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Abstract
THE LIFE AND WORK OF ROBERT JONES
by
Cathryn J Gaherty
Historians have failed to distinguish among the two
known Robert Joneses Richard Jones and the R Jones of
innumerable references In this research paper it was thus
first necessary to establish the identity of Robert Jones
It was then possible to investigate the educational customs
and draw some conclusions about Robert Jones who lived ca
1575 - ca 1615 and his position
Also the overall musicological
failed to give us sufficient
in Elizabethan society
evaluation of Jones has
accurate information
Specifically the forewords to his songbooks have been used
unfortunately to deprecate rather than to shed light on the
philosophy and personality of Robert Jones
Jones graduated from Oxford University with a Bachelor
of Music degree in 1597 He was also involved with the
Children of the Queenes Revells and several of his songs
were included in masques In addition to
which ensured that he would be remembered --
SlX
at
songbooks
least for
his productivity -- Jones contributed three sacred songs to
the Teares or Lamentaciones of a Sorrowfull Soule of Sir
William Leighton A fourth anthem by Jones is contained in
Christ Church Music Manuscript 56
Fanshawe part-books
60 that is the
Biographical data are presented in the first chapters
the remaining chapters are devoted to the secular music and
the sacred music Contained in the latter is a transcription
and a recreated bass part of the Oxford Anthem possibly
composed by Jones to complete degree requirements at Oxford
Supplements include facsimiles of all the prefaces to the
publications of Jones discussed in the thesis
THE LIFE AND WORKS OF ROBERT JONES
by
Cathryn J Gaherty
A thesis
Presented to the Faculty
of the Department of Music
of Christopher Newport College
In partial fulfillment
of the Requirements for the Degree
Bachelor of Music
May 1988
Approved by
CtU w 15()(BKr----~ Dir ect or-VClyde W Brockett PhD
R Hines Ph 0
TABLE OF CONTENTS
ACKNOWLEDGMENTS
LIST OF ILLUSTRATIONS bull
LIST OF APPENDICES
I IDENTIFYING THE MAN
II EDUCATION AND SOCIETY
III ~vAITS MASQUES AND THE THEATRE bull
VI THE SECULAR MUSIC
V THE SACRED MUSIC
I LLUSrrRATIONS bull
APPENDICES
BIBLIOGRAPHY
iii
ll
iii
iv
l
11
21
29
39
72
105
117
ACKNOWLEDGMENTS
This paper cou l d never have been a t tempted without the
faith and assistance of many wonderful p eop l e I sincerely
pray that the results will repay your belief in me
Many thanks to Mr Richard Austin cura tor of St
Luke~s Shr ine i n Smithf i e ld Virginia It was through his
kindne ss that I was a b le to use the Bible of 1615 Mr
Richard Johnson of the New York Public Library Performing
Arts Research Cent er at Lincoln Center was of great
assistance to both my husband and myself I t is because of
the senerousity of Mr HJR Wing of Christ Church Oxford
that I am able to include the Oxford Anthem Mr Arthur
Searle Assistant Keeper The British Library was kind
enough to s e nd sources for the works of Rober t Jone s
I am especial ly thankf ul to and for t he librarians of
Christopher Newport College Mary Daniels Cathy Doyle
Maureen Humphries Trish Kearns Carol Lockwood( and Betty
Smith Their incredible support proves t here i s no place
like home
The following people can never be thanked enough Pat
Silvis for still being my friend Anne Catherine Braxton
for the most awful puns to make me laugh Dr B for his
guidance and support which stretched beyond belief Dr Bill
Stoney for supporting my dreams Dam who wil l get her mom
back soon Jimmy and most of al l my husband Steve the
ma n who killed chauvinism resurrected chivalry and who
loves me so much that he can l et me indulge my passion for
iv
an obscure Elizabethan Composer
I also wish to thank those faculty members who have
consented to read this paper Dr Elizabeth Jones Dr James
Hines and Dr Clyde Brockett May you enjoy Robert Jones
v
LIST OF ILLUSTRATIONS
Figures 1-4 The First Booke of Songes or Ayres bullbull 72 Title page Dedication Preface Table of Contents
Figures S-8 The Second Boeke of Songes or Ayres 76 Title page Dedication Preface Table of Cpontents
Figures 9-12 Ultimum Vale bull 80 Title page Dedication Preface Table of Contents
Figures 13-16 A Musicall Dreame bull 84 Title page Dedication Preface Table of Contents
Figures 17-20 The Muses Gardin for Delights 88 Title page Dedication Preface Table of Contents
Figure 21 92
Figure 22 11 Farewell dear love 94
Figure 23 Transcription from Musica Antigua 96
Figure 24 Farewell fond youth 98
Figure 25 11 In Sherwood liude stout Robin Hood 100
Figure 2 6 11 Goe to bed sweete muze 102
vi
LIST OF APPENDICES
Appendix One Sources of the Music of Robert Jones
Appendix Two Contributors to Manuscripts numbered 56 through 60 in Christ Church Oxford
Appendix Three Graduates of Oxford
Appendix Four Oxford Treatises
Appendix Five bull bull bull Baccalaureus in musica solvet
Appendix Six Word set by Jones for Leighton
vii
105
107
113
114
115
116
CHAPTER I
IDENTIFYING THE HAN
Robert Jones who flourished between 1597 and 1615 is
one of the lesser known Elizabethan composers He has been
claimed not without causing confusion to have taken to
himself a number of QUSical assignments One author asserts 1
that Jones was a composer for virginals Another calls 2
him a composer for viols He is referred to by one historian
as a prominent lutenist to be numbered with Dowland 3
Campion and Byrd He has been called song writer and
1 Kurt Adler The Art of Accompanying and Coaching
(Minneapolis The University of Minnesota Press 1965) p 12
2 Gordon Dodd A Summary of Music for Viols Early
Husic 6 2 (April 1978) 263
3 Elise Bickford Jergens ed British Library
Manuscripts Part I English Song 1600-1675 (New Yorkmiddot Garland Publishing Inc 1986) p 11
-1-
-2-
theatrical manager both controversialist and genial person
Yet some authors such as Edmund H Fellowes in English
Cathedral Music consider his accomplistooents in some areas 5
too meagre to merit mention
In extant records for the period from 1520 to 1620
there are numerous references to R Jones Richard Jones and
Robert Jones There are also references to a w Jones and
an s Jones in the same Stationers Register that lists an R 6
Jones seven times Another Jonest Luke is a
4
contributor of one of the poems in William Leighton bull s Literary
Introduction and Laudatory verses to Teares or Lamentaciones 7
of a Sorrowful Soule from approximately the same period
It is possible to reduce the Richard and Robert Jones
references to four people that is two Robert Joneses and
two Richard Joneses It is also within the realm of
possibility that these rnen were related Their paths
4 Philip Heseltine Robert Jones and His Prefaces The
Musical Times (February and March 1923) 99 171
5 Edmund H Fellowes English Cathedral Music from Edward
VI to Edward VII rev ed Edited by JA Westrup (Westport Greenwood Press Publishers 1981) Fellowes discusses Leightons Teares or Lamentaciones of a Sorrowful Soule yet never discusses Jones contribution of three anthems
6 EK Chambers The Elizabethan Stage 4 vols reprint ed
(Oxford Clarendon Press 1961) vol II pp 380-389
7 Sir William Leighton Teares or Lamentaciones of a
Sorrowful Soule Transcribed and edited by Cecil Hill (Lancon Stainer and Bell 1970) p xviii
-3-
crossed often enough and in at least one instance
scholars have confused them crediting one with the work of
the other Some historians have also preferred to gloss
over the obvious inconsistencies in dates and make no
distinction at all in their references to Jones
The first Robert Jones conceivably the grandfather of
the Elizabethan composer is said to have been a chorister in
Henry VIIs Royal Household Chapel In 1512 it is
claimed that he was a member of Henry VIII s Royal Household
Chapel This Jones furthermore is listed as a meniDer of
the Gentlemen of the Chapel at the Field of the Cloth of
Gold in 1520 Three of his compositions have survived 8
although they are incomplete Thomas Morley cites Jones 9
work in A Plain and Easy Introduction to Practical Music
8 The New Grove Dictionary of Music and Musicians 1980
ed sv Jones Robert (1) The three-part song Who shall have my fair lady is in an anthology XX Songes Gustave Reese Music in the Renaissance (New York ww Norton Co 1956) p 763 discusses this book in a footnote as one of the earlies middott examples of music printing in England which was formerly considered to be a product of the press of bullbullsynken de Warde Denis Stevens Tudor Church Music (New York Merlin Press 1955) p 50 mentions this Robert Jones Mass based on the plainchant cantus firmi Spes Nostra
9 Thomas Morley A Plain and Easy Introduction to
Practical Music R Alex Harman ec (New York ww Norton and Company Inc 1952) p 321 Robert Jones is noted here as a vJelshman active ca 1485-153 5
-4-
The dates for Richard Jones span a time period of
ninety years from 1532 to 1624 Even allowing for
