheron - 1a pars (of 3): From Citheron the warlike boy Byrd, William (ca. 1540–1623) Appears on: 115v–116r Genres: Consort song Voice: [no designation] Languages: none Clef: c1 Voice Text: [untitled] General Note Annotations/Corrections: on top, in pencil: 'From Citheron'; at beginning, between third and fourth line, in different ink, a '5'; in second system of. f. 115v, damage and corr. in third bar of second line, and annotation under second line '(The cliff changes)'; at bottom of f. 115v and to pof 116 small damage; at end 'finis';
116v–117v	From Citheron - 2a pars (of 3): There careless thoughts	-	Byrd, William (ca. 1540–1623)
From Citheron - 2a pars (of 3): There careless thoughts Byrd, William (ca. 1540–1623) Appears on: 116v–117v Genres: Consort song Voice: [no designation] Languages: none Clef: c1 Voice Text: [untitled] General Note Annotations/Corrections: at beginning, in pencil: 'There carelesse thoughts'; several additional sharps on top of top lines on f. 117 (while there are also some in front of notes); at end 'Finis' over third line;
117v–119r	From Citheron - 3a pars (of 3): If love be just	-	Byrd, William (ca. 1540–1623)
From Citheron - 3a pars (of 3): If love be just Byrd, William (ca. 1540–1623) Appears on: 117v–119r Genres: Consort song Voice: [no designation] Languages: none Clef: g2 Voice Text: If love be just General Note Annotations/Corrections: clef of top line originally C1, corr.; in top line at beginning also a flat on the fourth line, crossed out; at beginning, between first and second line 'A Speciall good song of 4. p[art]s.', between secone and third line a '6', between third and fourth line 'If love be Just / then Just is my desire}'; on top in pencil 'If love be trust'; throughout several additional sharps on top of, or below the staves;
119v–120r	Rejoice, rejoice unto the Lord	-	Byrd, William (ca. 1540–1623)
Rejoice, rejoice unto the Lord Byrd, William (ca. 1540–1623) Appears on: 119v–120r Genres: Anthem Voice: [no designation] Languages: none Mensuration: c-dot Clef: g2 Voice Text: Reioyce reioyce General Note Annotations/Corrections: before title a '7'; on f. 120, bottom system extended into outer margin; Notes: writing different to that in the preceding pieces; clef is in front of second line in the outer margin;
120v–121r	Cast off all doubtfull Care	-	Byrd, William (ca. 1540–1623)
Cast off all doubtfull Care Byrd, William (ca. 1540–1623) Appears on: 120v–121r Voice: [no designation] Languages: none Clef: c1 Voice Text: Cast of all doubtfull Core General Note Annotations/Corrections: at beginning, between second and third line, an '8'; in second system of first page (f. 120v), at end of fourth bar, three times cut-C between the staves; at end 'finis / the End of Mr Wm Birds 4 voyces'; pencil annotation in bottom margin 'by Mr Wm Bird / 1575.';
121v	O all ye nations	-	Mr Kyrton (?)
O all ye nations Mr Kyrton (?) Appears on: 121v Voice: [no designation] Languages: English Clef: g2 Voice Text: O al ye nations General Note Annotations/Corrections: at top, in pencil: "?C Anon' and (in other hand) '120'; in fourth bar, top line, a curly bow entered over two crotchets to turn them into quavers; in last bar continuation signs in all four parts, with signum congruentiae under first, second and third lines; in bottom margin pencil annotation: 'Q. whether written by Kyrton or by whom else'; Notes: all four parts fully texted throughout;
122r	Mr Morley's Four Parts (Madrigals), no. 1: April is in my mistress' face	-	Morley, Thomas (ca. 1557–1602)
Mr Morley's Four Parts (Madrigals), no. 1: April is in my mistress' face Morley, Thomas (ca. 1557–1602) Appears on: 122r Voice: [no designation] Languages: English Clef: g2 Voice Text: mr morleyes 4 p[ar]ts Aprill is in my mistris face} General Note Annotations/Corrections: pencil insertion in title: 'set of' before '4'; on top, in pencil: 'T. Morley. / 1588'; text entered under second line throughout, but not matching the notes, just in batches with gaps etween the sections; on f. 122, bottom system, siignum congruentia twice under first and third lines and once under second and fourth lines; towards end of third line 'End heere after the Repeat}'; in bottom margin of f. 122. two pencil annotations: 'The score of "April is in my mistress face", beneath that in other hand 'He Died 1602' and next to that (perhaps also in different hand) 'JH'; text entered under music, but in clusters, not matching the notes;
122v–123r	Mr Morley's Four Parts (Madrigals), no. 4: Since my tears and lamenting	-	Morley, Thomas (ca. 1557–1602)
Mr Morley's Four Parts (Madrigals), no. 4: Since my tears and lamenting Morley, Thomas (ca. 1557–1602) Appears on: 122v–123r Voice: [no designation] Languages: none Clef: g2 Voice Text: Since my Teares & lamenting. General Note Annotations/Corrections: at top, in pencil: 'Morley 121'; between first and second line, in outer margin, a '4'; on f. 122v, bottom system, in the middle between first and second line 'end heere after the Repeate.'; fermatas over first note of bar 5 and beginning of repeat written out (in bass part corrected), at end of top line signum congruentiae; in top system of f. 123 signum congruentiae under each of the four parts; at the end of the top system just continuation marks, with new piece beginning in bottom system;
123r–123v	Mr Morley's Four Parts (Madrigals), no. 2: Clorinda false, Adieu thy love torments me	-	Morley, Thomas (ca. 1557–1602)
Mr Morley's Four Parts (Madrigals), no. 2: Clorinda false, Adieu thy love torments me Morley, Thomas (ca. 1557–1602) Appears on: 123r–123v Voice: [no designation] Languages: none Clef: g2 Voice Text: Clorinda Falce A deiwa thy Love Tirments me. General Note Annotations/Corrections: before title, in inner margin, a '2'; at end of f. 123, under top line: 'Turne over / after the Repeate.'; Notes: top system of f. 123v is has not four parts but only two (with G3, F4 clefs), generally in four, but sometimes five parts; at the end there is a signum congruentiae under the top and under the bottom line, at end of bottom line: 'Hethere / agayn';
123v–124r	Mr Morley's Four Parts (Madrigals), no. 3: Why, Sir, I hear complaining	-	Morley, Thomas (ca. 1557–1602)
Mr Morley's Four Parts (Madrigals), no. 3: Why, Sir, I hear complaining Morley, Thomas (ca. 1557–1602) Appears on: 123v–124r Voice: [no designation] Languages: none Clef: g3 Voice Text: Why Sir I heere Complayning. General Note Annotations/Corrections: before title, in outer margin '3.'; on top of f. 124, at beginning of first line, stave lines (without music) extended into inner margin, beneath that 'goe on Forward'; several sharps below and above the staves; in second system of f. 124 'End Heere after the Repeate,' and at the end, under top line 'E:' with '&' after the top line; at beginning of bottom line of second system 'And end - {Heere'; Notes: at beginning noted in two lines with G3 clef, then in one line with G3 and one with C4; quite tightly written; throughout noted with two parts per stave;
124v	Mr Morley's Four Parts (Madrigals), no. 5: Help, I fall	-	Morley, Thomas (ca. 1557–1602)
Mr Morley's Four Parts (Madrigals), no. 5: Help, I fall Morley, Thomas (ca. 1557–1602) Appears on: 124v Voice: [no designation] Languages: none Clef: g2 Voice Text: Help I Fall General Note Annotations/Corrections: before the title, in outer margin: '5.'; at top, in pencil 'Morley'; in middle of top system, between staves 'E.' and at the end of that system a cross between the lines; in second system, third bar, between the lines signum congruentiae and at beginning of next bar a cross; Notes: throughout noted with two parts per stave; clef of bottom line changes to C4 after first system;
124v–125r	Mr Morley's Four Parts (Madrigals), no. 6: Lady	-	Morley, Thomas (ca. 1557–1602)
Mr Morley's Four Parts (Madrigals), no. 6: Lady Morley, Thomas (ca. 1557–1602) Appears on: 124v–125r Voice: [no designation] Languages: none Clef: g3 Voice Text: lady General Note Annotations/Corrections: at beginning, written into both top and bottom line a '6'; in second system one and and a half bars crossed out (incl. the annotation 'Take in the other side') - before this crossing out there is a cross between the staves: this corresponds with f. 125, which is blank apart for the bottom two lines that also have the same cross between them; after the crossed out bars on f. 124, there is a signum congruentiae in the bottom part; at end of piece (bottom of f. 124v) signum congruentiae under top and under bottom part, and next to the one under the bottom part ' dooble: this at the last meife [last word not easily readeable, partly damaged]';
125v–126r	Mr Morley's Four Parts (Madrigals), no. 8: In every place	morleye	Morley, Thomas (ca. 1557–1602)
Mr Morley's Four Parts (Madrigals), no. 8: In every place Morley, Thomas (ca. 1557–1602) Appears on: 125v–126r Source Attribution: morleye Voice: [no designation] Languages: none Clef: g2 Voice Text: morleyes 4 p[ar]ts In avery place General Note Annotations/Corrections: at top, before title in pencil, an '8': after title in pencil 'Morley 124'; in bottom system of first page barline adjustment; Notes: in bottom system of first page, in second line, miinims tied together (same notes); at beginning of third line, minim tied on from top system;
126v	Mr Morley's Four Parts (Madrigals), no. 9: Now is the gentle season	morleye	Morley, Thomas (ca. 1557–1602)
Mr Morley's Four Parts (Madrigals), no. 9: Now is the gentle season Morley, Thomas (ca. 1557–1602) Appears on: 126v Source Attribution: morleye Voice: [no designation] Languages: none Clef: c1 Voice Text: The ixth Song; nowe is the gentle season General Note Annotations/Corrections: incipit corr. from 'now is the moneth of maying'; pencil annotation under title: 'Now is the gentle season'; Notes: water stain, or similar smear at beginning of second line;
126v–128r	Mr Morley's Four Parts (Madrigals), no. 10: The fields abroad	morleye	Morley, Thomas (ca. 1557–1602)
Mr Morley's Four Parts (Madrigals), no. 10: The fields abroad Morley, Thomas (ca. 1557–1602) Appears on: 126v–128r Source Attribution: morleye Voice: [no designation] Languages: none Clef: c1 Voice Text: The Xth: The Feilds abroade General Note Annotations/Corrections: note corr. in bottom line of f. 127; top system of f. 127v, in third bar, second and third line, signum congruentiae; legato tie at top of f. 128 (the piece ends after the second bar on this folio); signum congruentiae at end of second line and of third line; Notes: NB double barline at end of top system of f. 127, but no other indication that a new piece commences;
128r–128v	Mr Morley's Four Parts (Madrigals), no. 19: Die now, my heart	morleye	Morley, Thomas (ca. 1557–1602)
Mr Morley's Four Parts (Madrigals), no. 19: Die now, my heart Morley, Thomas (ca. 1557–1602) Appears on: 128r–128v Source Attribution: morleye Voice: [no designation] Languages: none Clef: c1 Voice Text: The 19th: dye now my hart General Note Annotations/Corrections: between third and fourth bar, in second line, note going over a barline additionally crossed out; Notes: f. 128, third line (tenor), second bar: note the dotted minim followed by a crotchet rest; then, in fifth bar, two minims (same note) tied together (to improve rhythmic readability?);
128v–129v	Mr Morley's Four Parts (Madrigals), no. 20: Say, gentle nymphs	morleye	Morley, Thomas (ca. 1557–1602)
Mr Morley's Four Parts (Madrigals), no. 20: Say, gentle nymphs Morley, Thomas (ca. 1557–1602) Appears on: 128v–129v Source Attribution: morleye Voice: [no designation] Languages: none Clef: c1 Voice Text: The XXth: Say gentle nimphs: General Note Annotations/Corrections: barline adjustment in third line, second bar; f. 129v, top system: signum congruentia in first bar under third and fourth line, and in second bar under top two lines; Notes: in bottom system of f. 129v, clefs change to G2, G2, C2, C3 (as in the following piece);
130r–131r	Mr Morley's Four Parts (Madrigals), no. 11: Come lovers, follow	morleye	Morley, Thomas (ca. 1557–1602)
Mr Morley's Four Parts (Madrigals), no. 11: Come lovers, follow Morley, Thomas (ca. 1557–1602) Appears on: 130r–131r Source Attribution: morleye Voice: [no designation] Languages: none Clef: g2 Voice Text: The iith. song. Come Lovers Followe General Note Annotations/Corrections: bottom system of f. 130, top line extended into outer margin;
131r–131v	Mr Morley's Four Parts (Madrigals), no. 12: No, no, no	morleye	Morley, Thomas (ca. 1557–1602)
Mr Morley's Four Parts (Madrigals), no. 12: No, no, no Morley, Thomas (ca. 1557–1602) Appears on: 131r–131v Source Attribution: morleye Voice: [no designation] Languages: none Clef: g2 Voice Text: The XIIth Song No: No. No: General Note Annotations/Corrections: bottom system of f. 131, signum congruentiae in top and in bottom part, and twice in second part - but not in third part; at beginning of f. 131v, signum congruentiae under top three parts and at end of top two lines (with note corr. in top line); some note/barline adjustments in bottom system of f. 131v;
132r–132v	Mr Morley's Four Parts (Madrigals), no. 13: I will no more	morleye	Morley, Thomas (ca. 1557–1602)
Mr Morley's Four Parts (Madrigals), no. 13: I will no more Morley, Thomas (ca. 1557–1602) Appears on: 132r–132v Source Attribution: morleye Voice: [no designation] Languages: none Clef: g2 Voice Text: The 13th Song. I will no more General Note Annotations/Corrections: top system of f. 132, signum congruentiae in fifth bar of top line, and several corr./erasures throughout; bottom system of f. 132, third bar, signum congruentiae under each part; at end, signum congruentiae under top line and in bottom line ; at end, between third and fourth line annotation: 'This note doubles at last\| after the Repeat';
132v–133r	Mr Morley's Four Parts (Madrigals), no. 14: Beside a fountain	morleye	Morley, Thomas (ca. 1557–1602)
Mr Morley's Four Parts (Madrigals), no. 14: Beside a fountain Morley, Thomas (ca. 1557–1602) Appears on: 132v–133r Source Attribution: morleye Voice: [no designation] Languages: none Clef: g2 Voice Text: The 14.th Song Beside a Fôwntayne. General Note Annotations/Corrections: f. 132v, bottom system, twice two minims tied together (and once corr.), barline adjustment in third line; f. 133, second bar: signum congruentiae in each part - next to the one in the top line: 'dooBle this note the Second', next to the one in the bottom line: 'double note at last'; after second bar of top system f. 133, a double barline, then, in third bar of top line: 'Heere at the Second tyme';
134r	Mr Morley's Four Parts (Madrigals), no. 15: Sport we my lovely treasure	morleye	Morley, Thomas (ca. 1557–1602)
Mr Morley's Four Parts (Madrigals), no. 15: Sport we my lovely treasure Morley, Thomas (ca. 1557–1602) Appears on: 134r Source Attribution: morleye Voice: [no designation] Languages: none Clef: g2 Voice Text: The 15th. Song. General Note Annotations/Corrections: under title, pencil annotation: 'Sport wee my lovely treasure (first part)'; in top system of f. 134, in middle of second line has barlineline adjustment for clarification; in bottom system, final bar of penultimate line extended into outer margin - in that line also sharps beneath line;
134v–135r	Mr Morley's Four Parts (Madrigals), no. 16: O sweet, alas	morleye	Morley, Thomas (ca. 1557–1602)