extraordinary good health and ideal living conditions these
dates must at the very least be for two men The first
Richard Jones is listed as the High Master of the Grammer
School for the children of St Pauls from 1532 to 1549 He
followed John Ritwise who was said to have allowed the boys
of the grammar school to perform interludes at the court of
Henry VIII There is no indication that this practice was
continued under the headmastership of Richard Jones The
lack of reliable information in this case can be attributed
to the loss of archives in the Great Fire of 1666 and the 10
confused records of the choir school and the grammar school
It is also possible that this is the R Jones who
entered three plays in the Stationers Register from 1567 to
1569 which had been performed by the Children of the Chapel 11
The headmaster then was Richard Edwardes In 1561
Edwardes received his patent as Master fron1 Queen Elizabeth 12
and this patent was entered into the records by an R Jones
10 Chambers volII pp 8-12
11 Chambers volIV p 381
12 Chambers vol II pp 33-34
-5-
The next two Joneses Richard and Robert have caused
the most confusion They were active during the same time
period and were associated with the same group the Children
of the Revels In addition both men were musicians both
were connected with a theatre troup manager named Robert
Browne and both men travelled to Germany It is a very
real possibility that these men were brothers possibly sons
of the first Richard Jones discussed It may not even be
far-fetched to suggest that all three were related to
the Robert Jones connected with the courts of Henry VII and
Henry VIII
Richard Jones was associated with the acting companies
of the Earl of Worcester in 1583 the Lord Admiral in 1589
1594-1596 and 1597-1602 and the Earl of Pembrokesbulls Hen in
1597 He was in Germany in 1592-1593 1615 1620 and 13
1622-1624 In 1623 he was a musician to the Duke of
Wolgest At this tioe he petitioned the Duke to be allowed
to return to England In 1624 Richard Jones again
petitioned the Duke this time to be taken back into service
as a musician In 1630 he is connected with John Jones a 14
dramatist
13 Chambers vol II p 324
14 Gerald Eades Bentley The Jacobean and Caroline Stage
Dramatic Companies and Players 5 vols reprint ed (Oxford Clarendon Press 1949) val I and II pp 135 485
-6-
Richard Jones entered four plays in the Stationers 15
Register between 1578 and 1594 In 1580 he was the
enterer of the song A newe northern Dittye of ye Ladye
Green Slevesu Jones was granted a license in 1584 to print
a book really a collection of ballads printed in broadsheet
form entitled Very Pleasant Sonets and Stories in Meter by
Clement Robinson Robinson was an Elizabethan poet fl 1566-16
1584 This was in response to a popular interest in signing
to the lute This Jones was not above using the name or initials
of well-known writers to enhance the sale of his verse books
At least three of these books A Smale Handful of Fragrant
Flowers (1575) Brittons Bowre of Delights (1591) and the
The Arbor of Amorous Deuises (1594 and 1597) used the initials
of Nicholas Breton much to Bretonbulls anger These books included
poems by Breton and others used without their consent Other
collections printed by Richard Jones are A Handfull of pleasant 17
delites and A gorgious Gallery
It was this Jones erstwhile actor and printer who was
granted the patent by which the Children of Whitefriars were
once QOre entitled to call themselbulles the Children of the
Queens Revels This patent dated January 4 1610 was
15 Chambers vel IV pp 382-383
16 The Cambridge Bibliography of English Literature
ed F w Bateson 5 vols (1940 Cambridge University Press 1969) p 646
17 Winifred Maynard Elizabethan Lyric Poetry and Its
Music (Oxford Clarendon Press 1986) pp 16 14 48-50
-7-
given by James I It reads in part
Know ye that wee haue appoynted and authorised Robert Daborn Phillipp Rosseter Iohn Tarbuck Richard ones and Robert Browne from tyme to tyme to provide keep and bring vpp a convenient nomber of children and them to practice and exercise in the quality of playing by the name of Children of the Revells to the Queene within the white fryers l8
It is this patent which seems to be the source for
confusing Robert Jones and Richard Jones Several
authorities claim that the Elizabethan COQposer Robert Jones
was involved with the Children of the Revels of the Queene 19
in 1610 However he is not mentioned in their
history until five years later One historian even claims
that Robert Jones is the founder and manager in 1610 of the 20
Children of the Revels to the Queen within White Fryars
18 Chambers vol II p 56 Chambers and Bentley
Jacobean Stage discuss the various associations of Richard Jones and Robert Browne in greater detail than is within the scope of this thesis
19 Edmund H Fellowes The English t-1adrigalist 2nd ed
vol 35 A (London Stainer and Bell 1960) p 4 and Heseltine Prefaces p 171 It is interesting to note that both these works were originally published in 1923 and neither lists sources Chambers also originally published in 1923 clearly states his sources for these patents the original cocuments
20 Morrison Comegys Boyd Elizabethan Music and Musical
Criticism 2nd ed (Westport Greenwood Press Publishers 1973) p 199 Boyd has all references to Robert Jones under one index heading although be discusses the work of the Tudor composer as well as that of the Elizabethan composer No source books on Elizabethan or Jacobean Theatre are included in his bibliographies
-3-
Robert Jonesbull connection with the Children of the
Revels is clearly stated in a patent granted by James I on
June 3 1615 It gave authority for the erection of a new
theatre for the continued training of the Children of the
Revels This theatre would replace the expireci lease on
another house used by Rossiter
And whereas the said Phillipp Roset~r together with Phillipp Kingman Robert Iones and Ralphe Reeve to continue the said service for the keeping and bringing vppe of the children for the solace and pleasure of our said most deere wife bullbullbull by the name of children of the Revelles to the Queene have lately taken in lease and farme divers buildings Cellars sollers chambers and yardes for the building of a Playhouse therevpon bullbullbull All which premisses are scituate and being within the Precinct of the Blacke ffryers neere Puddlewharfe in the Suburbs of London called by the name of lady Saunders house or otherwise Porters hall and now in the occupation of the said Robert Jones Nowe knowe yee that wee of our especial grace bullbullbull doe give and graunte lycense and authoritie vnto the said Phillipp Rosseter Phillipp Kingman Robert ones and Ralphe Reeve at their proper costs and char~~~ to erect build and sett vppe in and vppon the said premisses bullbullbull one conve ient Playhouse for the said ctildren of the Revelles 21
It is interesting to note that Robert Jones is mentioned
three times in this patent
This patent and its various details are confirmed in
other sources of the period The Privy Council was
21 Chambers vol II p 473
-9-
approached by the inhabitants of the Blackfriars area They
maintained that another theatre in Puddle Wharfe would be
too close to the church of St Anne and that it would
disturb the congregation during services Because of a technical
flaw the work that was begun on the building was ordered
stopped in September of the same year (1615) Plays were
performed there as late as January 1617 The last mention of 22
Robert Jones in this instance was the Kings patent
Robert Jones had other connections with the theatre
although he is not called an actor In 1602 he was in
Germany at Frankfort where he was named as a fellow of
Robert Browne Browne was something of a theatre impresario
who specialized in bringing English actors to the continent
and was also included in the patent of 1610 with Richard 23
Jones This year was the start of a three year
publishing hiatus by Robert Jones Appendix One includes
the titles and dates of Jones work An interesting fact
which may or may not be connected with Jonesbull time in
Germany is that his third book Ultimum Vale is one of eight
22 Chambers val II pp 472-473 61 val IV pp 343-345
23 Chambers val II pp 273-282 p 56
-10-
Elizabethan Music books which used to be in the library of 24
the East-Prussian Castle of Schlobitten
This Robert Jones then is the Jones who is the subject of
this paper He was active in the latter years of
Elizabethbulls reign and the early years of the reign of James I
He may or may not have been an actor but he was
associated with actors and the Chilciren of the Revells He
was stable enough to own a house and to enter into a risky
theatre venture
24 Otto Heinrich Meis Elizabethan Music Prints in an
East-Prussian Castle Musica Disciplina III (1949) 171-172
CHAPTER II
EDUCATION A~ID SOCIETY
Robert Jones is known to have graduated from Oxford
University in 1597 It is also known that he was at St Edmund s 1
Hall and was for sixteen years a student His date of death
is unknown although a valid theory has been put forward for 2
his approximate year of birth to have been 1574 This would
have made him only twenty-three when he graduated slightly
younger than n1ost of his contemporaries A comparison may be
rMde by using Appendix Two an outline of works contained in
Christ Church rlusic Mss 56-60 Composers who graduated from
Oxford University are identified as well
Music both sacred and secular was an integral part of
university life Until the Reformation it was customary to
have Masses sung for the souls of the kings and founders of
the various colleges ~ The playing of secular music and
instruments had become so distracting that it was forbidden
at bullbullunseasonable times 11 unless after meals and there was a 3
fire in the fireplace of the hall or communal erea
1 c F Abdy Williams A Short Historical Account of the
Degrees in fiusic at Oxford and Cambridge (London 1893) p75
2 Hese1tine Prefaces p 99 Heseltine combines the fact of
Jonesbull years as a student and Jonesbull admission of practicing music since he practiced speaking to estimate the date of 1574
3 Nan Cooke Carpenter Music in the Medieval and Renaissance
Universities (1958 New York Da Capo Press 1972] p 169 81
-11-
-12-
Since the singing of Masses was required by statute some
means had to be provided for the training of choristers Many
colleges maintained choir schools These younger members of
the college community actually owed their positions at Oxford
to their musical talent and duties In 1547 the Act of
Dissolution under Edward VI closed many church schools but
not the collegiate foundations in the universities the
choirs of St George and Chapel at Windsor and the cathedral 4
schools
The young choristers were taught plainsong and pricksong
and when their voices changed they were preferred for vacancies
in the universitys scholarship lists Among these colleges
were the Schola flusicae of Queens New College Corpus Christi
College Cardinal College (later Henry VIII and nm1 Christ
Church) St Johns College and Magdalen College The statutes
of Magdalen College also provided for places for thirty indigent 5
student-- iemyes) to study plainsong
In the preface addressed to the reader in his First Booke
of Songes or Ayers Jones states that ever since he practiced 6
speaking he practiced singing By his own words it is likely
4 carpenter pp 167 88 388
5 Carpenter pp 267-171
6 F w Sternfield general editor English Lute Songs 1597-
1632 a Collections of Facsimile Reprints (Manston The Scholar Press Ltd 1971) 26 Robert Jones The First Boo~e of Songes or Ayers 1600 David Greer ed
-13-
that Jones was trained in one of these choir schools anG it is
not inconveivable that he was a recipient of a scholarship to the
university of Oxford Indeed Jones was probably at school at
Oxford rather than London and may even have been one of the
demyes of Magdalen College This is especially likely in view of
the fact that Jones had no steady patronage each of his song
books was dedicated to a different person and he was not 7
connected as household musician in the same way that John Wilbe B
and John Ward were involved at Hengrave Hall and with Sir Henry
Fanshawe
The power for presing choristers into service started in
1420 and this practice continued through Elizabeth bull s reign Im-
pressment of exceptional singers men and boys from all over 9
England into service in the Royal Chapel was commonplace
7 Sir w H Hadow English Music (London Longmans Green and
Co 1931) p 65
8 John Aplin Sir Henry Fanshawe and Two Sets of Early
Seventeenth Century Part-Books at Christ Church Oxford Music and Letters 57 (January 1976) 14
9 Carpenter p 341 Foster Watson The English Grammar
Schools to 1660 Their Curriculum and Practice Cambridge University Press 1908 Encyclopedia Britannica Library Resources Inc LEL 10880) pp 155 212 217 Watson mentions several grammar schools in London which incorporated music into their programs at this time They include the Merchant Taylors School St Paul School Thames School and Christ Church Hosshypital It was necessary to know the catechism in English or Latin read perfectly and write co~petently before acceptance at these schools Hulcaster headmaster at Nerchant Taylors claimed that extra subjects like music were studied privately by gentlemens children and that nusic itself was a part of the math curriculum
-14-
It is doubtful that Robert Jones was impressed into such service
He was both eloquent and voluble in the prefaces to his song
books and would certainly have alluded to this aspect of his
life had it been part of his own experiences
The awarding of baccalaureate and doctorate degrees in
music at Oxford was a tradition dating from the early fifteenth
century Music had been established as a separate faculty the
only liberal art so distinguished In fact the English
universities were the only ones to confer degrees in music
There is no indication that a prior arts degree was required for
the Bachelor of Music as was often the case in other fields
Many of England s most talented musicians became bachelors or 10
doctors of music at Oxford Appendix Three is a partial
listing of these musicians drawn fron information in Carpenters
and ~lilliams bull studies Furthermore the University of Oxford
was after the University of Paris the inspiration for more 11
treatises on music than any other medieval university
Appendix Four is a compilation of these treatises taken from the
work by Carpenter
The dichotomy of music that is musica practica versus
musica speculativa was reflected in the requirements placed
upon the degree seeker at Oxford It was as necessary to study
polyphonic music as to study theory Music classified within the
mathematics traditions and the text of Boethius De institutione
10 Carpenter pp 159 89 336 160
11 Carventer p 82
-15-
musica was required by statute since 1431 In 1549 after
Edward VI visited Oxford the candidates for the bachelor of
music degree were to concentrate on the disciplines of the
quadrivium Sixteen terms (four years) were to be spent in
grammar rhetoric dialectic and arithmetic and 11 in musica
Boetium Admission to the bachelor of music granted the right 12
to lecture in any of the music books of Boethius
Each student at Oxford was instructed by his own tutor until
he had obtained his first degree This meant that the musical
careers of some students were actually shaped by the methods of
their tutors Attendance was required at public lectures Aside
from the usual difficulties with student participation and indif-
ference or inability of some faculty these lectures were to be
given in Latin Dr John Bull not being proficient in Latin
was granted permission to read his lectures in English in 1597
Jones of course should have attended these lectures since John
Bull was incorporated as a Doctor of Music from Cambridge in
1592
In order to obtain a degree it was necessary to compose a
Mass song or canticum bull bull bull to be performed before the university bullbullbull 14
on the day of the Cornitia 11 This was not meant to determine
eligibility for a degree rather it was meant to add to the
12 Carpenter pp 89 77 153 159
13 Carpenter pp 154-156 163-164
14 Williams p 21
-16-
solemnity of the occasion This rule specifying a piece of music
to be performed in the university churcl1 at Act time remained un-15
changed from 1516 until 1608 when a hymn only was required
However there was a dispensation from this rule A
candidate could apply for a degree pro circuitah He would
request the Vice-chancellor and proctors to summon a Congrega-
tion On the afternoon before the Congregation the student
preceded by one or both of the bedells of his faculty and accompanied by the person who was to present him in congregation bullbullbull attired in academic dress but bareheaded went round to the schools and also called on the Vice-chancellor and both proctorsl6
Tradition always was an important part of university life
Oxford in the early sixteenth century was no exception Fre-
quently these traditions became codified in statutes Gloves
were an expensive luxury and early in Oxford 1 s history it became
obligatory for the degree seeker to give a pair to the Bedells
and other officials No man could dress above his station and
students fined for wearing silk were required to wear gowns 17
with loose sleeves and square caps in public Following is a
list of graduation fees established by statute at Oxford in 1601
taken from Carpenter Appendix Five is a copy of the original
version According to the custom Jones would have had to pay
some if not all of these fees
15 Williams p 27
16 Carpenter p 165 citing Clark in Register II p 46
17 Williams p 59
-17-
TABLE ONE
Graduation fees at Oxford in 1601
The baccalaureate in music will disburse