Mr Morley's Four Parts (Madrigals), no. 16: O sweet, alas Morley, Thomas (ca. 1557–1602) Appears on: 134v–135r Source Attribution: morleye Voice: [no designation] Languages: none Clef: g2 Voice Text: The xvjth Song General Note Annotations/Corrections: under title, pencil annotation: 'O sweet, alas? (second part)'; bottom system of f. 143v, fourth bar: signum congruentiae in each part; at end of f. 135, continuation signs at end of each part;
135v–136r	Mr Morley's Four Parts (Madrigals), no. 17: Hark, jolly shepherds	morleye	Morley, Thomas (ca. 1557–1602)
Mr Morley's Four Parts (Madrigals), no. 17: Hark, jolly shepherds Morley, Thomas (ca. 1557–1602) Appears on: 135v–136r Source Attribution: morleye Voice: [no designation] Languages: none Clef: g2 Voice Text: The xvijth Song. Hark Jolly Sheppards General Note Annotations/Corrections: bottom system of f. 136: several major annotations; after first bar, a double barline (adjusted in top line); in second bar, between third and fourth system 'This the second tyme.'; at beginning of top line a cross, which refers to the music entered after the final barline after the third bar, encircled with a double line: on top of tha music annotation: 'Remember + This is twenty p[ar]ts in one: of mr Elowaye Bebins:'; between first and second line of this additional music: 'XX: in one: Examined:' and between third and fourth (blank) line of music: '+. Twenty parts in one: All In the vnison:/'; in bottom margin: Remember. Remember. / this Twenty parts in one.,'; beneath that, in pencil: 'E. Bevin / of a compos'd one of or the [not readable]'; beneath that, also in pencil: ' Services of Bevens, in St Pauls' ;
136v–137v	Mr Morley's Four Parts (Madrigals), no. 18: Who comes here	morleye	Morley, Thomas (ca. 1557–1602)
Mr Morley's Four Parts (Madrigals), no. 18: Who comes here Morley, Thomas (ca. 1557–1602) Appears on: 136v–137v Source Attribution: morleye Voice: [no designation] Languages: none Clef: g2 Voice Text: The 18.th Song. Whoe Comes Heere. General Note Annotations/Corrections: before title 'HO' in seemingly different writing (but similar ink); at beginning signum congruentiae over first line and under second and third line; signum congruentia also in bar six in all four parts, between second and third line with annotation 'at the Second tyme'; at end of top system, second line, note tied over to bottom system; after top system of f. 137v (= at end of piece): 'Heere Ends mr morleyes. 4. p[ar]ts:' and a quadruple line; on top of f. 137v, in pencil 'Morley in 4 parts' ;
137v	-	-	Anonymous
[Unknown Title] Appears on: 137v Voice: [no designation] Languages: none Clef: g2 Voice Text: [no title, untexted] General Note Annotations/Corrections: penultimate bar of f. 137v, note corr. in top and in bottom lines; Notes: in slightly different writing to the previous pieces (slightly bigger, ink darker), but possibly in the same hand;
138r	Mr Farmer's Four Parts (Madigrals), no. 1	-	Farmer, John
Mr Farmer's Four Parts (Madigrals), no. 1 Farmer, John Appears on: 138r Voice: [no designation] Languages: none Mensuration: cut-c Clef: g2 Voice Text: mr Farmers 4. p[ar]ts: Begins Heere/ General Note Annotations/Corrections: clef of second line corr. from C2; on top, over title, in pencil: 'Farmer'; at beginning of second system of f. 138, signum congruentiae over all four parts; clef in bottom part is F4 at beginning but F3 in second system: at beginnig of last bar of top system, an F3 clef entered - but in a style different to those at the beginning of lines;
138v–139r	Mr Farmer's Four Parts (Madigrals), no. 2: Now each creature	-	Farmer, John
Mr Farmer's Four Parts (Madigrals), no. 2: Now each creature Farmer, John Appears on: 138v–139r Voice: [no designation] Languages: none Clef: g2 Voice Text: Nowe each creature Joyes the other.} General Note Annotations/Corrections: on folios 138v and 139, the music goes over the opening, over the top systems; bits of the text written under the bottom part (not matching the notes); signum congruentiae in all parts in top system of f. 138v, fifth/sixth bar; on f. 139, the bottom line ends with a double barline (the top three parts do not);
138v–139v	Mr Farmer's Four Parts (Madigrals), no. 3: You'll never leave	-	Farmer, John
Mr Farmer's Four Parts (Madigrals), no. 3: You'll never leave Farmer, John Appears on: 138v–139v Voice: [no designation] Languages: none Clef: c1 Voice Text: youle never leave still sossing too & fro:} General Note Annotations/Corrections: on folios 138v and 139, the music goes over the opening, over the bottom systems; in last bar of f. 138v, third line, last notes crossed out;
139v–140r	Mr Farmer's Four Parts (Madigrals), no. 4: Lady, my flame still burning	-	Farmer, John
Mr Farmer's Four Parts (Madigrals), no. 4: Lady, my flame still burning Farmer, John Appears on: 139v–140r Voice: [no designation] Languages: none Clef: g2 Voice Text: The 4 Song lady my Flame still Burning: General Note Annotations/Corrections: music noted across the opening (first top systems, then bottom systems), top system of f. 139v: barline crossed out in all parts and newly entered in correct place; in bottom system of f. 139v, fourth bar, signum congruentiae in top three parts - in the bottom part htis comes only in the last bar of this page; at end of bottom system of f. 139v a big double line for the whole system (probably just correcting the margin-line); at end of f. 140, signum congruentia in top three parts, and in all four parts continuation signs and '&c' ;
140v–141r	Mr Farmer's Four Parts (Madigrals), no. 5: Sweet Lord, your flame still burning	-	Farmer, John
Mr Farmer's Four Parts (Madigrals), no. 5: Sweet Lord, your flame still burning Farmer, John Appears on: 140v–141r Voice: [no designation] Languages: none Clef: g2 Voice Text: The 5th Song Sweet lord yo[ur] Flame still Burning [...] General Note Annotations/Corrections: music noted over the opening (top systems of both folios and bottom system of f. 140v); in top system of f. 141, '3.' and '3' at beginning and in sixth bar between first and second part ; at end of sixth bar and in seventh bar, signum confruentiae in all parts; bottom system of f. 140v, at beginning signum congruentiae under bottom two parts, in last bar signum congruentiae between second and third part, at end '&c' after all four parts; Notes: full text entered at beginning;
141r–141v	Mr Farmer's Four Parts (Madigrals), no. 6: Soon as the hungry lion seeks his pray	-	Farmer, John
Mr Farmer's Four Parts (Madigrals), no. 6: Soon as the hungry lion seeks his pray Farmer, John Appears on: 141r–141v Voice: [no designation] Languages: none Clef: g2 Voice Text: Soone as the Hungry lyon seekes his pray. General Note Annotations/Corrections: 6' entered later, in pencil?; on fols 141v and 142, music in top systems across the opening; at end of top system of f. 141v, signum congruentiae in all parts and last notes of bottom part crossed out; top system of f. 142 does not quite fill the lines, at the end of each line, signum congruentiae and '&c';
141v–142v	Mr Farmer's Four Parts (Madigrals), no. 7: O stay, sweet lover	-	Farmer, John
Mr Farmer's Four Parts (Madigrals), no. 7: O stay, sweet lover Farmer, John Appears on: 141v–142v Voice: [no designation] Languages: none Clef: c1 Voice Text: O Staye Swaet Lover. General Note Annotations/Corrections: music across the opening of bottom systems of fols 141v and 142, and ending in top system of f. 142v; above title, in pencil, a '7'; bottom system of f. 141v, bottom three parts extended into inner margin; under bottom line: in first bar '3.', in second bar '6', in third bar '9', in fourth bar '12' and in fifth bar '14.. di' - after this there is an additional barline through the whole score, cutting off the last minim of the bar (the following barline is also a crotchet too early); continuation signs at end of each line; in bottom line of f. 142, fourth bar, several notes crossed out and corrected; top system of f. 142v does not quite fill the lines, at the end of each line, signum congruentiae and '&c'; in second line, bar 5, penultimate note changed from crotchet to minim, and in same bar, bottom line, last note changed from two quavers to crotchet; last notes in bottom line crossed out;
142v–143r	Mr Farmer's Four Parts (Madigrals), no. 9: Compare me to the child	-	Farmer, John
Mr Farmer's Four Parts (Madigrals), no. 9: Compare me to the child Farmer, John Appears on: 142v–143r Voice: [no designation] Languages: none Clef: g2 Voice Text: Compare me to the Child General Note Annotations/Corrections: music begins in top system of f. 143, then continues in bottom system of f. 142 and across openings; on top, in pencil, a '9'; in fifth and sixth bar of top line of f. 143 notes crossed out/corr.; in bottom system of f. 142v, in last bar, signum congruentiae over under lower three parts (top part has just line); last note of penultimate line is changed/corr. and has a sharp and 'IX' beneath; bottom system of f. 143 does not quite fill the lines, continuation signs and '&c' at end of lines; barline adjustments in top part;
143v–144r	Mr Farmer's Four Parts (Madigrals), no. 10: Who would have thought	-	Farmer, John
Mr Farmer's Four Parts (Madigrals), no. 10: Who would have thought Farmer, John Appears on: 143v–144r Voice: [no designation] Languages: none Clef: g2 Voice Text: the xth Song Whoe would have thought. General Note Annotations/Corrections: music across the opnening, ending in bottom system of f. 143v; full text entered under third line of top system on f. 143v;
143v–145r	Mr Farmer's Four Parts (Madigrals), no. 11: Sweet friend	-	Farmer, John
Mr Farmer's Four Parts (Madigrals), no. 11: Sweet friend Farmer, John Appears on: 143v–145r Voice: [no designation] Languages: none Clef: c1 Voice Text: Sweete Freind General Note Annotations/Corrections: at top, in pencil, '11'; after title, in slightly darker ink, 'A due:'; at beginning of bottom system on f. 144, under top part: '2. oB.'; some barline adjustments, and all bottom two lines of this system drawn out into margin; in top system of f. 144v, bottom line extended into inner margin; top system of f. 145, second line, penultimate bar: last two notes corr.; Notes: music noted across openings: first bottom systems of fols 143v and 144, then fols 144v and 145;
144v–145r	Mr Farmer's Four Parts (Madigrals), no. 12: The flattering words/ Sweet glosses that men use	-	Farmer, John
Mr Farmer's Four Parts (Madigrals), no. 12: The flattering words/ Sweet glosses that men use Farmer, John Appears on: 144v–145r Voice: [no designation] Languages: none Clef: g2 Voice Text: The Flattering words Sharp glosses that men vse. General Note Annotations/Corrections: music begins at end of top system of f. 145, then continues on f. 144v over the opening; in bottom line note tied over the page break; bottom system of f. 145, third bar: signum congruentia under first two and in bottm part; at end 'Finis' over two bottom parts;
145v–146r	Mr Farmer's Four Parts (Madigrals), no. 13: Cease now thy mourning	-	Farmer, John
Mr Farmer's Four Parts (Madigrals), no. 13: Cease now thy mourning Farmer, John Appears on: 145v–146r Voice: [no designation] Languages: none Clef: g2 Voice Text: Cease now thy mourning: General Note Annotations/Corrections: before title, in pencil, '13'; Notes: music noted over opening: top systems of both folios;
145r–146r	Mr Farmer's Four Parts (Madigrals), no. 14: A little pretty boy	-	Farmer, John
Mr Farmer's Four Parts (Madigrals), no. 14: A little pretty boy Farmer, John Appears on: 145r–146r Voice: [no designation] Languages: none Clef: c1 Voice Text: A litle prety Boy: General Note Annotations/Corrections: before title, in pencil, '14'; at end of third bar a double barline, before that (thrice, between the lines) 'Bis:'; in bottom system of f. 146, signum congruentiae in two bottom parts in bar 2 and in two upper parts in bar 3; in last bar, between the lines, thrice 'Bis'; between the upper three lines and after the bottom line 'Finis';
146v–147r	Mr Farmer's Four Parts (Madigrals), no. 15: Faire Phyllis I have sitting all alone	-	Farmer, John
Mr Farmer's Four Parts (Madigrals), no. 15: Faire Phyllis I have sitting all alone Farmer, John Appears on: 146v–147r Voice: [no designation] Languages: none Clef: c1 Voice Text: Fayre phillis I haue sitting all Alone. General Note Annotations/Corrections: in title 'phillis' and 'sitting' crossed out; before title, in pencil, '15'; after title, also in pencil but in different hand '145'; at beginning of top line a continuation mark; at the end of third bard 'Bis' in all four parts; at end of second line on f. 146v a singum congruentiae; in prnultimate bar, '6i' in first and third part and '6i 6i' in second and fourth parts; at end signum congruentiae in third part, bottom two lines drawn out into the margin; 'Finis' after top two lines and between third and fourth line; Notes: music noted across opening, in top parts of fols 146v and 147;
146v–147v	Mr Farmer's Four Parts (Madigrals), no. 16: Take time while time doth last	-	Farmer, John
Mr Farmer's Four Parts (Madigrals), no. 16: Take time while time doth last Farmer, John Appears on: 146v–147v Voice: [no designation] Languages: none Clef: c1 Voice Text: Take Tyme while tyme doth last General Note Annotations/Corrections: before title, in pencil '16'; first 'Tyme' in title corrected from other word; long annotation beginning on bottom margin of f. 146v: ‘This hard Tenor part. Being the playnsong. / The solution. How to sing it is. / where An od Crotchet runs Through / the notes. do but RememBer. } / To make the SemBrife. Into two [something crossed out] minums / The prick semBrife in to three: / The Brife in to Fowre. the prick Brife / into Sixe: The longe. into Eight minums / still driving od:’; continuing on fol. 147: ‘And where it drives od tyme in two munum Rests: / Rest those two. By Fower Crotchet Rests: it will / Facilitat the Hardness. that w[hi]ch ease. you maye / pass through the song. w[hi]ch otherewise. will Remayne difficult }’, next to this: ‘& where in one place. there is / A quaver Rest: & a quaver Following / it: if that stumble you: do not rest the quaver. But make the quaver a crotchet. & that will lead you in to the od minums: as before:’; = also additional stave entered between the top and the bottom system, going over the opening, drawn by hand (i.e. without ruler): on this, music with C4-clef and one flat, some vertical lines between notes and on f. 147 two note corr., beneath this additional stave (on f. 146v): ‘The explanation. of the hardness of the Tenor’; under second line (bottom system f. 146v): vt. re. my. Fa. Sol. la:’; at beginning, between third and fourth line: This Tenor part. is made / precisely [or some word like that – not readable: actually, this word was added later, to the left of the text] only to Fright .& dismaye / the singer: By driving / {od ChrotChets / through. Sembrifes, / Brifes & longs:’ - under one bar further along, which displays the described: ‘Semy Brifes / an od Crotchet / drawen through them.’ and further along ‘A SemB: a Briefe’ (under respecitve notes); under the same line, on f. 147, first ‘Breifes. Breifes:’ and later twice ‘longs’, always under the respective music (for instance: longs are minims with a long legato tie); as in previous opening, on f. 147v, under third line ‘A long’, ‘A Breife’, ‘A prick / Semy Brife.’ and ‘SemBrife’ several times under respective notes; in top system of f. 147v, bottom line, at end of fifth bar notes corr.; at end of piece, between the middle lines: ‘Heere Ends. Mr / Jo: Farmers 4. p[ar]ts:’; Notes: music across openings: first the bottom systems of fols 146v and 147, then top systems of fols. 147v and 148, ending in bottom system of f. 147v;