First for the total for gifts 6 s For the service of the room For the clerk of the university For possessions For the chamber For the six year total [tuition] 2 s For services during the present year For the clock For the right of the university For the lesser porter of Arts
Total 13 s
IE he has been subsidized by the church 7 s or by patronage he will disburse for wine
If not arranged in advance [] he will pay for the table servants to the porters of his faculty for meals
The greatest expense on this list is for wine [)
a d 6 d
12 d 12 d
4 d
12 d 2 d 2 d 6 d
4 d
4 d
9 d
-18-
It is not indicated in the available sources whether Robert
Jones composed a piece for graduation or used the pro circuitubull
option However a good case can be made for the former there
is an anthem in Christ Church Imiddot1usic Mss 56-6 0 Singe joyfully
which was composed by Jones The words are from Psalm 81 and
are identical with those in an Elizabethan Bible printed in 18
1595 This is two years before Jones graduated from Oxford
Furthermore the Christ Church lbulllus ic t-lss was compiled 11 wi th
most of the material at hand gathering together works which may 19
already have existed in worn or loose copies It was planned
as a memorial to Prince Henry and most of the composers repre-
sented were court-based friends of the composer John Ward who
was in the service of Sir Henry Fanshawe These part-books were
compiled at Fanshawes request and completed by his son before 20
1620 The Oxford anthem Singe joyfully will be discussed
further in the chapter on sacred music
As can be seen music was an important and necessary
part of the education of a gentleman and it was a necessary
18 The kindness of Mr Richard Austin of St Luke bulls Shrine
Smithfield is gratefully appreciated He allowed access to the Bibles there which proved that Jones used the Elizabethan transshylation and not the King James version of Psalm 81
19 Aplin p18
20 Aplin p 14
-19-
21 accomplisr~ent of the perfect courtier Even Morley begins
his book with a description of the embarassment caused by a lack 22
of ffiUsical knrn~ledge Furthermore a degree in music was an
invaluable asset to obtaining a post in the Chapel Royal
Neither Elizabeth nor James I gave honors such as peerages or
knighthoods to musicians rather they used offices in the
Royal Household the Chapel Royal and the Kings Musick as reward 23
for services In 1605 Jones dedicated his Ultimum Vale to
Prince Henry ~hether this earned a reward for Jones is not
known However it is likely that the Mr Jones listed as a 24
Gentleman of the Kings Chappell in 1612 is Robert Jones
It is possible that this position and not great reknown earned
a place for Jones in the Fanshawe part-books
As a Gentleman of the Chappell Jones would be expected to
be quite proficient in reading music and well-versed in plainsong
and pricksong That he could COQpose apart from performing 25
would have been the highest recommendation of all It is note-
21 Carpenter p 343
22 Morley p 9-10
23 G A Philipps Crown Musical Patronage from Elizabeth I
to Charles I Music and Letters 58 (January 1977) 29
24 Henry Cart de Lafontaine The Kingbulls Musick (New York
Da Capo Press 1973) pSO
25 John Stevens Music and Poetry in the Early Tudor Court
(1961) Cambridge Caniliridge University Press 1979) p 309-317
-20-
worthy that although Jones was actively composing in the latter
years of Elizabethbulls reign he was not associated with her court
Like many others he sought patronage elsewhere as can be seen
from the dedications of his song books His appointment as a
Gentleman of the Chappell may indeed have been a result of his
having dedicated his third song book to Prince Henry elder son
of James I Jones published no work after 1610 two years before
his name appears as a Gentleman of the Chappell It is possible
that Jones again travelled to Germany with theatre impresario
Robert Browne or he may well have decided not actively to
compose as he had implied in the prefaces of his last three song
books Records in these areas are incomplete although further
connections with the theatre will be discussed in the following
chapter
CHAPTER III
WAITS V~SQUES AID THE THEATRE
The waits were orisinally watchers at the gates and were
probably descended from the watchmen and sentinels for camps 1
castles and other fortified places In fact wait is the Saxon
word for watcher Eventually they were employed by the cities to
keep watch and guard during the night and to call out the time
and weather Their main purposes were protection order and
safety within the cities To carry out these duties the waits
were furnished with musical instruments These were used to
sound alarms and call for help when needed and were probably an
early type of shawrn or a horn made of metal In 1296 a statute
was enacted in London which required the servants who closed the
gates at night to have waits at their own expense Eventually
the term wait came to mean the man the instrument and the music 2
played on the instrument
The connection between Robert Jones and tte waits only
beco~es clear when the development of the waits and their
1 Walter L Woodfill Musicians in English Society from
Elizabeth to Charles I (New York Da Capo Press 1969) p 33
2 Henry Alastair Ferguson Crewsdon camp The
1-Jorshipful Company of -iusicians ( 19 50 London Charles Knight and Co bull Ltd bull bull 1 9 7 1 ) pp bull 16 2 -16 4 bull
-21~
-22-
place in Elizabethan and Jacobean society is discussed It was
not long after the first statute concerning the waits was passed
that they came to be considered musicians They are included
called by the nanle of wayghte and other variant spellings
among the musicians of Edward III (1327-1377 and are named in
records from Henry VI through Charles I From watchmen with
musical instruments to capable musicians is a logical development
of talent and time For a watchman with musical ability there
was time to acquire skill and thus gain employment publicly or 3
privately as a musician when not on duty
Many of the principal cities in England employed waits In
London the nunilier of groups varied from six to nine and the
number of masters and apprentices in each group was strictly con-
trolled Their places were so coveted that musicians good or
bad bargainea fought or sued for any vacancies Often a place
would pass fron1 father to son Their privileges included
monetary compensations and gifts distinctive livery status in
the city as freemen in the Company of ~usicians without charge
and the right to keep two apprentices at a time Their services
publicly and privately were much in demand by the lord mayor the
sheriffs and aldermen and the playhouses They were required
to meet regularly for rehearsals and only the 11 ancientist
3 Crewsdon pp 165-167
-23-
4 that is the eloest of their society could dispose order and
direct their music
Until 1525 the wait pipe (horn) and shawm were the only
instruments used by the waits The sackbut was added in 1526
In 1561 instrumentation was expanded with the addition of
viols and recorders and cornetts were added in 1568 and 1576
respectively In 1597 the curtal a bassoon-like instrument was
added Records indicate that portable organs keyboards and
harps were hired for special occasions In some waits the lute 5
and singing were included as early as 1555 The waits
provided the music for visiting dignitaries parades and court
masques and dancing The First Book of Consort Lessons by Thomas
Morley was meant as a guide for the groups of instruments used by 6
the waits Their music consisted of traditional wait tunes
(simple airs meant originally for wait pipes and shawms played
with cold fingers) music which may have existed only in
manuscript form written expressly for use in a masque or pageant
and music apt for viols or voyces u including madrigals
Ultimum Vale of Robert Jones contains music for colibination of 7
lute voices and viols Figures 1-20 are facsimiles of tbe
4 Woodfill pp 37-44
5 Woodfill pp 34-36
6 Wood f i 11 p bull 4 5
7 Woodfill pp 44-52 Waits and their history are more
fully discussed by both Woodfill and Crewseon A very brief outline only has been possible in this paper
-24-
title pages dedications and prefaces and tables of contents of
the song bool s of Robert Jones from Greer
Ultimum Vale is probably the book included by Gordon Doad in 8
his list of music for viols This song book is also the source
for ten of eleven songs by Jones included in the Giles Earles 9
book It is this custom of performing vocal and instrumental
music only instrumentally that forms part of the basis for early
chan~er music in England It was advocated by Thomas Morley in
his book and used not only by Jones but also by Sir William 10
Leighton in Teares or Lamentaciones of a Sorrowful Soule
It is possible that this evolutionary process in performance
practices and adaptations of popular pieces for other instruments