147v–149r	Tomkins's Four Parts (Madrigals), no. 1	Tho: Tomkins	Tomkins, Thomas (1572–1656)
Tomkins's Four Parts (Madrigals), no. 1 Tomkins, Thomas (1572–1656) Appears on: 147v–149r Source Attribution: Tho: Tomkins Voice: [no designation] Languages: none Clef: c1 Voice Text: Tomkins 4. p[ar]ts General Note Annotations/Corrections: between top two lines at beginning: 'Heere Begins / Tho: Tomkins.} Fowre p[ar]ts:'; in bottom margin, in pencil: 'Here begins / Tho[ma]s Tomkins) four parts'; on f. 148, in middle over bottom system: 'Tho. Thomkins 4 p[ar]ts'; on top of f. 148v: 'Tho. Tomkins 4. p[ar]ts.'; top system of f. 148v at beginning drawn into the outer magin, with signum congruentiae in all parts in second/third bars; at end 'repeat' under top line and signum congruentiae under the other lines; Notes: on fols 148v and 149 going over the opening in the top systems;
148v–149v	Tomkins's Four Parts (Madrigals), no. 2	-	Tomkins, Thomas (1572–1656)
Tomkins's Four Parts (Madrigals), no. 2 Tomkins, Thomas (1572–1656) Appears on: 148v–149v Voice: [no designation] Languages: none Clef: c1 Voice Text: The Second of 4. parts. General Note Annotations/Corrections: on top of. f. 149: 'Tho: Tomkins 4. p[ar]ts'; over bottom systems of fols 148v and 149, 'Tomkins 4. p[ar]ts'; at end 'Repeat' over bottom line, '&-' over second line and continuation signs in third line (nothing in top line); Notes: piece actually starts in top system of f. 149, then continues in the bottom systems of the opening; at the end of f. 149, in bass line, a natural sign;
149v–150r	Tomkins's Four Parts (Madrigals), no. 3	-	Tomkins, Thomas (1572–1656)
Tomkins's Four Parts (Madrigals), no. 3 Tomkins, Thomas (1572–1656) Appears on: 149v–150r Voice: [no designation] Languages: none Clef: c1 Voice Text: The third Song of 4. parts: General Note Canon/Gimels: .; Annotations/Corrections: on top of f. 150 and over bottom system of f. 149v: 'Tomkins 4. p[ar]ts.'; possibly corr. in third/fourth bar of top line of bottom system f. 149v; Notes: music over whole opening of f. 149v and 150; notation a bit squeezed, especially in last system;
150v–151r	Tomkins's Four Parts (Madrigals), no. 4: Weep no more	-	Tomkins, Thomas (1572–1656)
Tomkins's Four Parts (Madrigals), no. 4: Weep no more Tomkins, Thomas (1572–1656) Appears on: 150v–151r Voice: [no designation] Languages: none Clef: c1 Voice Text: Weep no more thow Folish Boy} General Note Annotations/Corrections: on top of f. 150v and over bottom system of f. 151 'Tho. Tomkins 4 p[ar]ts.'; in bottom system of f. 150v, '3' under each system; several corr. and barline adjustments in bottom system of f. 151; in top system of f. 152, fourth bar: '3' under top two and in bottom part, under third part 'Change there is of 'Joye' (colorated notes in all parts); in sixth bar under third part: 'And Sadnes'; under last two bars of bottom line: '& Sandes Sorrow much.'; Notes: music goes ver the opening of fols. 150v and 151;
151v–153r	Tomkins's Four Parts (Madrigals), no. 5: Yet again	-	Tomkins, Thomas (1572–1656)
Tomkins's Four Parts (Madrigals), no. 5: Yet again Tomkins, Thomas (1572–1656) Appears on: 151v–153r Voice: [no designation] Languages: none Clef: c1 Voice Text: yet Agayne: General Note Annotations/Corrections: before title, in pencil '5'; on top of bottom system of f. 151v and on top of f. 152 'Tho. Tomkins 4. p[ar]ts'; top systems of fols 151v and 152 extended into margin; in last bar of bottom system of f. 151v, '3' in top two and bottom part; in bottom system of f. 152, '3' at beginning under middle parts and in all four parts at end of line; continuation sings at end in top and two bottom parts; on f. 152v, no music but long text (poem beginning 'If lyes, if slanders' / nine verses); at bottom of f. 152v, in pencil: 'supposed to be written about the / time of Shakespeare / See Slater Poems'; in top system of f. 153, '3' in first bar of top line; in bar four, signum congruentiae twice in top part and once over bottom part; note corr. in first bar, bottom part;; bottom system of f. 153 is only one bar; signum congruentiae at end of each part, with 'Finish:' written over third part; beginning of repeat written out in music in top and two bottom parts; after music, in top line, in different ink, 'JJ tomots'[?] and beneath that annotation that is crossed out;
153v–157v	Browning = The leaves be green	mr Will: Byrd.	Byrd, William (ca. 1540–1623)
Browning = The leaves be green Byrd, William (ca. 1540–1623) Appears on: 153v–157v Genres: Song Source Attribution: mr Will: Byrd. Voice: [no designation] Languages: none Mensuration: c-dot Clef: c1 Voice Text: The leaves Bee greene: A grownd General Note Annotations/Corrections: under title in pencil: 'The leaves be green'; top system of f. 153v, between first and second line: 'A most Excellent peice:'; in first bar '1' between two bottom parts, in fifth bar '2'; in first bar of top system 154, between two bottom parts 's'; in fourth bar '3' in second and in bottom part; stain or corr. in fifth bar of top line; bottom system of 153v, '4' in third bar, between top lines; in fifth bar '2' between second and third line; in bottom system of f. 154, second bar, 's' between second and third line; in top system of f. 154v, '6' in first bar between third and fourth line and '7' in penultimate bar between two bottom lines; in top system of f. 155, '8' in last bar, between two top lines; in bottom system of f. 154v, in second bar. barline adjustment, in fourth bar erasures, in seventh bar '9' between two bottom parts; in bottom system of f. 155, '10' in sixth bar, between third and fourth part, erasure in seventh bar, second line, note corr. (doubling in octave) in penultimate bar, bottom line; in top system of f. 155v, '11' in fifth bar, between second and third line; in top sustem of f. 156, several corr. in top three parts in second to fourth bars, in fourth bar '12' between two top lines; on f. 155v, first bar, middle line, note corr.; in fourth bar '13' between to bottom parts; in bottom system f. 156, fourth bar, '14' between second and third parts; in penultimate bar, middle line, note corr.; in top system of f. 156v, corr. in first three bars of top line and in sixth bar of bottom line, '19.' in fourth bar between third and fourth line; in top system of f. 157, in second bar '16.' between second and third line, in final bar '17' between third and fourth line; in bottom system of f. 156v, erasure/corr. in fifth bar, penultimate line, '3i' in sixth bar top line, and in seventh bar in second line and in two bottom lines; in final bar '18.' between two top lines and '3i'[?] in second line; in bottom system of f. 157, '3i' in several bars in all parts thoughout, and '19' under bottom part in penultimate bar; in top system of f. 157v, several times '31' in all parts; '20' between two bottom parts in seventh bar; at end, in same ink as music: 'laus deo: / William / Byrde:' - beneath that, in pencil: 'Mr Birds / writing?'; Notes: score goes across full openings; time signatures at beginning before score, in outer margin;
158r–158v	Conditor alme siderum	-	Anonymous
Conditor alme siderum Anonymous Appears on: 158r–158v Voice: [no designation] Languages: none Clef: g3 Voice Text: Conditor Alme syder[um] General Note Annotations/Corrections: at top of first page 'excellent good.' and, next to that, in different ink: 'All these: are vppon the faBorden. of these playne Songs:'; on f. 158, in penultimate system several times '32' under note, in third bar note corr. in pencil; after elaborate barline 'ij vers[us]' between lines, several additional barlines in grey ink and 'good'; in in bottom system of f. 158 barlines possibly later, in bottom line note corr. and twice '32', over top line 'Triple to ye SemB:' and both lines drawn into the outer margin; at beginning of top system of f. 158v, in outer margin 'good' ( in paler ink) and, under each line, 'iij vers[us]'; several barlines look like later additions; at end 'ffinis'; Notes: at beginning noted in plainchant (C3 in both lines);
158v–159r	Verbum supernum prodiens	-	Anonymous
Verbum supernum prodiens Anonymous Appears on: 158v–159r Voice: [no designation] Languages: none Clef: g3 Voice Text: Verbu[m] sup[er]nu[m] p[ro]dien[s] General Note Annotations/Corrections: at beginning, in top line 'good:' in paler ink and beneath the bottom part, in same ink as music, 'the cliff channges' [from F3 to F2]; on f. 158v, several additional barlines; in penultimate system note change in bottom part and note and clef erased in top part; in bottom system notes changed, barlines added; towards end of system 'ij vers[us]' under each part, with '32' under first note of top part: at end of page 'good.' in pale ink between the lines; top system of f. 159 extended into outer margin, '32' under note in bottom line and several later barlines in paler ink; before second system, in inner margin, with paler ink, 'good' and between the lines 'iij vers[us]', also additional barlines; in third system note corr. in first two bars, bottom line; 'ffinis' at end'; Notes: at beginning noted in plainchant (C5 in both lines);
159r–160r	Vox clara	-	Anonymous
Vox clara Anonymous Appears on: 159r–160r Voice: [no designation] Languages: none Clef: g3 Voice Text: Vox clara General Note Annotations/Corrections: at beginning, in paler ink, 'good' in top line; in bottom system of f. 159, several barlines added in paler ink and in last bar two sharps in top line; in top system of f. 159v, barlines added in paler ink; '31' in top linel time signature (cut-C) added in last bar; in second system of f. 159v 'ij v[er]s[us]] between lines, '32' under top part and later in bottom part; under top part 'good' in browner ink and in same ink, under bottom part 'Triple to the SemB:', the latter followed in pencil 'Triple to the semibreve'; barlines added in paler ink in second and third system; in bottom system barlines added and note corr. in bottom part; in middle, between lines, 'iij v[er]s[us]'; at end 'ffinis' (much smaller than before); Notes: at beginning noted in plainchant (C5 and C6); C-clef in polyphony is plainchant style;
160r–161r	Veni redemptor	-	Anonymous
Veni redemptor Anonymous Appears on: 160r–161r Voice: [no designation] Languages: none Clef: g3 Voice Text: Veni Redemptor General Note Annotations/Corrections: several additional barlines on f. 160, and at end of that page also horizontal line under top part; at beginning of bottom system of f. 160, two sharps added; in top system of f. 160v, first note of top line crossed out, later '6i' in top line and cut-C added; in second system 'ij verses' between the lines and in this and the following systems additional barlines; in bottom system 'iij verses' between lines and major corr. in bottom line; in top system of f. 161 at beginning note corr. in bottom line and additional barlines; in second system first note in bottom part corr. and additional barlines and two sharps near end of line; in third system '62' under first note of top line and 'iiij verses' between lines, second note in bottom part corr.; ; Notes: at beginning noted in plainchant (C5 in both lines);
161v–162r	Salvator mundi domine	-	Anonymous
Salvator mundi domine Anonymous Appears on: 161v–162r Voice: [no designation] Languages: none Clef: g3 Voice Text: Salvator mu[n]di dne General Note Annotations/Corrections: at top 'good.' in paler ink; in second system of f. 161v, two note corr. in top line, additional barlines and at the end a sharp, in different ink, between the lines; in third system note corr. in third bar of bottom line and additional barlines; in bottom system 'ij verses' between lines and additional barlines; in paler ink 'good.' above top line and beneah bottom line 'two partes in one in the 4th.'; in last four bars bottom notes added in paler ink; in second system of f. 162 'iij verses' added between lines; in penultimate system, clef corr. in upper part; at end 'ffinis'; Notes: at beginning noted in plainchant (C3 and C6); in polyphony, flat only at beginning of bottom line;
162r–163v	Christe redemptor	-	Anonymous
Christe redemptor Anonymous Appears on: 162r–163v Voice: [no designation] Languages: none Clef: g3 Voice Text: xpe [= 'Christe' abbreviation] Redemptor General Note Annotations/Corrections: on top of f. 162v, in outer margin, in paler ink, '[tick] good & true:'; beneath that, in pencil, '[tick] Good & true:'; several barlines added on page; at end of second system erasure/corr. in upper line, with '31' under note; in third system note crossed out in bottom part and '62' added in upper part; at end of third system: 'two p[ar]ts in on in the 4th.'; f. 163 has many additional, later barlines; sharps added at end of top line; before second system 'A good verse of 4 p[ar]ts' and at beginning of bottom line 'a good ['one' - crossed out] / verse. and '62' at beginning of upper line; at end 'ffinis'; Notes: at beginning noted in plainchant (C4 and C5); in polyphony, C-clef in lower part is plainchant style;
163v–164v	A solis ortus cardine	-	Anonymous
A solis ortus cardine Anonymous Appears on: 163v–164v Voice: [no designation] Languages: none Clef: c3 Voice Text: A solis ortus cardine General Note Annotations/Corrections: at beginning of polyphony 'good;' in paler ink; many additional, later barlines throughout the piece; on top of f. 164: 'two parts / in one.' and right next to that 'in the 4th:'; in third system note corr. in upper part and then, at beginning of new verse, in paler ink, 'very good' between the parts; in bottom line of page note corr.; in top line of f. 164v, note corr.; in second system '23' under note; at end 'ffinnis' (but here between elaborate final barlines; Notes: at beginning noted in plainchant (C5 in both parts); in polyphony, C-clef in plainchant style;
164v–166r	Sancte Dei pretiose	-	Anonymous
Sancte Dei pretiose Anonymous Appears on: 164v–166r Voice: [no designation] Languages: none Clef: g3 Voice Text: Sancte dei p[re]fiose General Note Annotations/Corrections: at beginning, between lines, 'a good old in deade / very good'; at top, in pencil, '= a good, old, indeade very good'; many additional, later barlines throuhout; in bottom system of f. 164 first barline altered and top line extended into outer margin (;in different ink to the rest of the music); in top system of f. 165v, note corr. at beginning of top line; at end of system (beginning of new verse) ' A good one' under bottom line; in second system of f. 165v, at end of second bar, note corr. in bottom part; in top system of f. 166, '6' (or G-clef) in upper part; 'ffinis' at end ; Notes: at beginning noted in plainchant (C5 in both lines); C-clef in bottom line of polyphony in plainchant style;
166r–167r	Bina caelestis (I)	-	Anonymous
Bina caelestis (I) Anonymous Appears on: 166r–167r Genres: Organ piece Voice: [no designation] Languages: none Clef: c3 Voice Text: R[eg]ina celest[is] General Note Annotations/Corrections: at beginning, between lines, in different ink, 'A Fine Him verse of 2. p[ar]tes'; additional barlines throughout; in second system between over bottom line 'The cliff changes', and beneath 'cliff channgis' (from C5/F3 to C6/F4); later in the upper line additional C3 clef (now usual style) and sharps added under notes in both upper and lower part; in bottom system, second bar, top line, stem corr. and additional sharp; several additional sharps on f. 166v; in second system, at beginning of verse, between lines 'good'; in third system paste-over over lower part, still with note corr. in bottom line; some corr. in bottom line of page; on f. 167 several additional barlines and corr.; last system of piece (penultimate system of f. 167) quite squeezed and slightly drawn into the outer margin; at end 'ffinis'; Notes: at beginning noted in plainchant (CF3 in both lines - clef in polyphonic stlye); C-clefs in polyphony in plainchant style - bottom line has additional F-clef: two clefs in bottom part throughout; General Note John Caldwell ("Early Tudor Organ Music: I, Music for the Office" [EECM6], p. 160) identifies this and the following piece as Bina Caelestis; the two pieces were Tunes for the Day at Matins for St John the Apostle and its Octave (and the Sunday within the Octave).
167r–168v	Bina caelestis (II)	-	Anonymous
Bina caelestis (II) Anonymous Appears on: 167r–168v Genres: Organ piece Voice: [no designation] Languages: none Clef: g3 Voice Text: R[eg]ina celestis General Note John Caldwell ("Early Tudor Organ Music: I, Music for the Office" [EECM6], p. 160) identifies this and the preceding piece as Bina Caelestis; the two pieces were Tunes for the Day at Matins for St John the Apostle and its Octave (and the Sunday within the Octave). General Note Annotations/Corrections: at beginning, between parts: 'a good 2. p[ar]ts.'; on f. 167v, in top part throughout, in different hand, additional C-clef, changing back to G-clef; some sharps added; note change in botto line of page; in top system of f. 168, '6i' in second bar, top part; in second system, two note corr. in lower part; in top system of f. 168v, 'Trnor'[?] between lines at beginning of new verse; in penultimate system, third bar, bottom line, note corr.; at end 'ffinis' at end of both lines (in different writing) and between lines (in again different writing) 'exa.'; Notes: at beginning noted in plainchant (C6, F4); in polyphony, C-clef in lower part in plainchant style;
169r–170r	Hostes Herodes (I)	-	Anonymous
Hostes Herodes (I) Anonymous Appears on: 169r–170r Voice: [no designation] Languages: none Clef: g3 Voice Text: Hostes Herodes General Note Annotations/Corrections: at beginning, between lines, in different ink 'very. good.' (NB the two words are in different ink); in bottom system of f. 169m under penultimate bar 'Exa.' in ink, with a pencil tick; after thick barline, new verse in last bar, between the lines 'good still', in ink with pencil tick in front of it; on f. 169v, second system extended into inner margin; in upper line of second system stem with two strokes through and in lower part clarifying lines that crotchets belong to breve; in fourth system additional barlines and '32' at beginning of upper part; in middle of bottom system, change of style of G-clef; top system of f. 170, some additional barlines; at end 'ffinis' and, in outer marging, in different ink, 'Exa.'; Notes: at beginning noted in plainchant (F4, F3);
170r–171r	Hostes Herodes (II)	-	Anonymous
Hostes Herodes (II) Anonymous Appears on: 170r–171r Voice: [no designation] Languages: none Clef: g3 Voice Text: Hostes Herodes ij General Note Annotations/Corrections: at bottom of f. 170 'Exa.' in ink, with a pencil tick; second system of f. 170v, , note corr. in first bar lower parts; at end of second system 'Exa.'; at beginning of third system '32' under first note; at end of piece 'ffinis'; Notes: at beginning noted in plainchant (C5 in both lines); C-clef in polyphony part is plainchant style;
171r–171v	Deus creator omnium	-	Anonymous
Deus creator omnium Anonymous Appears on: 171r–171v Voice: [no designation] Languages: none Clef: g3 Voice Text: Deus Creator om[n]i[um] General Note Annotations/Corrections: additional barlines in bottom system of f. 171; Notes: at beginning noted in plainchant (polyphony-style F3 in both lines); NB this time no big barline between plainchant an polyphony;
171v–172v	Primo dierum omnium	-	Anonymous
Primo dierum omnium Anonymous Appears on: 171v–172v Voice: [no designation] Languages: none Clef: g3 Voice Text: P[ri]mo dier[um] General Note Annotations/Corrections: at beginning, in topline, several notes with two strokes through; on f. 172 only two clarifying lines in penultimate system; bottom line drawn out into outer margin; Notes: at beginning noted in plainchant (F4 in both lines); C-clef in polyphony is plainchant style;
172v–173v	Aeterne rerum conditor	-	Anonymous
Aeterne rerum conditor Anonymous Appears on: 172v–173v Voice: [no designation] Languages: none Clef: g3 Voice Text: Eterne reru[m] co[n]ditor General Note Annotations/Corrections: after initial plainchant, later ink cross in margin at bottom of f. 172v and above that three pencil lines; on top of f. 173, before top system ink cross and three prencil lines; between lines: 'The lower p[ar]t:' is the FaBurden. to the playnesong. Eterne rerum / Conditor}''; in second system (beginning of new verse), '& this.'; in penultimate system additional barlines and note corr. in lower parts; beneath bottom system: 'so likewise this.', with three pencil lines before it; Notes: at beginning noted in plainchant (F4 in both lines);
173v–174v	Lucis creator omnium	-	Anonymous
Lucis creator omnium Anonymous Appears on: 173v–174v Voice: [no designation] Languages: none Clef: g3 Voice Text: Lucis creator om[n]i[um] General Note Annotations/Corrections: at beginning, between first lines of polyphony: 'old stuff. vpon / the FaBurthen: } / of the preceding playnesonge' (NB that 'playnesonge' begins in brown ink and ends in black ink; some additional sharps throughout; Notes: at beginning noted in plainchant (C4 in both lines);
174v–176r	Ex more docti mistico	-	Anonymous
Ex more docti mistico Anonymous Appears on: 174v–176r Voice: [no designation] Languages: none Clef: g3 Voice Text: Ex more docti mistico General Note Notes: at beginning noted in plainchant (F4 in both lines); C-clef in polyphony is plainchant style;
176r–176v	Christe qui lux	-	Anonymous
Christe qui lux Anonymous Appears on: 176r–176v Voice: [no designation] Languages: none Clef: g3 Voice Text: xpe [= 'Christe' abbreviation] q[ui] lux General Note Annotations/Corrections: in third system, '62' in upper part; in top system of f. 176v, in top part stem with two strokes, in bottom part several notes linked by a line; in penultimate system of f. 176v, '3i' in top part and then in bottom part; Notes: at beginning noted in plainchant (F4 in both lines); C-clef in polyphony is plainchant style;
176v–177v	Sumi Deus largitor praemii	-	Anonymous
Sumi Deus largitor praemii Anonymous Appears on: 176v–177v Voice: [no designation] Languages: none Clef: g3 Voice Text: Sumi largitor General Note Annotations/Corrections: at beginning of polyphony: 'A daynty / fine verse}' in paler ink, with three pencil lines before and after; top line of bottom system of f. 176v extended into outer margin; in top system of f. 177, additional and erased barlines; in bottom part three '3' erased and cross beneath stave: on top of page 'the marke in the Bass/ [a crotchet drawn here] / requires .3. for a mi[ni]m' (before annotation pencil 'X'; over top of end of line, in same ink and writing '& so heere' (followed by three pencil lines); at end of top system of f. 177, between lines, in different ink than other annotations: 'note this marke / Requires 3. to the / minum / & 6 quavers'; at end of top system, in outer margin 'But / I knowe / not the / Reason of it:'; in third system of f. 177, first bar of upper part, sharp added in pencil; in bottom margin, in pencil ' + The Mark in the Bass / requires 3 for a round'; some corr. in top two systems of f. 177v; at beginning of fourth line of f. 177v, big additional sharp entered; Notes: at beginning noted in plainchant (F4 in both lines); C-clef in polyphony is plainchant style;
177v–178v	Audi benigne	-	Anonymous
Audi benigne Anonymous Appears on: 177v–178v Voice: [no designation] Languages: none Clef: g3 Voice Text: Audi benigne General Note Annotations/Corrections: at beginning, between lines, in different ink: 'A very good one'; in bottom system of f. 177v, several additional barlines, some corr. and double strokes through stems in upper line, towards end of bottom line 'A crotchet / rest', with a + beneath the music; in top system of f. 178, additional barlines and sharps, G-clef changing; in second system, between lines: 'tripla to the semBrifa;', with clarifying lines, and a bottom note crossed out, at beginning of upper line '32'; in bottom system, between lines, in different ink: '3 to the minu[m].' and also different C-clef in bottom line; towards ebd '31' in lower parts; Notes: at beginning noted in plainchant (F4 in both lines); C-clef in polyphony is plainchant style;
178v	Ecce tempus idoneum	-	Anonymous
Ecce tempus idoneum Anonymous Appears on: 178v Voice: [no designation] Languages: none Clef: g3 Voice Text: Ecce tempus idoneu[m] General Note Annotations/Corrections: incomplete/fragment: in second system only upper part, then only blank staves; Notes: at beginning noted in plainchant (F3 in both lines); C-clef in polyphony is plainchant style;
179r	[blank staves]	-	-
[blank staves] Appears on: 179r
179v–180r	A Short Verse	Tho. Tomkins:	Tomkins, Thomas (1572–1656)
A Short Verse Tomkins, Thomas (1572–1656) Appears on: 179v–180r Source Attribution: Tho. Tomkins: Voice: [no designation] Languages: none Clef: g4 Voice Text: A short verse General Note Annotations/Corrections: several corr. throughout; 'Tomkins.' at end; at end of piece, after double barline, there are two more bars of music (an ending), with 'laus deo' written between the lines;
180v–181v	O lux beata trinitas et principalis (2p.Te mane laudum carmine te deprecamur; 3p. Deo patri sit gloria eiusque soli)	mr Byrds	Byrd, William (ca. 1540–1623)
O lux beata trinitas et principalis (2p.Te mane laudum carmine te deprecamur; 3p. Deo patri sit gloria eiusque soli) Byrd, William (ca. 1540–1623) Appears on: 180v–181v Genres: Motet Source Attribution: mr Byrds Voice: [no designation] Languages: none Mensuration: cut-c Clef: c3 Voice Text: 3. Himns of mr Byrds 6. p[ar]ts: / O lux Beata trinitas. / Te mane laudem Carmine / deo patri sit gloria. General Note Annotations/Corrections: Himns:' in outer margin before first system o music; time signature added possibly later, in outer margin before first system of music; text entered throughout, mostly under bottom part (but in clusters, not matching the notes); several corr. in music; next to title, some annotation in pencil (too faded to read); on f. 181, at beginning of third hymn, or the 3a pars, 'Cannon: 3. partes in one' at beginning under bottom line; clefs in margin before first system of music; erasure in third bar bototm line of f. 181; Notes: These three 'Himns' are merely the three partes of 'O lux beata trinitas'; noted mostly in four parts;
182r	[blank staves]	-	-
[blank staves] Appears on: 182r
182v–183v	[recipes for flower jellies (three ways to keep quinces)]	-	-
[recipes for flower jellies (three ways to keep quinces)] Appears on: 182v–183v General Note Annotations/Corrections: at bottom of f. 183v, pencil annotation ref. to Shakespeare plays;
184r	[written text, no music: 'The English Lords' Andwer to the proposition of the Scotts Lords']	-	-
[written text, no music: 'The English Lords' Andwer to the proposition of the Scotts Lords'] Appears on: 184r Voice: [no designation] Languages: none Voice Text: The English lords Andwer: to the proposition of the Scotts lordes General Note Annotations/Corrections: corr. in the middle of the text, and pencil annotation at bottom of page;
184v	Forty ways of two parts in one, no. 1	Tho: Woodson:	Woodson, Thomas
Forty ways of two parts in one, no. 1 Woodson, Thomas Appears on: 184v Source Attribution: Tho: Woodson: Voice: [no designation] Languages: none Clef: c2 Voice Text: Forty wayes of 2. p[ar]ts in one // 1/ Short notes & long: for ye Ease:' General Note Annotations/Corrections: at top, before title: 'two in one. in the 12.'; before first system of music, in margin: '1 / Short notes / & long: / for ye Ease:'; at beginning, between lines 'miserere' (before that, in pencil: 'on'), followed by '40. wayesof two p[ar]ts in one. Tho. Woodson:'; at beginning signum congruentiae under top part in first bar and above and beneath lower part in second bar; Notes: only 20 ways included; see also Caldwell, English Keyboard Music, p. 254;
184v	Forty ways of two parts in one, no. 2	-	Woodson, Thomas
Forty ways of two parts in one, no. 2 Woodson, Thomas Appears on: 184v Voice: [no designation] Languages: none Clef: g3 Voice Text: 2 a Second waye. short & long notes: General Note Annotations/Corrections: ad placitum.' at beginning between lines; some minor corr. in bottom system;
185r	Forty ways of two parts in one, no. 3	-	Woodson, Thomas
Forty ways of two parts in one, no. 3 Woodson, Thomas Appears on: 185r Voice: [no designation] Languages: none Clef: g3 Voice Text: two in one - in the i3th. 3 miserere. General Note Annotations/Corrections: misierere.' at beginning between lines; note corr. and barline adjustment in bar three;
185r	Forty ways of two parts in one, no. 4	-	Woodson, Thomas
Forty ways of two parts in one, no. 4 Woodson, Thomas Appears on: 185r Voice: [no designation] Languages: none Clef: g3 Voice Text: 4th. in the 9th.
185v	Forty ways of two parts in one, no. 5	-	Woodson, Thomas
Forty ways of two parts in one, no. 5 Woodson, Thomas Appears on: 185v Voice: [no designation] Languages: none Clef: g3 Voice Text: 2 in one in the 9.th a minum after other: [word crossed out] above 5th miserere General Note Annotations/Corrections: corr. in title; at beginning, between lines: 'miserere'; next to that (possibly slightly later, in same hand): 'But Better in the 4th Beneath'; note corr. in bottom part, bar two;
185v	Forty ways of two parts in one, no. 6	-	Woodson, Thomas
Forty ways of two parts in one, no. 6 Woodson, Thomas Appears on: 185v Voice: [no designation] Languages: none Clef: g3 Voice Text: 6. in the 5.th. minum after other
186r	Forty ways of two parts in one, no. 7	-	Woodson, Thomas
Forty ways of two parts in one, no. 7 Woodson, Thomas Appears on: 186r Voice: [no designation] Languages: none Clef: c2 Voice Text: in the 10th. 7 miserere. General Note Annotations/Corrections: corr. in second to fourth bars of botto line;
186r	Forty ways of two parts in one, no. 8	-	Woodson, Thomas
Forty ways of two parts in one, no. 8 Woodson, Thomas Appears on: 186r Voice: [no designation] Languages: none Clef: c2 Voice Text: 8 miserere. in the 9th: General Note Annotations/Corrections: note corr. in top part, second bar, bottom system;
186v	Forty ways of two parts in one, no. 9	-	Woodson, Thomas
Forty ways of two parts in one, no. 9 Woodson, Thomas Appears on: 186v Voice: [no designation] Languages: none Clef: c2 Voice Text: in the 12:th semBrifes 9 miserere: General Note Annotations/Corrections: at beginning, between lines: 'two p[ar]ts in one'; under bottom line '3i'; final bar of music in bottom line extended into margin;
186v	Forty ways of two parts in one, no. 10	-	Woodson, Thomas
Forty ways of two parts in one, no. 10 Woodson, Thomas Appears on: 186v Voice: [no designation] Languages: none Clef: c2 Voice Text: two in one: in the 11th: 10. miserere. General Note Annotations/Corrections: stem corr. in bottom line, first bar bottom system;
187r	Forty ways of two parts in one, no. 11	-	Woodson, Thomas
Forty ways of two parts in one, no. 11 Woodson, Thomas Appears on: 187r Voice: [no designation] Languages: none Clef: g3 Voice Text: in the third [entered later : 'above'] a minum after other. 11 miserere General Note Annotations/Corrections: sharp added under top line at end of top system ;