may be the basis for the idea that Jones composed for the
virginals Certainly no music specifically for the virginals or
instruments other than lutes has been found to have been
composed by him
When playing for the masques the waits probably performed
in a room or chamber near the pageant rather than on the street
or porch where the masque was being presented Robert Jones bull
8 Dodd p 263
9 Jergens p f 13V-f22V
10 Ernst H Meyer Early Englisn Chamber ~1usic ed Diana
Poulton (1946 Boston Marion Boyers 1982) p 135 149
-25-
11 naroe is not in the lists of appointments to the London Waits
But Jones did have so~e of his music included ill masques Everie
vloman in her Humor a masque by Maclin published in 16 09
includes two songs from The First Booke of songes or Ayres The
title My mistris was not used in notes for the masque rather
lines from the song were used thus hindering our identification
of Jones as its author Figures 21 and 22 are facsimiles of this
song This same song was used in Loves Charity by Shirley in 12
1631 and The Dutch Courtesan by John Marston The latter was
presented at Blackfriars in 1603 performed by the 11 Children of 13
her Maiesties Revels Christ Church Ms 439 which contains
four songs from The Second Boeke of Songs or Ayres is said to be 14
a compilation of songs used in masques
The dates of the songs discussed indicate that Jones was a
source for music used in masques rather than a co~poser of music
for masques This is admittedly a subtle difference but it is
a critical one since Jones is not credited with supplying tPis
music in tle published sources of the time such as the plays
themselves
11 Woodfill p 48 and Appendix A
12 John P Cutts Everie ~loman in her Humor Renaissance
News 18 (Autumn 1965) 210-212
13 Chambers vol III p 431
14 Cut t s p 212 bull
-26-
Songs used in masques were declamatory in vocal style with
rare word-repetitions except towards the end of a song The
lute accompaniment tended to be chordal with an harmonically
15 statis bass The aforementioned 11Ny mistriS 11 (see Figures
21 and 22) very clearly demonstrates this principle The masque
an offshoot of the main dramatic movement was musically con-16
nected with the great nass of songs with lute accompaniment
Robert Jones was a natural choice for the masque authors His
melodies tend to be rhythmically simple and singable By his ow~
admission in the preface to his First Booke of Songes or Ayres
Jones main concern was fitting the note to the word (See Fig-
ure 3)
Shakespeare also liked to use contemporary songs in his
works for the theatre and in the music of Jones Shakespeare
found songs to express the moods of his characters Perhaps the
best known instance of this reliance upon Jones is in the comedy
Twelfth Night The song 11 Farewell dear love bullbull is number twelve
in The First Booke of songes or Ayers
15 Ian Spink English Song Dowland to Purcell (New York
Charles Scribners Sons 1974) p ~0-41
16 Ernest Walker A His tory of Music in England (rJew York
Da Capo Press) p 153
-27-
In Twelfth Night II iii Sir Toby Belch and the clown
Peste sing a version of this song that telescopes the first and 17
second verses Malvolio warns Sir Toby and Feste that
Olivia will bid farewell to Sir Toby unless he reforms It is at
this point that these two characters alternate singing lines of 18
the song This song was set in 1600 and the date of Twelfth
Night is 1601 The obvious conclusion is that Farewell dear
heart was a popular favorite and would have been recognized no
matter how much it was condensed Another testimony to its
popularity is that the tune appears as a hymn setting in a Dutch
psalter The Dutch version is Heilgierig mensch and the 19
psalter was published at Amsterdam in 1713 That Jones himself
favored this song is shown by the fact that in his fourth book
nine years later Jones sets Farewell fond youth Its meter
is identical and its melody is similar to that of 11 Farewell dear 20
heart Farewell dear heart may be seen in Figures 23-26
and bullFarewell fond youth in Figures 27-28
17 John Stafford Smith Musica Antigua (London 1812) p 10
204
18 Peter J Seng The Vocal Songs in the Plays of
Shakespeare A Critical History (Cambridgemiddot Harvard University Press 1967) p106
19 William Shakespeare The Complete Works ed Alfred
Harbage (Baltimore Penguin Books 1969) pp 316-317
20 Edward Woodall Naylor Shakespeare and Music rev ed
(New York Da Capo Press and Benjamin Blom Inc 1969) p70
-28-
Shakespeare also turned to Jones for parts of the mad songs
for Ophelia in Hamlet IV V Although it is not a proven
fact the setting of In Sherwood liude stout Robin Hood see
Figures 29-30 from A Musicall Dreame bears close resemblance to 22
the words sung by Ophelia That it probably is this song is
due more to the nature of the scene and the impropriety of the
words words which would never have been sung by a sane Ophelia
and to the popularity of Jonesbull work rather than contemporary 21
documentation Frequently Shakespeare had his
characters sing snatches of songs or refrains and further
attributions to Jones are possible but not provable without a
shred of documentation Nor in general are Elizabethan
composers who often set the same words identifiable unless the
tune had been transcribed or the composer named in the
manuscript
21 Heseltine Prefaces p 168
22 F w Sternfield Music in Shakespearean Tragedy
rev ed (London Routledge and Kegan Paul 1967) p 57-58 71
CHAPTER IV
THE SECULAR t-1USIC
The secular works of Robert Jones consist of five books of
lute songs or ayres and one book of madrigals One or two copies
of each song book have all survived in excellent condition with
minor problems such as missing title pages The madrigals 1
however exist only in an incomplete state Possibly this is
due to the difference in publishing techniques of the two types
of song The song books include all voice parts printed on
opposite pages in such a way that tt-e performers can stand around
a table and use the same book The madrigals on the other hand
were printed in separate part books with the result that the
loss of one part book took away from the whole
Lute songs increased in popularity and availability
when the printer Peter Short acquired a font of lute tablature
This acquisition in 1597 greatly facilitated the publishing of 2
lute music William Barley had published a book The New
1 Fellowes Madrigalists p iv In the preface
Dr Fellowes describes in depth the location of various part bookst and which madrigals are complete because they were found in alternate sources
2 Spink p 15
-29-
-30-
Book of Tabliture in 1596 which contained the first solo song
with lute accompaniment published in England In the four years
between the publication of this book and the First Boeke of Songs
or Ayres by Robert Jones in 1600 books by Dowland Morley 3
Cavendish and Farnaby in this style were printed Peter
Short by the essence of Thomas Morley was the printer of the
first two song books of Jones and the first book of Dowland It
may thus only have been for practical reasons that the title
pages are virtually the same
Lute and vocal music were easily printed For the lute
tablature letters not notes were placed on a six line staff
Vocal music used about a dozen signs for clefs tempos and
accidentals and thirty individual signs for notes apportioned on
a staff of five lines each with a note on one of the lines or 4
spaces Obviously it is this setting of each individual note
with its staff which gives the music its slightly wavy
appearance
Each of Jones five song books includes twenty-one songs
although contemporaneous song books usually vary in the number of
songs Whether this really has any special significance for
Jones is impossible to know For all his loquacity he did not
3 Phillip Hes~ltine The English Ayre (1926 Westport The
Greenwood Press Publishers 1970) p 138
4 Boyd p 178 Keyboard music was not published until 1611
and tben it was engraved This was because of the difficulty of dividing the staff to print cords of two or more notes
-31-
refer to this in his prefaces All five prefaces are illustrated
as follows The First Booke of songes or Ayresw Figures 1-4
The Second Boeke of Songes or Ayres Figures 5-B Ultimun
Vale Figures 9-12 A Musicale Dreame Figures 13-16 and
A Musebulls Gardin for Delights Figures 17-20 However that it
was important to him could explain why he chose to include two
Italian songs in A Husicall Dreame They are for solo voice with
lute or bass viol accompaniment (or both) and come at the end of
a book of songs for three and four voices
The idea of performing vocal music instrumentally has
already been discussed with the performance practices of the
waits Another common practice of lute playing was to use
alternate tunings of the lute The more usual tuning is gd A 5
F C G Plternate tunings included the sixth or bass string
tunec to F not G or the tunings called the 11 leero fashion 6