187r	Forty ways of two parts in one, no. 12	-	Woodson, Thomas
Forty ways of two parts in one, no. 12 Woodson, Thomas Appears on: 187r Voice: [no designation] Languages: none Clef: c2 Voice Text: in the [number not readable].th 12. miserere.
187v	Forty ways of two parts in one, no. 13	-	Woodson, Thomas
Forty ways of two parts in one, no. 13 Woodson, Thomas Appears on: 187v Voice: [no designation] Languages: none Clef: c2 Voice Text: in the third. 3 SemBrifes after other. 13 miserere General Note Annotations/Corrections: flat added over bottom part in top system and sharp over top part in bottom system; final note in bottom part later extended to fill space;
187v	Forty ways of two parts in one, no. 14	-	Woodson, Thomas
Forty ways of two parts in one, no. 14 Woodson, Thomas Appears on: 187v Voice: [no designation] Languages: none Clef: c2 Voice Text: 14 in the 6.th above miserere. General Note Annotations/Corrections: some curl at end of first bar over top system; changes of stem direction in middle parts, penultimate bar;
188r	Forty ways of two parts in one, no. 15	-	Woodson, Thomas
Forty ways of two parts in one, no. 15 Woodson, Thomas Appears on: 188r Voice: [no designation] Languages: none Clef: c2 Voice Text: in the 6.th above. 15: miserere
188r	Forty ways of two parts in one, no. 16	-	Woodson, Thomas
Forty ways of two parts in one, no. 16 Woodson, Thomas Appears on: 188r Voice: [no designation] Languages: none Clef: c3 Voice Text: 16. in the vnison } two SemBrifes} after other miserere General Note Annotations/Corrections: several corr. in upper part, esp. in bottom system;
188v	Forty ways of two parts in one, no. 17	-	Woodson, Thomas
Forty ways of two parts in one, no. 17 Woodson, Thomas Appears on: 188v Voice: [no designation] Languages: none Clef: c3 Voice Text: above in the second. [added later: 'one'] SemBreif after other: 17 miserere. General Note Annotations/Corrections: before first system of music 'two in one'; signum congruentiae above and below first bar, top parts;
188v	Forty ways of two parts in one, no. 18	-	Woodson, Thomas
Forty ways of two parts in one, no. 18 Woodson, Thomas Appears on: 188v Voice: [no designation] Languages: none Clef: c3 Voice Text: 18 in the Second Beneath. General Note Annotations/Corrections: signum congruentiae above top line in first bar, and below top line in second bar;
189r	Forty ways of two parts in one, no. 19	-	Woodson, Thomas
Forty ways of two parts in one, no. 19 Woodson, Thomas Appears on: 189r Voice: [no designation] Languages: none Clef: c3 Voice Text: two in one. in the vnison} 3 minums after other 19 miserere
189r	Forty ways of two parts in one, no. 20	-	Woodson, Thomas
Forty ways of two parts in one, no. 20 Woodson, Thomas Appears on: 189r Voice: [no designation] Languages: none Clef: c3 Voice Text: 20 in the 4.th above. miserere. SemBreifes General Note Annotations/Corrections: several corr. in top parts throughout; in bottom margin of page: '{The rest of these wayes: are prickt / In my morleys Introduction}';
189v–192r	Ut re mi fa sol la (2p. La sol fa mi re ut)	Alfonso/Allonso	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Ut re mi fa sol la (2p. La sol fa mi re ut) Ferrabosco, Alfonso (the younger) (ca. 1575–1628) Appears on: 189v–192r Source Attribution: Alfonso/Allonso Voice: [no designation] Languages: none Clef: c2 Voice Text: Alfonso: vt. re. my. fa. sol. la. General Note Annotations/Corrections: in title, pencil annotations: 'upon' before 'vt', and 'II' on top of music; 'second / part:' in outer margin of 190v, and beneath music: 'ries[?] _la. so. fa. mee. re. vt./'; several corrections throughout; on f. 191, under bottom line: {flat in / d. solra[?]:}' and '(Flat in zadvt[?]:}'; at end 'Allonso' (seemingly in different pen); Notes: ed. E. Walker, MA, iii (1911–12), 65–73, esp. 70–73, 2p. in The Songs and Motets of Alfonso Ferrabosco, the Younger (1575–1628), ed. J. Duffy (Ann Arbor, 1980);
192v–193r	Pretty wayes for young beginners to look on (I)	-	Anonymous
Pretty wayes for young beginners to look on (I) Anonymous Appears on: 192v–193r Voice: [no designation] Languages: none Clef: c2 Voice Text: pretty wayes: For young Beginners, to looke on: General Note Annotations/Corrections: Music is spread over opening, 192v-193; at beginnings of different sections: 'Counterpoynt: long & short', 'Short & long', Counterpoynte.', 'Counterpoynte:', 'Counter poynte', 'Counterpoynte.', 'Indenting / Counter poynte}', 'Indenting / Cownter poynte}', 'Indenting / Cownter poynte', 'Quadriple By three:'; last three bars of penultimate system of f. 192 and first two bars of penultimate system of f. 193 (section beginning 'Indenting / Cownter poynte}') crossed out; top system and bottom system of f. 193 extended into outer margin; in penultimate system of f. 193 major corr. (notes crossed out) and annotation: 'playe this / 8. notes lower}' ('playe' is crossed out); in bottom system of f. 193, between lines: ' three to one', with '3.i.' beneath; also between lines of bottom system: 'This is a good one'; in bottom margin of f. 193: 'Turne over three leaves. / For the rest. of the wayes. / vpon this playnesong:'; Notes: On this see Stevens,'Pretty ways for young beginners to looke on', Musical Quarterly, 33 (1947) p. 543-56. ;
193v–195v	[no title, untexted]	Arthur phillips	Philips, Arthur
[no title, untexted] Philips, Arthur Appears on: 193v–195v Source Attribution: Arthur phillips Voice: [no designation] Languages: none Mensuration: c-dot Clef: c2 Voice Text: [no title, untexted] General Note Annotations/Corrections: some pencil annotation next to composer on top of music (too faint to read); numbers 1 to 23 under beginnings of different sections; some minor corr. throughout; bottom system of f. 194 extended into outer margin; bottom line of f. 194v extended into inner margin; bottom system of f. 195 extended into outer margin; Notes: time signature is in outer margin, before the first two lines of music;
195v–196r	Pretty wayes for young beginners to look on (II)	-	Anonymous
Pretty wayes for young beginners to look on (II) Anonymous Appears on: 195v–196r General Note Annotations/Corrections: at beginnings of different sections: on f. 195v, 'chrotchet.minum.& chrochet', 'playe the Bass 8.notes lower', on f. 196 'Tripla to the / minum}', '2 p[ar]ts in one.', 'SuBsesque altras': in third system of. f. 195v, 'Cliff changes.' under middle of bottom line; in bottom system of f. 195, erasure/corr. in fourth bar top line, '3i' at beginning of bottom line, third and fourth bars corssed out and revised staves added below and beneath those bars, also marked with an 'x'; on f. 196, second system, signum congruentiae in penultimate bar, beneath same bar 'cliffe / changes}'; in bottom line of third system some corr.; Notes: belongs to the music beginning on f. 192v, but here music not spread over opening;
196v–200r	A verse for two to play	mr nicholas Carleton:	Carleton, Nicholas
A verse for two to play Carleton, Nicholas Appears on: 196v–200r Source Attribution: mr nicholas Carleton: Voice: [no designation] Languages: none Clef: g3 Voice Text: Verse For two: to play. on one virginall or organs' General Note Annotations/Corrections: composer name and title at beginning seemingly added somewhat later than the music; at top, in pencil, 'Smith'; in bottom line of first system: 'Verse For two: to play. on one virginall / or organs' (beneath, in pencil: 'Verse ['Rules', crossed out] for 2 to play or one Virginal / or Organ'); music spread over openings - on versos on top: 'The base & Lowest part' (later: 'The Lower keyes') and on rectos on top: 'The treble & highest part' (later: 'The higher keyes'); on top of f. 198v and 199, titles linked by a slightly later 'together with'; cleff in upper part of f. 196v changed throughout whole page from C3 to C4; numbers in bars throughout, counting 'Lower keyes' and 'Higher keyes' separately, each beginning with '1' (corr. of numbers, bottom of f. 198v); some note corr. throughout, in top lines of 196v and 197 additional numbers under notes and double strokes through stems; at end: 'mr nicholas Carleton / exa:', and beneath, in pencil: 'Nicholas Carleton'; Notes: at bottom of f. 200, blank staves with pre-ruled barlines (all bars of roughly the same length); NG: 'an In Nomine for keyboard duet; ed. F. Dawes, London, 1949, and see F. Dawes: ‘Nicholas Carlton and the Earliest Keyboard Duet’, MT, xcii, 1951, pp.542–6';
199v	Praeludium	-	Carleton, Nicholas
Praeludium Carleton, Nicholas Appears on: 199v Voice: [no designation] Languages: none Clef: f5 Voice Text: Præludiu[m] General Note Notes: in bottom half of f. 199v; NG: 'the lower part only of a keyboard duet, ed. B. Rose, English Harpsichord Magazine, ii, 1977–81, pp.20–21';
200v–202v	A verse of four parts	mr nicholas Carleton	Carleton, Nicholas
A verse of four parts Carleton, Nicholas Appears on: 200v–202v Source Attribution: mr nicholas Carleton Voice: [no designation] Languages: none Clef: g3 Voice Text: a verse of 4 p[ar]ts General Note Annotations/Corrections: at beginning, before music, in outer margin: 'N.c.' in pencil; in top system, top line has one flat; several corr. throughout, esp. in third system of f. 201 and penultimate system of f. 202; at end 'mr nicholas Carleton'; Notes: ed. in Schott’s Anthology of Early Keyboard Music, iv, London, 1951;
202v–203v	Upon the sharpe	mr nicholas Carleton	Carleton, Nicholas
Upon the sharpe Carleton, Nicholas Appears on: 202v–203v Source Attribution: mr nicholas Carleton Voice: [no designation] Languages: none Clef: c2 Voice Text: vpon the sharpe General Note Annotations/Corrections: on bottom of f. 203, on the paste-on, half cut off 'utilis.'; at end 'mr nicholas Carleton}'; Notes: ed. in Schott’s Anthology of Early Keyboard Music, iv, London, 1951;
204r	[blank staves]	-	-
[blank staves] Appears on: 204r
204v–206r	A Fancy	Tho. Tomkins:	Tomkins, Thomas (1572–1656)
A Fancy Tomkins, Thomas (1572–1656) Appears on: 204v–206r Source Attribution: Tho. Tomkins: Voice: [no designation] Languages: none Clef: g3 Voice Text: A Fancy General Note Annotations/Corrections: spread over openings, on versos: 'The Base parte For two to play' and on rectos: 'The Treble partes for two to play'; before top system of f. 205v in different hand and ink: 'Another / of the like / Thos Tomkins.'; in bottom margin of f. 204v, in pencil: 'a double Lesson / Bassus'; in bottom margin of f. 205: 'Trebles'; bars numbered throughout (top and bottom parts independently); some note corr. throughout; at end 'Tho. Tomkins';
206v–208v	John come kiss me	John Tomkins	Tomkins, John (1586–1638)
John come kiss me Tomkins, John (1586–1638) Appears on: 206v–208v Source Attribution: John Tomkins Voice: [no designation] Languages: none Clef: g3 Voice Text: Jone Come kiss me nowe General Note Annotations/Corrections: Jone Come kiss me nowe' entered in in different ink to to music (same as composer on top); at beginning, between the lines, in pencil, 'on'; at beginning, in bottom line: 'The first waye.'; in third system 'The Second.' between lines and a crossed out '2 Waye.' under bottom part; in bottom system 'The third' and '43' and '3' under notes; in bottom margin, in pencil: 'Variations upon [rest not readable]; in second system of f. 207: 'The 4. waye'; at beginning of third system several notes in both lines crossed out; in bottom system: 'the fift ['4' crossed out] waye' and '2' under first note; in third system of f. 207v, '8' under first note of new section; on f. 208, '9' and '10' and '11' under respective new sections; at bottom of f. 208, on paste-on, a '2' or 'z'; on f. 208v, '12' and '13' and '14' under respective new sections; f. 209, barline adjusted and drawn out into margin in second system; '15' in penultimate system; at end 'Mr John. / Tomkins:'; only top system of f. 209v used, rest blank staves, but the two bottom lines have a G3 and an F4 clef;
209r–209v	[blank staves]	-	-
[blank staves] Appears on: 209r–209v
210r–210v	Fantasia of six parts	Bird	Byrd, William (ca. 1540–1623)
Fantasia of six parts Byrd, William (ca. 1540–1623) Appears on: 210r–210v Source Attribution: Bird Voice: [no designation] Languages: none Clef: g3 Voice Text: Fancies of 6 p[ar]ts [later pencil annotation] General Note Annotations/Corrections: title entered later in pencil; some note corr. throughout, sharps added, in different ink at end of second system; at end 'Bird';
211r–213v	Fantasia a6	Bird	Byrd, William (ca. 1540–1623)
Fantasia a6 Byrd, William (ca. 1540–1623) Appears on: 211r–213v Source Attribution: Bird Voice: [no designation] Languages: none Clef: g3 Voice Text: A Fantasia 6. vo[ces]. two Basses two Trebles ['&' crossed out] A Tenor & ConterTenor General Note Annotations/Corrections: at top pencil annotation '2 Basi 2 Trebles Tenor & Countertenor'; in second bar sharp added in pencil (but one that is there already); some note corr. throughout; on f. 213, in second system, between lines: 'the parts to this / as Before.' and at beginning of next system signum congruentia in top part and bottom part (and between lines); at end 'Bird';
213v–216r	Fantasia a6 (another)	mr Bird:	Byrd, William (ca. 1540–1623)
Fantasia a6 (another) Byrd, William (ca. 1540–1623) Appears on: 213v–216r Source Attribution: mr Bird: Voice: [no designation] Languages: none Mensuration: cut-c Clef: g3 Voice Text: one other Fantasi. 6. vo[ces]. to the vyolle General Note Annotations/Corrections: title and composer name between lines at beginning in different ink; clef before first system, in outer margin; in outer margin at beginning, in pencil: '1603', some note corr., incl. erasure in top line of f. 214, major corr. in second system of f. 214v; at end 'Bird.'; Notes: NB From f. 214 onwards only one folio number in ink (i.e. no more pencil corr. in folio numbers);
216v–217r	Pavan	Gibbons	Gibbons, Orlando (ca. 1583–1625)
Pavan Gibbons, Orlando (ca. 1583–1625) Appears on: 216v–217r Source Attribution: Gibbons Voice: [no designation] Languages: none Clef: g3 Voice Text: Pauan. General Note Annotations/Corrections: at end, in different ink: 'Gibbons' and added before that, in pencil: 'Orland'; several note corr. throughout, some in same ink as music, some in paler ink; at bottom of f. 217: 'Gibbons died in 1625 & was buried at Canterbury' - added before that, in pencil: 'Orlando', and beneath: 'This Pavan is not printed in the [not readable]' ;
217v–218v	Pavan	Tho: Tomkins.	Tomkins, Thomas (1572–1656)
Pavan Tomkins, Thomas (1572–1656) Appears on: 217v–218v Source Attribution: Tho: Tomkins. Voice: [no designation] Languages: none Clef: g3 Voice Text: A pavan Tho: Tokmins. 1647 General Note Annotations/Corrections: before first system, in same ink as music: 'A pavan'; after title, in pencil: '1647'; on top of outer margin, in pencil: '1802 / 1647 / [line] 155' and under 'A pavan' in margin, in pencil: 'Lo. contest'; bottom system of f. 217v, top system and third system of f. 218 extended into margin; rather sketchy writing, but no notable corr. as such; in bottom margin of f. 218v, additional stave with music - fragmentary an not clear where it belongs to; ending of the piece missing;
219r	[Three lines of sketches with many corrections, followed by listing of Latin book titles]	-	-
[Three lines of sketches with many corrections, followed by listing of Latin book titles] Appears on: 219r Voice: [no designation] Languages: none Clef: f4 Voice Text: [Three lines of sketches, followed by listing of Latin book titles]