These were d a f a F c This method was used by Jones in 7
The Second Book of Songs and A~res published in 1601 The
words 11 Set out to the Lute the base Viall the playne way or the
5 Edmund H Fellowes The English t-ladrigal Composers 2nd ed
(1921 London Oxford University Press 1967) pp 304-5
6 Veronika Gutmann Instrument oder Dininutionspraxis
Archiv fuer Husicwissenschaft 35 (November 1978) 189
7 Frank Anthony Traficante The Hansell Lyra Viol Tablature
Parts I and II diss University of Philadelphia 1965 pp 188-189
-32-
Base by tableture after the leero [lyra] fashion appear on the 8
title page There often was a seventh string added below the
bass string tunec to D To avoid confusion this note was not
annotated on the staff instead ledger lines were added to 9
indicate its implementation This may not have been a popular
practice Jones used it sparingly in Ultimum Vale his third
book However all songs but one in A Musical Dreame call for
the extra string That Jones was criticized for use of this
extra string in Ult1rnuro Vale can be inferred from the preface to
A Musicall Dreame This preface is not addressed to the reader
but rather to all Musicall Murmurers
Understand me thou vnskilfull descanter deriue from that Note of Plaine Song charitable numbers and thou shalt find harsh voices are often a Note aboue Ela reduced by truer iudgement which I bereaue thee of nowing thy Rules are as our new come Lutes being of many strings not easily used vnlesse in aduenture till practice put forward into deseruing Diuision
From this preface it appears that Jones was something of an
innovator often embracing ideas before their full acceptance
Jones also may have ornamented or used graces in his work
However we cannot know this because the art of ornamentation was
a live tradition passed from one player to another The second
reason is that printers of the time did not have the necessary
8 The title page of this book is misleading The correct
title appears to be The First and Second Boeke of Songs and Ayres It is usually referred to as The Second Boeke of Songs and Ayres See Figure 5
9 Fellowes Madrigal Composers p 304-305
-33-
10 signs for ornaments or graces in lute playing
The following chart of lute tablature is adapted from
Fellowes The strongs are labeled treble small mean great
mean countertenor tenor and bass All but the treble string 11
were doubled
Treble ( g I ) a b c d e f g h Small r-Iean (d ) a b c d e f g h Great Mean (A) a b c d e f g h Counter-tenor (F) a b c d e f g h Tenor (C) a b c d e f g h Bass (G) a b c d e f g h
The fingerboard of the lute has ivory frets When stopped
each fret raises the tone of a strong by a half step The small
letters bullbullabullbull bullbullbbullbull 11 C 11 and so forth indicate behind which fret the
fingers are placed to produce the desired tones The letter a
indicates an open string that is one which is not fretted or
stopped b shows to stop the string behind the first fret It
raises the string by a sernitone Each letter represents the
next semitone to be produced on a string
These signs irdicate the duration of the note 1 ~ ~ f ~ ~) and stand for semibreve minim crotchet quaver and semi-
quaver respectively The last sign used gives the duration of
10 Diana Poulton Graces of Playing Renaissance Lute Music
Early Music (April 1975) 108
11 Fellowes Madrigal Composers pp 304-305
-34-
following beats Dots of augmentation with their accepted mean-
ing are used when needed Barring follows the rhythm of the 12
music or the words and is not always indicated It must be
remembered that Jones did not always use this tuning for the lute
rather he indicated it by specific performing instructions on his
title pages
Lute songs have roots in the freemens songs Freemen bulls
could be a corruption of the Anglo-Saxon work 11 freibull meaning 13 14
fesitval or of the term three mens songs In either case
they were lively cheerful songs with the tune in the uppermost
voice the tenor They were the basis for the simple part songs
which were so popular in mid-sixteenth century England These
songs then evolved into the Elizabethan consort songs and finally 15
the lute songs
Lute songs ordinarily were published with only a word or two
of the first line printed in beneath the score The singer
12 Fellowes Madrigal Composers p 306
13 Smith p 10
14 Walker p 45 The book published by Wynken de Warde in
the early sixteenth century which contains the work of the first Robert Jones also includes freemenbulls songs~
15 Spink p 16
-35-
16 either knew the rest of the words by heart or vocalized 11
Jones however is one of the few composers whose words are
carefully and consistently placed beneath the notes in his song
books This note-to-the-word placing allowed him more control of 17
the rhythm in strophic settings of different stanzas of poetry
The lyrics of English lute songs and ayres consisted mostly
of typically short verses The sources for many of the lute
songs and ayres were the ~any Miscellanies published during
Elizabethbulls reign ~ong these The Phoenix llest and Englands
Helicon were the most popular However the collections of
Richard Jones were also used by some composers Richard Jones bull
not properly detailing the authorship of the poems in his
collections is the primary source of confusion in identifying the
authors of the poems set by composers Another problem in the
use of MiscellanieE is the resultant multiple settings of 18
favorite poetry Robert Jones set many poems of Francis
Davison Sir Philip Sidney and Thomas Campion What initially 19
may appear to be plagiarism is really an accepted practice
16 W a 1 ke r p bull 4 6 bull
17 Winifred Maynard Elizabethan Lyric Poetry in Its Music
(Oxford Clarendon Press 1986) p 71
18 Maynard pp 54-55
19 Heseltine pp 130-131
-36-
The main differences between lute songs and ayres tended to
be those of length and rhythm Ayres generally had simpler
settings were more strophic and shorter and usually were better 20
sung as a solo song with lute acconpanirnent The ayre is
normally considered a short lute song with the accompaniment
providing the clue to the difference~ Performances could vary
according to the abilities of the performers and the instru-
mentation they used Frequently this lead to harmonic 21
discrepancies in the vocal and instrumental part-settings
This perhaps is the basis for one claim which has been made
that Jones did not write these parts for what are really solo 22
songs in his last two books
The English Madrigal developed as a result of the
publication in 1588 by Nicholas Yonge of a collection of works
by Italian and Italianized Netherlands composers This book
Musica Transalpina contained fifty-five of the best Italian
madrigals translated into English and proved to be very po~ular
20 Maynard p 55
21 Walker pp 80-81
22 Edmund H Fellowes The text of the song books of Robert
Jones Music and Letters 8 (January 1927) 25-37
-37-
In 1598 ~iichael Cavendish wrote a madrigal with the nLong live
fair Oriana refrain This may have been based on a madrigal
published in Il Trionfo di Dori It was this refrain which may
have been the impetus for The Triumphs of Oriana published by
Thomas Harley in 1601 The Triumphs of Oriana contains twenty-
five madrigals by nearly all the most distinguished English 23
composers of the time 11 Robert Jones contributed Fair Oriana
seerring to wink at folly 11 to this collection
The First Set of Madrigals was published by Jones in 1607
Its being called the First Set is no proof that Jones intended to
publish more sets Rather this avpears to be a publishing
convention of the time Where this set is unique is its
containing madrigals of 3 4 5 6 7 and 8 parts tvhereas
most madrigal sets were in groups of one or two different numbers
of voices this book has six different voice groupings These
combinations alone would give rise to the idea that although
Jones experimented with the madrigal form he either was not
comfortable with it or was not proficient enough with it for
his own standards On the title page~ Jones claims that the
collection is for Viols and Voices or for voices alone~ or as
you please 11 Several of the texts included in this transcribed
edition are poews by Francis Davison and two are by Campion
23 Walker p 78
-38-
The English madrigal was something of a compromise in form
It combined the contrapuntal secular music of the Italian style 24
and the harmonies of such songs as the frottola It typically
was a single stanza of seven to eleven lines in length A line
maybe made up of seven or eleven syllables with short and long
lines in any order The rhymes were mostly feminine and in
random order For this the Italian verse setting was standard 25
but short verse ottara rima or sestina were also used
Perhaps the one concept about the secular work of Robert
Jones that should not be overlooked is that he intended his music
for pleasure He had no rigid rules about performance practices