Composer	Compositions
Anonymous	(Fantasia) Upon la mi fa – 48r A solis ortus cardine – 163v–164v Aeterne rerum conditor – 11v–12r Aeterne rerum conditor – 172v–173v Aeterne rex conditor (verse of two parts) – 18r Audi benigne – 177v–178v Bina caelestis (I) – 166r–167r Bina caelestis (II) – 167r–168v Chorus novae Jerusalem – 18r Christe qui lux – 176r–176v Christe redemptor – 162r–163v Conditor alme siderum – 158r–158v Conditor alme siderum – 13r–13v Deus creator omnium – 171r–171v Deus creator omnium – 16v–17r Ecce tempus idoneum – 178v Ex more docti mistico – 174v–176r Gloria in excelsis/Hominibus – 29r–30r Glorificamus – 18v Glorificamus – 18v–19r Hostes Herodes (I) – 169r–170r Hostes Herodes (II) – 170r–171r In nomine – 68r–68v Iste confessor – 14v–15r Lucis creator omnium – 173v–174v Lucis creator omnium – 12v Miserere – 7r Miserere – 7r Miserere – 8r Miserere – 7v Miserere – 7v Miserere – 7r Pretty wayes for young beginners to look on (I) – 192v–193r Pretty wayes for young beginners to look on (II) – 195v–196r Primo dierum omnium – 171v–172v Resurrexit (Easter Day office) – 62v–63v Salvator in C fa ut – 9r–9v Salvator in F fa ut – 8v–9r Salvator mundi domine – 161v–162r Sancte Dei pretiose – 164v–166r Sequence: Fulgens – 66r–67v Sumi Deus largitor praemii – 176v–177v Te lucis – 10r The eighth tune, in C fa ut – 25v–28r Veni redemptor – 160r–161r Veni redemptor – 15v–16r Verbum supernum prodiens – 13v–14r Verbum supernum prodiens – 158v–159r Vox clara – 159r–160r [three lines of music partly crossed out] – 47v [No description] – 179r [No description] – 71r [No description] – 209r–209v [No description] – 184r [No description] – 182v–183v [No description] – 182r [No description] – 137v [No description] – 71bisv–72r [No description] – 71bisr [No description] – 70v [No description] – 30v–31r [No description] – 219r [No description] – 204r [No description] – 1r–5r [No description] – 71v
Byrd, William (ca. 1540–1623)	Boy pity me – 111v–113r Browning = The leaves be green – 153v–157v Cast off all doubtfull Care – 120v–121r Fantasia a6 – 211r–213v Fantasia a6 (another) – 213v–216r Fantasia of six parts – 210r–210v From Citheron - 1a pars (of 3): From Citheron the warlike boy – 115v–116r From Citheron - 2a pars (of 3): There careless thoughts – 116v–117v From Citheron - 3a pars (of 3): If love be just – 117v–119r In nomine (V) a5 – 68v–69r Is love a boy – 110v–111v O lux beata trinitas et principalis (2p.Te mane laudum carmine te deprecamur; 3p. Deo patri sit gloria eiusque soli) – 180v–181v Rejoice, rejoice unto the Lord – 119v–120r Three Parts of Mr Byrd's – 69v–70r Wounded I am – 113r–114r Yet of us twaine – 114r–115v
Carleton, Nicholas	A verse for two to play – 196v–200r A verse of four parts – 200v–202v Praeludium – 199v Upon the sharpe – 202v–203v
Coxsun, Robert	Laetamini in domino – 39v Veritas mea – 43r–45r
Farmer, John	Mr Farmer's Four Parts (Madigrals), no. 1 – 138r Mr Farmer's Four Parts (Madigrals), no. 10: Who would have thought – 143v–144r Mr Farmer's Four Parts (Madigrals), no. 11: Sweet friend – 143v–145r Mr Farmer's Four Parts (Madigrals), no. 12: The flattering words/ Sweet glosses that men use – 144v–145r Mr Farmer's Four Parts (Madigrals), no. 13: Cease now thy mourning – 145v–146r Mr Farmer's Four Parts (Madigrals), no. 14: A little pretty boy – 145r–146r Mr Farmer's Four Parts (Madigrals), no. 15: Faire Phyllis I have sitting all alone – 146v–147r Mr Farmer's Four Parts (Madigrals), no. 16: Take time while time doth last – 146v–147v Mr Farmer's Four Parts (Madigrals), no. 2: Now each creature – 138v–139r Mr Farmer's Four Parts (Madigrals), no. 3: You'll never leave – 138v–139v Mr Farmer's Four Parts (Madigrals), no. 4: Lady, my flame still burning – 139v–140r Mr Farmer's Four Parts (Madigrals), no. 5: Sweet Lord, your flame still burning – 140v–141r Mr Farmer's Four Parts (Madigrals), no. 6: Soon as the hungry lion seeks his pray – 141r–141v Mr Farmer's Four Parts (Madigrals), no. 7: O stay, sweet lover – 141v–142v Mr Farmer's Four Parts (Madigrals), no. 9: Compare me to the child – 142v–143r
Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	Fancies for viols, no: 1 – 72v–74r Fancies for viols, no: 10 – 91r–92v Fancies for viols, no: 11 – 93r–94v Fancies for viols, no: 12 – 94v–96v Fancies for viols, no: 13 – 96v–98r Fancies for viols, no: 14 – 98v–100r Fancies for viols, no: 15 – 100r–101v Fancies for viols, no: 16 – 102r–103r Fancies for viols, no: 17 – 103r–105r Fancies for viols, no: 18 – 105r–106v Fancies for viols, no: 19 – 106v–108v Fancies for viols, no: 2 – 74r–75v Fancies for viols, no: 20 – 108v–110v Fancies for viols, no: 3 – 76r–78r Fancies for viols, no: 4 – 78r–79v Fancies for viols, no: 5 – 79v–81v Fancies for viols, no: 6 – 81v–83v Fancies for viols, no: 7 – 83v–86r Fancies for viols, no: 8 – 86r–88r Fancies for viols, no: 9 – 88v–90v Ut re mi fa sol la (2p. La sol fa mi re ut) – 189v–192r
Gibbons, Orlando (ca. 1583–1625)	Pavan – 216v–217r
Master Avery [= David Burton?]	Te Deum – 22v–25r
Morley, Thomas (ca. 1557–1602)	Mr Morley's Four Parts (Madrigals), no. 10: The fields abroad – 126v–128r Mr Morley's Four Parts (Madrigals), no. 11: Come lovers, follow – 130r–131r Mr Morley's Four Parts (Madrigals), no. 12: No, no, no – 131r–131v Mr Morley's Four Parts (Madrigals), no. 13: I will no more – 132r–132v Mr Morley's Four Parts (Madrigals), no. 14: Beside a fountain – 132v–133r Mr Morley's Four Parts (Madrigals), no. 15: Sport we my lovely treasure – 134r Mr Morley's Four Parts (Madrigals), no. 16: O sweet, alas – 134v–135r Mr Morley's Four Parts (Madrigals), no. 17: Hark, jolly shepherds – 135v–136r Mr Morley's Four Parts (Madrigals), no. 18: Who comes here – 136v–137v Mr Morley's Four Parts (Madrigals), no. 19: Die now, my heart – 128r–128v Mr Morley's Four Parts (Madrigals), no. 1: April is in my mistress' face – 122r Mr Morley's Four Parts (Madrigals), no. 20: Say, gentle nymphs – 128v–129v Mr Morley's Four Parts (Madrigals), no. 2: Clorinda false, Adieu thy love torments me – 123r–123v Mr Morley's Four Parts (Madrigals), no. 3: Why, Sir, I hear complaining – 123v–124r Mr Morley's Four Parts (Madrigals), no. 4: Since my tears and lamenting – 122v–123r Mr Morley's Four Parts (Madrigals), no. 5: Help, I fall – 124v Mr Morley's Four Parts (Madrigals), no. 6: Lady – 124v–125r Mr Morley's Four Parts (Madrigals), no. 8: In every place – 125v–126r Mr Morley's Four Parts (Madrigals), no. 9: Now is the gentle season – 126v
Mr Kyrton	Miserere – 6r (?) O all ye nations – 121v
Philips, Arthur	[no title, untexted] – 193v–195v
Preston, John	(?) Reges Tharsis – 38v–39r
Preston, Thomas (–ca. 1559)	Alleluia – 65r–65v Beatus laurentius – 61r–61v Benedicta – 51v–53r Confessio – 61v–62v Diffusa – 49r–51v Felix namque (I) – 45v–47v Felix namque (II) – 53v–54v Felix namque (III) – 54v–56r Felix namque (IV) – 56r–57r Felix namque (V) – 57r–58v Felix namque (VI) – 58v–59r Felix namque (VII) – 59v–60r Felix namque (VIII) – 60r–60v Haec dies/Confitemini – 64v–65r (?) Reges Tharsis – 38v–39r Resurrexit – 64r–64v
Redford, John (–1547)	A solis ortus cardine – 17v–18r Awake and excellent / Precatus est Moses – 34v–36r Christe qui lux – 10v–11r Christe redemptor – 17v Felix namque – 40r–40v Felix namque (II) – 42r–42v Justus ut palma – 36v–37r Lucem tuam [not identified whether (I) or (II)] – 19r Miserere (No. 1 in Lbl Add. MS 29996) – 6v Miserere (No. 2 in Lbl Add. MS 29996) – 7r Primo dierum omnium – 11v Te Deum – 20v–22v
Rhys, Philip ap (1545–1560)	Agnus dei – 33v–34r Benedictus – 33v Deus creator omnium – 28v–29r Felix namque – 41r–41v In die sancte trinitatis (offertorium) – 31v–32v Miserere – 6v Sanctus – 33r–33v
Strogers, Nicholas	Miserere: two parts in one – 6v
Thorne, John	Exultabut sancti – 37v–38r
Tomkins, John (1586–1638)	John come kiss me – 206v–208v
Tomkins, Thomas (1572–1656)	A Fancy – 204v–206r A Short Verse – 179v–180r Pavan – 217v–218v Tomkins's Four Parts (Madrigals), no. 1 – 147v–149r Tomkins's Four Parts (Madrigals), no. 2 – 148v–149v Tomkins's Four Parts (Madrigals), no. 3 – 149v–150r Tomkins's Four Parts (Madrigals), no. 4: Weep no more – 150v–151r Tomkins's Four Parts (Madrigals), no. 5: Yet again – 151v–153r
Woodson, Thomas	Forty ways of two parts in one, no. 1 – 184v Forty ways of two parts in one, no. 10 – 186v Forty ways of two parts in one, no. 11 – 187r Forty ways of two parts in one, no. 12 – 187r Forty ways of two parts in one, no. 13 – 187v Forty ways of two parts in one, no. 14 – 187v Forty ways of two parts in one, no. 15 – 188r Forty ways of two parts in one, no. 16 – 188r Forty ways of two parts in one, no. 17 – 188v Forty ways of two parts in one, no. 18 – 188v Forty ways of two parts in one, no. 19 – 189r Forty ways of two parts in one, no. 2 – 184v Forty ways of two parts in one, no. 20 – 189r Forty ways of two parts in one, no. 3 – 185r Forty ways of two parts in one, no. 4 – 185r Forty ways of two parts in one, no. 5 – 185v Forty ways of two parts in one, no. 6 – 185v Forty ways of two parts in one, no. 7 – 186r Forty ways of two parts in one, no. 8 – 186r Forty ways of two parts in one, no. 9 – 186v
Wynslate, Richard	Lucem tuam – 19v–20r