and he was willing to experiment with new techniques He was not
tied to rules of harmony and counterpoint and he seems to have
been partial to the sounds of open fifths and false relations
He was clever and innovative in his use of rhythm and rests
formed an integral part of his control of rhythm It was an
unhappy man who composed the song Goe to bed sweet muze This
was in Ultimum Vale the book that Jones intended to be his last
He seems to be saying goodbye to his love of music and composi-
tion rather than to an unfaithful lover That music in his muse
can be found in his explanations for publishing again in the
prefaces to A Musical Dreame and A Muses Gardin for Delights
24 Walker p 77
25 Maynard p 55
CHAPTER V
THE SACRED NUSIC
In a fashion typical of the Elizabethan era one music
publication could contain ayres madrigals or religious motets
The Teares or Lamentaciones of a Sorrowfull Soule by 1
Sir William Leighton is one such book It contains eighteen
consort songs twelve songs for four voices and ten songs for
five voices The contributors of songs for this book include
Byrd Milton Bull Ferrabosco Jones Peerson Thopul
Coperario Dowland Ford Gibbons Giles Hooper Johnson
Kindersley Lupo Pilkington Ward Weelkes and vlilbye As can
be seen Jones is numbered among the finest composers of the era
Sir William Leighton was born into an influential family
He had social economic and educational advantages However
because of carelessness and misfortune in his finances he was
imprisoned In 1613 Leighton published a book of his own
poetry The Teares or Lamentaciones of a Sorrowfull Soule This
was followed the next year by a book with the same title cf
musical settings of these poems composed by himself and twenty
composers The purpose of these books was to show Leightons
1 Walker p 81 The consort in this case refers to the
accompaniment of the cantus voice with the treble viol and lute tablature The altus was accompanied by the flute and had tablature for cittern The tenor voice included tablature for the bandora and the bassus was paired with bass viol tablature This was in reality the broken consort
-39-
-40-
repentance But the laudatory verses composed by his friends
and included in the introduction of the book seem to negate
this These poems use word-plays and puns on Leightons name and
deal with his unjust imprisonment
The works in this book are on sacred themes and could be
considered appropriate for use in church However that Leighton
intended for then1 to be domestic fare is seen in the style of
printing used that is on a double folio in the same form as
that used for lute songs and in the performance practices he 2
recommended
Jones set three poems for this work The first two anthems
are included in the poems published as The Teares or
Lamentaciones of a Sorrowful Soule The third piece by Jones is 3
set to words not included in the 1613 edition and the poetry
differs in form from that of the others The words of the first
two anthems consist of six eight syllable lines rhyming ABABCC
The third anthem is a simple quatrain with an ABAB rhyme scheme
The first two anthems closely resemble the favorite form set from
The Phoenix Nest the difference being that the lines in the
2 Leighton p x
3 Leighton p xxv
-41-
4 miscellany are ten syllables long The poetry from these
anthems is included in Appendix Six
Robert Jones composed a fourth sacred work This piece
Sing Joyfully which will be referred to as the Oxford Anthem 5
is included in the Christ Church Mus Mss 56-60 The source
for this manuscript has already been discussed in Chapter II No
modern transcription exists for this anthem and may be attributed
to the fact that the bass part is missing and this anthem is one
of a few anthems in the Christ Church Mss not found in other
sources
The possibility that the Oxford anthem was the piece that
Jones composed to meet degree requirements at Oxford has been
presented in Chapter II To substantiate this claim further the
words of Psalm 81 from the Book of Common Prayer printed in 1619
and from The Bible of 1595 are included here This will
facilitate comparison with the Oxford Anthem facsimile from
Christ Church and its transcription and recreated Bass part
4 Edward Doughtie Lyrics from English Airs 1596-1622
(Cambridge Howard University Press 1970) p 25
5 This manuscript has not been recorded in RISM
-42-
6 The Book of Common Prayer 1619
Sing we merrily unto God our strength Make a cheerful noise unto the god of Jacob
Take the psalme bring hither the tabret The merrie harp with the lute
Blow up the trumpet in the new moon Even in the time appointed And on our solemne feast day
7 The Bible 1595
Sing joyfully unto God our strength Sing loud unto the God of Jaakob
Take the song and bring forth the timbrel The pleasant harpe with the viole
Blow the trumpet in the new moone Even in the time appointed At our feast day
6 The Book of Common Prayer and Administration of the
Sacraments and other Rites and Ceremonies of the Church of England with the Psalter or Psalmes of David Printed by Thomas and John Buch Printers to the University of Cambridge 1619
7 The Bible That is the Holy Scripture contained in the
Old and Newe Testament London Deputies of Christopher Barker printers to the Queenes most excellent Maiestie 1595
-43-
The bass was reconstructed after a study was made of the
style used by Jones in his two madrigals for five voices and the
one anthem for five voices in Leightonbulls work The madrigals
were used for this comparison because of the similarity of style
with the anthem
In general Jones uses the bass as a platform for the other
voices Large skips are used sparingly and the relationships of
thirds and sixths with the tenor voice is usually maintained
The frequent use of whole notes and rests and the rare use of
dotted rhythms and eighth notes emphasizes the stable voice
leading Jones rarely initiates word painting or new rhythmic
patterns in the bass However the bass is used to start an
upward scalar pattern carried through by the other voices in turn
It is hoped that the reconstructed bass for the Oxford
Anthem is in keeping with Jonesbull methods The transcription
would not have been possible without Dr Clyde Brockett It is
possible to include the anthem because of the assistance of Mr
H J R Wing of Christ Church Oxford
44
Cantus middot
( -11 ((
) L ~L I
middotmiddot~middot 0
I I
45
Cantus
------------------------------ ====~====================~ I
I ~
j-- ---====-=--=--=--=---=----=---=--=----~~----------===shy
l I
r
l t
I
~-
t ~
middot r I
(1 c I ( middoto
A ~ -1 bull T I bull 1-Jtc v I
bull
~iof~ictf ----middot-
t~L f ef a attf j az ~ E I cfft ~ fiipound wuamp J1 -------- --4----bull- - -- --
iS
l ----=-----------
47
I middot--- - -- - -- I
j It~middot~ ~~I ~CJ m bKpound fy nt-l a~ PJtttfd (Ul A ~
t Ybull T 0 A I I I
~ -t-I I I - bull I I l bull I I I bull bull J I 1 bull I I I
A - bull ~ I
1
-~-- -- ---middot-------------+
-------middot---middot~---------
1----- --------~---
48
middot- middot---- -- ------middot --~___middot---~- ~--middotmiddot ~
49
Contra tenor
middot -bullmiddota --~ilirtttwbullnbullmiddot d_rl_ mr
I ~
i-----------------------_)_
F------ --
______ _
-------middot--middot-----middot -~-- ----- middot-middot-middotmiddot --~----middot- ------- ------shy+----- ------------ -----r=-~----_____middot ~~~---~--~- ~~~-~~-~-----_ --I
I
(I
bull
middot~
I ii l
l
l Imiddot
-I
(
50
Tenor
------
fwaft qtmiddoto( tft~ tfttttt~l hF Ibull bull ~ l~~r---~-~- ~ - =13
t)tl) tfc G11 pound th (b ir th~ tf~~ v
~-f~~-~3 -----+ ~ ------middot =-==~-~-fi I 1Ppoundf ft t1 c If r 11 a h -middot qCo ~~ l-K~-
I I I
bull
51
Tenor
l ~
~ ~r--=t-~ ~ J middot~middot bull I I
13fon ~ lppt ~fie bmpt~H1 tfv1VC btpound lLi hum( Efl J A t I o bull
H-1----r~ni----=ll bull1 -----i - r~ n middot bull -~ t i ~ -J j) I l 1 bull 1 bull l
~ bull bull T _ obull bull -x I n _PI I I I T I I amp bull T 1 1 middot y tl- 1 L~t--I ----J-middot-middotmiddotmiddot1_--1-- _-~--~~--Jmiddot middotL__-1L --1-- -
- I 1 I _ 1___1 - -4-1-J - +--+1--ll- J ) 0 I 1 I I I I -~-- ----- ~ A bull bull I (I V =-
---- - --------- middot------
I he Oxford Anthem 52 Robert Jones
5 J J J ) J f r middot r I
Sing joy ful ly un to the Lord our I 1) I Js - I 0 I ) ) ]I ) 11 J bull v- l l
Sing JOY ful ly un I to the Lord Si ngl I I - _ f r
1 r t7 t r t l middot~ I I I ~ _l I I
I l I
Sing joy ful ly un to the Lord our i strength
1 6J
J I
i - ( J amp J
-plusmn=-
I Sing joy ful ly
-c un to the
r r2 c= f r F ( f z 0 r I l ~ 1
Sing joy ful - ly un to the Lord our
10 j J r
I I I l r I I 1 I f I
0 0 tJ bull middot I ~ I I I t _a l r
II I I strength Sing joy - ful -t ly un - to the ~middot Lord our I I I i
I
_I 1 I I I I l I
I ) I 0 I ~I I j l Ll I I
$ j I lfO J I - -~~ L7 t I -v - _
~ joy - ful - l y un - to the Lord our I I
~ ) _ IQoll I ~ 1 y middott I -
I I j I l r I I I -r r 1
I Sing joy - ful - ly un - 1o the I Lord our
I I I I I 1