Composition	Composers (? Uncertain)	Folios / Pages
(Fantasia) Upon la mi fa	Anonymous	48r
[no title, untexted]	Philips, Arthur	193v–195v
[three lines of music partly crossed out]	-	47v
A Fancy	Tomkins, Thomas (1572–1656)	204v–206r
A Short Verse	Tomkins, Thomas (1572–1656)	179v–180r
A solis ortus cardine	Redford, John (–1547)	17v–18r
A solis ortus cardine	Anonymous	163v–164v
A verse for two to play	Carleton, Nicholas	196v–200r
A verse of four parts	Carleton, Nicholas	200v–202v
Aeterne rerum conditor	Anonymous	11v–12r
Aeterne rerum conditor	Anonymous	172v–173v
Aeterne rex conditor (verse of two parts)	Anonymous	18r
Agnus dei	Rhys, Philip ap (1545–1560)	33v–34r
Alleluia	Preston, Thomas (–ca. 1559)	65r–65v
Audi benigne	Anonymous	177v–178v
Awake and excellent / Precatus est Moses	Redford, John (–1547)	34v–36r
Beatus laurentius	Preston, Thomas (–ca. 1559)	61r–61v
Benedicta	Preston, Thomas (–ca. 1559)	51v–53r
Benedictus	Rhys, Philip ap (1545–1560)	33v
Bina caelestis (I)	Anonymous	166r–167r
Bina caelestis (II)	Anonymous	167r–168v
Boy pity me	Byrd, William (ca. 1540–1623)	111v–113r
Browning = The leaves be green	Byrd, William (ca. 1540–1623)	153v–157v
Cast off all doubtfull Care	Byrd, William (ca. 1540–1623)	120v–121r
Chorus novae Jerusalem	Anonymous	18r
Christe qui lux	Redford, John (–1547)	10v–11r
Christe qui lux	Anonymous	176r–176v
Christe redemptor	Redford, John (–1547)	17v
Christe redemptor	Anonymous	162r–163v
Conditor alme siderum	Anonymous	13r–13v
Conditor alme siderum	Anonymous	158r–158v
Confessio	Preston, Thomas (–ca. 1559)	61v–62v
Deus creator omnium	Anonymous	16v–17r
Deus creator omnium	Rhys, Philip ap (1545–1560)	28v–29r
Deus creator omnium	Anonymous	171r–171v
Diffusa	Preston, Thomas (–ca. 1559)	49r–51v
Ecce tempus idoneum	Anonymous	178v
Ex more docti mistico	Anonymous	174v–176r
Exultabut sancti	Thorne, John	37v–38r
Fancies for viols, no: 1	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	72v–74r
Fancies for viols, no: 10	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	91r–92v
Fancies for viols, no: 11	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	93r–94v
Fancies for viols, no: 12	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	94v–96v
Fancies for viols, no: 13	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	96v–98r
Fancies for viols, no: 14	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	98v–100r
Fancies for viols, no: 15	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	100r–101v
Fancies for viols, no: 16	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	102r–103r
Fancies for viols, no: 17	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	103r–105r
Fancies for viols, no: 18	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	105r–106v
Fancies for viols, no: 19	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	106v–108v
Fancies for viols, no: 2	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	74r–75v
Fancies for viols, no: 20	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	108v–110v
Fancies for viols, no: 3	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	76r–78r
Fancies for viols, no: 4	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	78r–79v
Fancies for viols, no: 5	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	79v–81v
Fancies for viols, no: 6	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	81v–83v
Fancies for viols, no: 7	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	83v–86r
Fancies for viols, no: 8	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	86r–88r
Fancies for viols, no: 9	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	88v–90v
Fantasia a6	Byrd, William (ca. 1540–1623)	211r–213v
Fantasia a6 (another)	Byrd, William (ca. 1540–1623)	213v–216r
Fantasia of six parts	Byrd, William (ca. 1540–1623)	210r–210v
Felix namque	Redford, John (–1547)	40r–40v
Felix namque	Rhys, Philip ap (1545–1560)	41r–41v
Felix namque (I)	Preston, Thomas (–ca. 1559)	45v–47v
Felix namque (II)	Redford, John (–1547)	42r–42v
Felix namque (II)	Preston, Thomas (–ca. 1559)	53v–54v
Felix namque (III)	Preston, Thomas (–ca. 1559)	54v–56r
Felix namque (IV)	Preston, Thomas (–ca. 1559)	56r–57r
Felix namque (V)	Preston, Thomas (–ca. 1559)	57r–58v
Felix namque (VI)	Preston, Thomas (–ca. 1559)	58v–59r
Felix namque (VII)	Preston, Thomas (–ca. 1559)	59v–60r
Felix namque (VIII)	Preston, Thomas (–ca. 1559)	60r–60v
Forty ways of two parts in one, no. 1	Woodson, Thomas	184v
Forty ways of two parts in one, no. 10	Woodson, Thomas	186v
Forty ways of two parts in one, no. 11	Woodson, Thomas	187r
Forty ways of two parts in one, no. 12	Woodson, Thomas	187r
Forty ways of two parts in one, no. 13	Woodson, Thomas	187v
Forty ways of two parts in one, no. 14	Woodson, Thomas	187v
Forty ways of two parts in one, no. 15	Woodson, Thomas	188r
Forty ways of two parts in one, no. 16	Woodson, Thomas	188r
Forty ways of two parts in one, no. 17	Woodson, Thomas	188v
Forty ways of two parts in one, no. 18	Woodson, Thomas	188v
Forty ways of two parts in one, no. 19	Woodson, Thomas	189r
Forty ways of two parts in one, no. 2	Woodson, Thomas	184v
Forty ways of two parts in one, no. 20	Woodson, Thomas	189r
Forty ways of two parts in one, no. 3	Woodson, Thomas	185r
Forty ways of two parts in one, no. 4	Woodson, Thomas	185r
Forty ways of two parts in one, no. 5	Woodson, Thomas	185v
Forty ways of two parts in one, no. 6	Woodson, Thomas	185v
Forty ways of two parts in one, no. 7	Woodson, Thomas	186r
Forty ways of two parts in one, no. 8	Woodson, Thomas	186r
Forty ways of two parts in one, no. 9	Woodson, Thomas	186v
From Citheron - 1a pars (of 3): From Citheron the warlike boy	Byrd, William (ca. 1540–1623)	115v–116r
From Citheron - 2a pars (of 3): There careless thoughts	Byrd, William (ca. 1540–1623)	116v–117v
From Citheron - 3a pars (of 3): If love be just	Byrd, William (ca. 1540–1623)	117v–119r
Gloria in excelsis/Hominibus	Anonymous	29r–30r
Glorificamus	Anonymous	18v
Glorificamus	Anonymous	18v–19r
Haec dies/Confitemini	Preston, Thomas (–ca. 1559)	64v–65r
Hostes Herodes (I)	Anonymous	169r–170r
Hostes Herodes (II)	Anonymous	170r–171r
In die sancte trinitatis (offertorium)	Rhys, Philip ap (1545–1560)	31v–32v
In nomine	Anonymous	68r–68v
In nomine (V) a5	Byrd, William (ca. 1540–1623)	68v–69r
Is love a boy	Byrd, William (ca. 1540–1623)	110v–111v
Iste confessor	Anonymous	14v–15r
John come kiss me	Tomkins, John (1586–1638)	206v–208v
Justus ut palma	Redford, John (–1547)	36v–37r
Laetamini in domino	Coxsun, Robert	39v
Lucem tuam	Wynslate, Richard	19v–20r
Lucem tuam [not identified whether (I) or (II)]	Redford, John (–1547)	19r
Lucis creator omnium	Anonymous	12v
Lucis creator omnium	Anonymous	173v–174v
Miserere	Mr Kyrton	6r
Miserere	Rhys, Philip ap (1545–1560)	6v
Miserere	Anonymous	7r
Miserere	Anonymous	7r
Miserere	Anonymous	7r
Miserere	Anonymous	7v
Miserere	Anonymous	7v
Miserere	Anonymous	8r
Miserere (No. 1 in Lbl Add. MS 29996)	Redford, John (–1547)	6v
Miserere (No. 2 in Lbl Add. MS 29996)	Redford, John (–1547)	7r
Miserere: two parts in one	Strogers, Nicholas	6v
Mr Farmer's Four Parts (Madigrals), no. 1	Farmer, John	138r
Mr Farmer's Four Parts (Madigrals), no. 10: Who would have thought	Farmer, John	143v–144r
Mr Farmer's Four Parts (Madigrals), no. 11: Sweet friend	Farmer, John	143v–145r
Mr Farmer's Four Parts (Madigrals), no. 12: The flattering words/ Sweet glosses that men use	Farmer, John	144v–145r
Mr Farmer's Four Parts (Madigrals), no. 13: Cease now thy mourning	Farmer, John	145v–146r
Mr Farmer's Four Parts (Madigrals), no. 14: A little pretty boy	Farmer, John	145r–146r
Mr Farmer's Four Parts (Madigrals), no. 15: Faire Phyllis I have sitting all alone	Farmer, John	146v–147r
Mr Farmer's Four Parts (Madigrals), no. 16: Take time while time doth last	Farmer, John	146v–147v
Mr Farmer's Four Parts (Madigrals), no. 2: Now each creature	Farmer, John	138v–139r
Mr Farmer's Four Parts (Madigrals), no. 3: You'll never leave	Farmer, John	138v–139v
Mr Farmer's Four Parts (Madigrals), no. 4: Lady, my flame still burning	Farmer, John	139v–140r
Mr Farmer's Four Parts (Madigrals), no. 5: Sweet Lord, your flame still burning	Farmer, John	140v–141r
Mr Farmer's Four Parts (Madigrals), no. 6: Soon as the hungry lion seeks his pray	Farmer, John	141r–141v
Mr Farmer's Four Parts (Madigrals), no. 7: O stay, sweet lover	Farmer, John	141v–142v
Mr Farmer's Four Parts (Madigrals), no. 9: Compare me to the child	Farmer, John	142v–143r
Mr Morley's Four Parts (Madrigals), no. 10: The fields abroad	Morley, Thomas (ca. 1557–1602)	126v–128r
Mr Morley's Four Parts (Madrigals), no. 11: Come lovers, follow	Morley, Thomas (ca. 1557–1602)	130r–131r
Mr Morley's Four Parts (Madrigals), no. 12: No, no, no	Morley, Thomas (ca. 1557–1602)	131r–131v
Mr Morley's Four Parts (Madrigals), no. 13: I will no more	Morley, Thomas (ca. 1557–1602)	132r–132v
Mr Morley's Four Parts (Madrigals), no. 14: Beside a fountain	Morley, Thomas (ca. 1557–1602)	132v–133r
Mr Morley's Four Parts (Madrigals), no. 15: Sport we my lovely treasure	Morley, Thomas (ca. 1557–1602)	134r
Mr Morley's Four Parts (Madrigals), no. 16: O sweet, alas	Morley, Thomas (ca. 1557–1602)	134v–135r
Mr Morley's Four Parts (Madrigals), no. 17: Hark, jolly shepherds	Morley, Thomas (ca. 1557–1602)	135v–136r
Mr Morley's Four Parts (Madrigals), no. 18: Who comes here	Morley, Thomas (ca. 1557–1602)	136v–137v
Mr Morley's Four Parts (Madrigals), no. 19: Die now, my heart	Morley, Thomas (ca. 1557–1602)	128r–128v
Mr Morley's Four Parts (Madrigals), no. 1: April is in my mistress' face	Morley, Thomas (ca. 1557–1602)	122r
Mr Morley's Four Parts (Madrigals), no. 20: Say, gentle nymphs	Morley, Thomas (ca. 1557–1602)	128v–129v
Mr Morley's Four Parts (Madrigals), no. 2: Clorinda false, Adieu thy love torments me	Morley, Thomas (ca. 1557–1602)	123r–123v
Mr Morley's Four Parts (Madrigals), no. 3: Why, Sir, I hear complaining	Morley, Thomas (ca. 1557–1602)	123v–124r
Mr Morley's Four Parts (Madrigals), no. 4: Since my tears and lamenting	Morley, Thomas (ca. 1557–1602)	122v–123r
Mr Morley's Four Parts (Madrigals), no. 5: Help, I fall	Morley, Thomas (ca. 1557–1602)	124v
Mr Morley's Four Parts (Madrigals), no. 6: Lady	Morley, Thomas (ca. 1557–1602)	124v–125r
Mr Morley's Four Parts (Madrigals), no. 8: In every place	Morley, Thomas (ca. 1557–1602)	125v–126r
Mr Morley's Four Parts (Madrigals), no. 9: Now is the gentle season	Morley, Thomas (ca. 1557–1602)	126v
O all ye nations	Mr Kyrton (?)	121v
O lux beata trinitas et principalis (2p.Te mane laudum carmine te deprecamur; 3p. Deo patri sit gloria eiusque soli)	Byrd, William (ca. 1540–1623)	180v–181v
Pavan	Gibbons, Orlando (ca. 1583–1625)	216v–217r
Pavan	Tomkins, Thomas (1572–1656)	217v–218v
Praeludium	Carleton, Nicholas	199v
Pretty wayes for young beginners to look on (I)	Anonymous	192v–193r
Pretty wayes for young beginners to look on (II)	Anonymous	195v–196r
Primo dierum omnium	Redford, John (–1547)	11v
Primo dierum omnium	Anonymous	171v–172v
Reges Tharsis	Preston, Thomas (–ca. 1559) (?) Preston, John (?)	38v–39r
Rejoice, rejoice unto the Lord	Byrd, William (ca. 1540–1623)	119v–120r
Resurrexit	Preston, Thomas (–ca. 1559)	64r–64v
Resurrexit (Easter Day office)	Anonymous	62v–63v
Salvator in C fa ut	Anonymous	9r–9v
Salvator in F fa ut	Anonymous	8v–9r
Salvator mundi domine	Anonymous	161v–162r
Sancte Dei pretiose	Anonymous	164v–166r
Sanctus	Rhys, Philip ap (1545–1560)	33r–33v
Sequence: Fulgens	Anonymous	66r–67v
Sumi Deus largitor praemii	Anonymous	176v–177v
Te Deum	Redford, John (–1547)	20v–22v
Te Deum	Master Avery [= David Burton?]	22v–25r
Te lucis	Anonymous	10r
The eighth tune, in C fa ut	Anonymous	25v–28r
Three Parts of Mr Byrd's	Byrd, William (ca. 1540–1623)	69v–70r
Tomkins's Four Parts (Madrigals), no. 1	Tomkins, Thomas (1572–1656)	147v–149r
Tomkins's Four Parts (Madrigals), no. 2	Tomkins, Thomas (1572–1656)	148v–149v
Tomkins's Four Parts (Madrigals), no. 3	Tomkins, Thomas (1572–1656)	149v–150r
Tomkins's Four Parts (Madrigals), no. 4: Weep no more	Tomkins, Thomas (1572–1656)	150v–151r
Tomkins's Four Parts (Madrigals), no. 5: Yet again	Tomkins, Thomas (1572–1656)	151v–153r
Upon the sharpe	Carleton, Nicholas	202v–203v
Ut re mi fa sol la (2p. La sol fa mi re ut)	Ferrabosco, Alfonso (the younger) (ca. 1575–1628)	189v–192r
Veni redemptor	Anonymous	15v–16r
Veni redemptor	Anonymous	160r–161r
Verbum supernum prodiens	Anonymous	13v–14r
Verbum supernum prodiens	Anonymous	158v–159r
Veritas mea	Coxsun, Robert	43r–45r
Vox clara	Anonymous	159r–160r
Wounded I am	Byrd, William (ca. 1540–1623)	113r–114r
Yet of us twaine	Byrd, William (ca. 1540–1623)	114r–115v

Images © The British Library

Set: TUDOR PARTBOOKS

Type: Project Collection

GB-CF MS D/DP Z6/1

GB-CF MS D/DP Z6/2

GB-Cfm MU MS 1005 (Fayrfax fragments)

GB-Cgc MS 667/760 (Caius Choirbook)

GB-Cjc MS 234 (K.31)

GB-Ckc Rowe 316

GB-Cp MS 31 [Contratenor] (Peterhouse Partbooks: Henrician Set)

GB-Cp MS 32 [Bassus] (Peterhouse Partbooks: Henrician Set)

GB-Cp MS 40 [Triplex] (Peterhouse Partbooks: Henrician Set)

GB-Cp MS 41 [Medius] (Peterhouse Partbooks: Henrician Set)

GB-Cqcl Old Library G.4.17

GB-Cu Dd.13.27

GB-DORmcghie McGhie manuscript

GB-Lbl [pr. bk.] C. 52. b. 21

No images available

GB-Lbl [pr. bk.] Music Library K. 2. f. 1 [Altus]

No images available

GB-Lbl [pr. bk.] Music Library K. 2. f. 1 [Discantus]

No images available

GB-Lbl [pr. bk.] Music Library K. 2. f. 1 [Medius]

No images available

GB-Lbl [pr. bk.] Music Library K. 2. f. 1 [Tenor]

No images available

GB-Lbl [pr. bk.] Music Library K. 2. f. 13

No images available

GB-Lbl [pr. bk.] Music Library K. 3. f. 9 [Altus]

No images available

GB-Lbl [pr. bk.] Music Library K. 3. f. 9 [Bassus]

No images available

GB-Lbl [pr. bk.] Music Library K. 3. f. 9 [Discantus]

No images available

GB-Lbl [pr. bk.] Music Library K. 3. f. 9 [Tenor]

GB-Lbl Add. MS 4900

GB-Lbl Add. MS 15166

GB-Lbl Add. MS 17802 (Gyffard Partbooks)

GB-Lbl Add. MS 17803 (Gyffard Partbooks)

GB-Lbl Add. MS 17804 (Gyffard Partbooks)

GB-Lbl Add. MS 17805 (Gyffard Partbooks)

GB-Lbl Add. MS 22597

GB-Lbl Add. MS 29996

GB-Lbl Add. MS 30480 (Hamond Partbooks)

GB-Lbl Add. MS 30481 (Hamond Partbooks)

GB-Lbl Add. MS 30482 (Hamond Partbooks)

GB-Lbl Add. MS 30483 (Hamond Partbooks)

GB-Lbl Add. MS 30484 (Hamond Partbooks)

GB-Lbl R.M.24.d.2 (Baldwin Commonplace Book)

GB-Lbl Royal Appendix 12

GB-Lbl Royal Appendix 13

GB-Lbl Royal Appendix 14

GB-Lbl Royal Appendix 15

GB-Lbl Royal Appendix 16

GB-Lbl Royal Appendix 17

GB-Lbl Royal Appendix 18

GB-Lbl Royal Appendix 19

GB-Lbl Royal Appendix 20

GB-Lbl Royal Appendix 21

GB-Lbl Royal Appendix 22

GB-Lbl Royal Appendix 23

GB-Lbl Royal Appendix 24

GB-Lbl Royal Appendix 25

GB-Lbl Royal Appendix 26

GB-Lbl Royal Appendix 27

GB-Lbl Royal Appendix 28

GB-Lbl Royal Appendix 29

GB-Lbl Royal Appendix 30

GB-Lbl Royal Appendix 31

GB-Lbl Royal Appendix 32

GB-Lbl Royal Appendix 33

GB-Lbl Royal Appendix 34

GB-Lbl Royal Appendix 35

No images available

GB-Lbl Royal Appendix 41

No images available

GB-Lbl Royal Appendix 42

No images available

GB-Lbl Royal Appendix 43

No images available

GB-Lbl Royal Appendix 44

GB-Lbl Royal Appendix 45 (Ludford)

GB-Lbl Royal Appendix 46 (Ludford)

GB-Lbl Royal Appendix 47 (Ludford)

GB-Lbl Royal Appendix 48 (Ludford)

GB-Lbl Royal Appendix 49

GB-Lbl Royal Appendix 50

GB-Lbl Royal Appendix 51

GB-Lbl Royal Appendix 52

GB-Lbl Royal Appendix 53

GB-Lbl Royal Appendix 54

GB-Lbl Royal Appendix 56

No images available

GB-Lbl Royal Appendix 57

GB-Lbl Royal Appendix 58

No images available

GB-Lbl Royal Appendix 59

No images available

GB-Lbl Royal Appendix 60

No images available

GB-Lbl Royal Appendix 61

No images available

GB-Lbl Royal Appendix 62

GB-Lbl Royal Appendix 74 (Lumley)

GB-Lbl Royal Appendix 75 (Lumley)

GB-Lbl Royal Appendix 76 (Lumley)

No images available

GB-Lcm [pr. bk.] B187

No images available

GB-Lcm [pr. bk.] B190 [Altus]

No images available

GB-Lcm [pr. bk.] B190 [Bassus]

No images available

GB-Lcm [pr. bk.] B190 [Discantus]

No images available

GB-Lcm [pr. bk.] B190 [Tenor]

GB-Llp MS 1 (Lambeth Choirbook; Arundel Choirbook)

GB-Lna SP I/246

GB-Ob MS. Mus. c. 784 (Willmott Manuscript)

GB-Ob MS. Mus. d. 103

GB-Ob MS. Mus. e. 1 (Sadler Partbooks)

GB-Ob MS. Mus. e. 2 (Sadler Partbooks)

GB-Ob MS. Mus. e. 3 (Sadler Partbooks)

GB-Ob MS. Mus. e. 4 (Sadler Partbooks)

GB-Ob MS. Mus. e. 5 (Sadler Partbooks)

GB-Ob MS. Mus. e. 21

GB-Ob MS. Mus. Sch. e. 376 (Forrest-Heather Partbooks)

GB-Ob MS. Mus. Sch. e. 377 (Forrest-Heather Partbooks)

GB-Ob MS. Mus. Sch. e. 378 (Forrest-Heather Partbooks)

GB-Ob MS. Mus. Sch. e. 379 (Forrest-Heather Partbooks)

GB-Ob MS. Mus. Sch. e. 380 (Forrest-Heather Partbooks)

GB-Ob MS. Mus. Sch. e. 381 (Forrest-Heather Partbooks)

GB-Ob MS. Mus. Sch. e. 420 (Wanley Partbooks)

GB-Ob MS. Mus. Sch. e. 421 (Wanley Partbooks)

GB-Ob MS. Mus. Sch. e. 422 (Wanley Partbooks)

GB-Ob MS. Mus. Sch. e. 423

GB-Ob MS. Tenbury 341

GB-Ob MS. Tenbury 342

GB-Ob MS. Tenbury 343

GB-Ob MS. Tenbury 344

GB-Ob MS. Tenbury 389

No images available

GB-Ob MS. Tenbury 807

No images available

GB-Ob MS. Tenbury 808

No images available

GB-Ob MS. Tenbury 809

No images available

GB-Ob MS. Tenbury 810

No images available

GB-Ob MS. Tenbury 811

No images available

GB-Ob MS. Tenbury 1382 (Southwell Tenor Book)

GB-Ob MS. Tenbury 1464

GB-Ob MS. Tenbury 1486 (Braikenridge Manuscript)

No images available

GB-Och Mus. 45

GB-Och Mus. 979 (Baldwin Partbooks)

GB-Och Mus. 980 (Baldwin Partbooks)

GB-Och Mus. 981 (Baldwin Partbooks)

GB-Och Mus. 982 (Baldwin Partbooks)

GB-Och Mus. 983 (Baldwin Partbooks)

GB-Och Mus. 984 (Dow Partbooks)

GB-Och Mus. 985 (Dow Partbooks)

GB-Och Mus. 986 (Dow Partbooks)

GB-Och Mus. 987 (Dow Partbooks)

GB-Och Mus. 988 (Dow Partbooks)

GB-Odiamm Contratenor partbook in private ownership (contact DIAMM)

GB-W X4/34/3 (Fayrfax fragments)

GB-WCc MS 153 Bassus (Winchester Partbooks)

GB-WCc MS 153 Contra Altus (Winchester Partbooks)

GB-WCc MS 153 Discantus (Winchester Partbooks)

GB-WCc MS 153 Tenor (Winchester Partbooks)

GB-WRec MS 178 (Eton Choirbook)

No images available

IRL-Dm [pr. bk.] Z4. 3. 1-5

No images available

IRL-Dtc [pr. bk.] OLS. 192. n. 40 [Altus]

No images available

IRL-Dtc [pr. bk.] OLS. 192. n. 40 [Bassus]

No images available

IRL-Dtc [pr. bk.] OLS. 192. n. 40 [Discantus]

No images available

IRL-Dtc [pr. bk.] OLS. 192. n. 40 [Superius (Quintus)]

No images available

IRL-Dtc [pr. bk.] OLS. 192. n. 40 [Tenor]

No images available

US-NYp Mus. Res. *MNZ (Chirk) [1] (Chirk Castle Partbooks)

No images available

US-NYp Mus. Res. *MNZ (Chirk) [2] (Chirk Castle Partbooks)

No images available

US-NYp Mus. Res. *MNZ (Chirk) [3] (Chirk Castle Partbooks)

No images available

US-NYp Mus. Res. *MNZ (Chirk) [4] (Chirk Castle Partbooks)

US-NYp Mus. Res. Drexel 4180

US-NYp Mus. Res. Drexel 4181

No images available

US-NYp Mus. Res. Drexel 4182

US-NYp Mus. Res. Drexel 4183

US-NYp Mus. Res. Drexel 4184

US-NYp Mus. Res. Drexel 4185

US-Ws V.a. 408

Public Comments

This form is used to make comments on a source. If you wish to notify us of a correction to the record, you should use the "Contribute a change" form instead.

Poppy Holden

Tuesday, 8 August, 2017

Listed in BL http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=AddMS29996 as 'Uppon 'La mi re.'' Anonymous. f. 48.

Contributions to this record are recorded here. If you wish to contribute information or a correction to this record, use the "Contribute a Change" link. This will then be reviewed by DIAMM staff and, if accepted, your contribution will be acknowledged here.

Stuart Frankel

Saturday, 3 April, 2021

the two Regina caelestis pieces on 166r to 168v changed to 'Bina caelestis' - matins 'tunes for the day'

Julia Craig-McFeely

Wednesday, 21 November, 2018

Edward Tambling

Tuesday, 5 September, 2017

Composition records updated; inventory updated

British Library online catalogue, 2015

Monday, 23 January, 2017

NB: Migrated from old site. Credit for notes may not be completely accurate. Date Note; Ruling Note; DIAMM Note