0 0 I ~ Q - -~
- I - -~ - lord our l strength Sinmiddot] _
I I 1 - I I ) i j J middot __ ___ -- t -
strength Sing loud un-to the
I r I J () h fl e J j (~ I I II r- j 0 I v 0 i r c
53
I i
I - I - I - I r r r ( J I _J_ I 11 _l [
~ I I I
I
~
I strength Sing 1oud un-to the I
I I I I r r r J y r J - 1 v I I 1 l -l - I - -
I str ~ength Sing 1 oud un-to the j god of I la -
t I I J J l J r
11 - f~ t v I I I L y
r l I
I
strength Sing 1 oud un to the god of j I
I
- ~ ~
r r 1 r r t Igt I
J r I I I r - I
I - loud un to the god of I Jq -
I
v I () p 0 I I _ I ~
I I
god of Ja cob Ja
5
god of Ja cob
cob Sing I lou un to t e j I I
] l ~ ~ i
r - I r r r I v I I (7 I v I I I i
I t
Ja cob Sing loud to thf god of I~
- un I l
~ bull
I I L A 1 I I f- I 1 _J _I L l_ l I t I I ~ t r __ __
-fi I l I I
cob Sing loud un to the god
0 eO 0 __ =J
of j Ja cob i middot
----------~--------------------------~1---o----------~l ~ gt~ f middot
cob Sing
20
- I r j I 11
C I r
I
loud Sing un ~ - r 0
I
god of Ja
r 1 I t7 J _J
~
Ja cob -
1 -I J p 0
Ja cob
r c r f
(l
loud un to the god
I l I JI I
-1
0 l-
cob the god - y 0
I I I
the god
0
I
cob f
~ I I 1 I I J
I ~ t I J middot 0 t--1 J I
t to the g od
c9
god of
r I
to
-I
fvO
Ja
I I
l
Sing l
~~
of
I r I I
the
I
I -
---L--1 I
I J ~
54
y
god
L-
cob
I J
cob
_j
I 0
I amp
Ja
25
l 1
--of
- a I
of
Ja
0
i
I of l Ja
I 1
~ t 1 _ Q _ ~ middot
of
Ja
Ja
I I -J I I
- 0
of Ja -I -middot I
J l _ I I
rl 0 0 - -
I of Ja middot-
I j j I _ J I
~
~ (_ I ~
loud un
ampI _
j9
cob the
r
J I I -1 --11 2_ ~~~~
I
Ja - middotcob
i-1 I -f-1
I bulli cob
I
I
- j - w cob j
i l i
J I ------ I t-1 I I - I cob
cob
1n I
I I I J (7
c_ -
-Take I the
- bull- I I r 7 A_ f I r
0 I ---
j
Take the harp t the I
J ~middot
I bull I f~ [ I [ I
J -Take the harp the
1 1 -I I I _
( y
~
Take the
p f bull
Take the
35
f J J I
I 15 Z
) lt I
brell I
tym tym
I 0
CJ ) J forth the tym- 1 bre 11
I I l _ I I I 1 j I
omiddot i I I
harp and ~ bring forth the I I I
1 r
I I + and bring I
~)
r t harp and bring
55
_ -
harp
j fr
r - ti (J J ____ r
-
f ) I
v J
harp the
a
(2
harp the
f
brell
1__ J
and
0 I tl
-
)
harp
~
harp
I J
harp
harp
~ the
r bring
r [I
I I y
rJ I
11
and I bring
f I
and I
f
I ~
I
t take
___
I
I
r ta ke
J 1
tym bull
( r forth the
- _ --- r
tym - brell I j J
I I I J I r I i
_) middot forth the tym - bre 11 the
( t
f I r r-I I z
forth the tym brell the
I 1 1
amp
forth the
1 A ~
bring
I A
7
the
t )
the
I
~ I ~
I I
l
56
40 I I I I I
I t I 0 I _i I I i ~ ~ --middot
li 11 11 I -
- brell and bring forth the I tym - bre 11 tym - brel 1
I ~ - I 1 () 0 1 I r 1 - --- i
I
tym brell and brin9 forth the I - I
_ 17 - i 77 j
- r - T T _ I I J ~ I I I I
I I 1 ( bre 11 ) the tym - brell I the
i I I II
u I pound I A J ~ -1
I -
~
tym - brel l and bring I forth the tym -I
J amp Fyen tji
F l
tym brell tym brell
I I -- I I j I
I l
-J ~ I ~ ~
J
harp and the sweet the ~ I plea sant
middot - --f ) I i I e 61 0 J ( z
bull
tym - brell the tym brell ~ the ft ~middot c t r 19 ufJ f ( c t I
pleasant harp and the vi 0 ll the pleasant harp
j ) j middot99 J GJ or gt _ -5
brell bring forth the tym brel1 th ~e
9 l f~ ( __ r I ~~
-- -
Bring forth the tym brell
57
45 J
I I I [ f I C) A A I A I j l - -
-
~~ ( _
vi - I 011 t sweet vi - oll the I I
I -- 1 - l l 1 (7 I I I J 0 A I J bull
$ r - I brell I
themiddot 1 pleasant harp and the sweet i I
- p I I
r I I lt I_ c I I I r
I I and the vi - I 011
l vi - 011 I
I I I 0 I I
r I -J y v - I I I ~
p~~~~~nt harp and the sweet vi - 011
I
_ v - 0 I I r t I I II 1 I J I I
the plea sant harp and the sweet vi - oll
50 1 I I I I j tl I l bull I
I J L t- 0 J I
-
I ~
J I
pleasant harp and the sweet vi I ollll the I
~ -- _f I A middot bull 0 J i r 1 l I I
vi I oll the plea - sant p
r I i T 0 - 0 I I
I f I I - ------I I I I j
i
the ple~sant harp ~nd the vi - -
I
--- I _l I I I --1 0 I r l
C-
vmiddoti I - 011 the ~
pl ~ea sant harp - C) r 1-
~ r I I )
r ( I l r
I I t
and the sweet vi - all sweet vi ol1
58
I I I I L_ I J _l J f J
I I I
~ r
pleasant harp bull and the --_
t I I I -_j
harp and the sweet -l I
f middotv A I I I I
011 t the I plea - sant I I
I I
I I I i I J t7 Lc -I
and the sweet I
vi I -i - I -
- J
I c- -
oll and l i I
1 I J J J_ v A
I I
oll the I pleasant harp j _ k
-r= 0 I
t I
t
sweet I vi I I _I I
11 i I I I I I I 11 _j ~ C I J _lj bull
harp and th~e I J I ~
sweet vi - 011
J ~
t
the pleasant harp flnd
55 r J1
1 _r _I_
swe ~et vi - I I
- ~ I I A ~middot _t2_ I
I
vi oll I -
t I _l l
fL
harp and
t
al l
-
j_
A I I
th~ swee~ I
j_ 1 L1_
J _L _r I
I I
and the sweet l A
~
i t l I I
I
011
- I
r r the
the sweet vi
0
-0
vi 0
~
the
I t
the
-
60
0bull
vi
0
vi
-
J
pleasant
-
l I I
J bull
pleasant
-
-
amp l
I
l the
I
I
harp I
----1
59
I I
_ middot-I
- I - - __
I ---- oll I I
~~ - f r I f I J e_ I I _
011 I the plea sant harp and
0 - 11
r - - 1 v I I r l I I --~
J _L I l I
pleasant harp and th ~e sweet I vi --j 011 t I
I _I_ ) - I
_I r D I J I 0 I I
I and the sweet vi -- 011 and l the
J ~
-- -=- 7 r I
I T T r l I I 7 l I
pleasant harp and the sweet
65
- - r I
I I J I I J
I ~J ~ v I bull J cent ~
--
the pleasant harp and the sweet - _ r r ~if L) I I tJ - - I I l I I 0 -1 F _l T 0 j I J l I - -- the ~weet
vi - 0 ll t and the sweet vi -ll n middotmiddot-
I I ~middot r I - - t - f7 I I I l _ (7
j j --w
sweet vi - 011 sweet - vi -
I I I I T T - t i -- A t7 r 1 T 7 T i ~ i
_l J
I I I I
I sweet vi - 011 fhe I pleasant harp and the sweet j I I
u I l I J -1 1 0 I )
f I
vi 011 and the sweet
ou
70
-- - I I I I J
~ I I j ~ (1 77 -~
vi - oll the pleasant harp
I I - j I I I A I 410 7
-- L
- oll the plea - sant t --1
I L I I J 0
I I I I ~ ~ t r _fl_ 0 0 _ II I I
1 I - oll~ the pleasant harp and the swmiddoteet
~ I ~ ~
y JoiO c I- I l I r
I I
vi
I 011 sweet v+ 0 ll - -L
- l I I 0 J --- t 0
I
vi oll the sweet
75 I I
I I T J j I A ~
~
I - _() ] middot -- -- -- bull l I and the sweet vi - 0 ll
_l I 1 77 0 0 0 -I - 0 I y l ---- t ------ I I I
harp and the sweet I vi - 011 bull I I
0 0 C)
poundJ I - t (7
I middot-I
vi - oll sweet vi - 011
I I
~---0 J 1 I t J -middot
I _ _ bull I I 17 ~
I - -
I
f t he sweet vi - - 011 bull
- I CJ I
C if- I I
I I 0 T _ I I l I
vi oll vi
~ bull Scr-ibe error shc~AIJ b~
61
80 111
I I j t - - I - J I I y ( j r 1 bull
amplow the I
up I trum - pet I
~ - - j j I r A j J I t - 1
Blow up the trum - pet oiL - r
p r r Igt t r r r f- I I t J I I i middotp I I
I I J I I
Blow the I
i trum up trum - pet Blow up the l - pet
I I I middotr I
f r l J ~I I r- r _r j A I I I _
I i I I r I
Blow ~p the trum - pet Blow up the I trum - pet _ I bull_ _
0 ~ I I l I I I I I I
I
I I l I
Blow up the trum - middot pe~ the trum - pet
85
f 1 - I I I ~ I I I r ( J-middot I I r J J -1
I r l bull
I
trum pet the I trum pet the trum p ~et - -A - I p - - I t
~middot J I r _1 L I t
I I ~ I
the trum - p ~et 1 the I trum - pett
- i I i ~ _
-l f r r ll _r_ [ middotp t
t I I J l t I I I I l
~ I bull I bullmiddot
Blow the Bl~ ow the r bull
trum pet up trum - pet up -t I
- I t l j_ L _L A I
r r J r J I A J f ~
l I I - I bull I
bull I I
Blow up the trum pet Blm_r up the trum pet I - -I
tt) 7 - 0 _ I 0 i I I -I 7 I I I I I I l I
--J I I _J
Blow up the trum pet the trum pet
0pound
_I I I I - I I J I I I 0 -II I L J I J - j
- Jf o I J 0
ln] the new moont evn i n the time ap -
- -- I
- I t l v t -1 I I_ I l I J ~() -in the new moon the new
I I
~
[ 11 -~ - 0 J - I
I ~ l I I 1 I I
I
in the new moon in I
I I I I - I I j J l J _0 r r J p
I
gt in
I the in the new moon~ new
1 _ - r- r r r - I
I I J I I ~
1
in the new moon
A ~ I I I
r
r f cl - A I _f I I I I I
- _ 0
l I gt _ _ I
I poin - ted at our feast day at
-middot - _
-moon
I l I
_ I I J r ~middot I I J j - t 0 A A
I - r-- ~ ~
the new I moon evbulln [in) the time ap-
J I ~ 7 j I I I ~
r r T I I _I I
1 _ J J t J l - j ~
I I pol nted I sol moon I evn in the time ap at our - emn -
I I + -( _-f- i- ___ - ~middot
_ T I I I J 1 t l r 0 ~-
r I I 1 bull - I I r I I j_ I I I
r
evbulln at the time ap- poin- ted- at our feast day at
93 [ot] Ct =at II otl~ va middot
95 I I [ I l
17
J I
__ J r rJO
r---
our feast
- - I I
v_ ev 1n
0 f6 r I J l - -J I l I I I_ l J
pointed at ou~ast
1 L _ II I y _ r Cl
I r - I
feast day at our I I J
bull _) 0 [j A I _ I - t I
__- I I I
our feast
- - I I
C
evn I
- ~-
--_r r 0 ~ ~
J l I 1
our
u
day
I [ I
J _
in the ~
r I I I
poin - ted
roo -= ~5
q~
I
I r r feast dayt -oGr
- _ I
- _ I
evn I 1
I I I ~
r l l I I
~me~--I ~nted a_p_ I
J I I I I
at our fea~t day
c t ) o t h u o s [1 h) = a~ tr~J))~ribed from
altmne ~cill-ed o~~ ti
- _ _
day 1 I -I I I I
I I J r I I -J I J
in the time ap - poin-ted at
pound)- bull -J _ I j
day our I feast
- l 1 l I
~t _--tf 0 II ~ ( I
I
feast day~ ev 1 n
__ _ r I ~ r I I J
I I 1 -
day the time ap-
100 -Imiddot 6_ __ J J J I I I I J I r t _1 ) - I bull -
in the time ap- pointed at
0 _
feast day
- 0 _
r I _
bull I 1
bull jrlJ the time ap
I
~-
r T o I I I I l A _ J
a or feast day our - o---- r l - f I I I
i
1 _l 1 _ I
at our feast day
Ct VOIC~
b4
105
r r f 6J dmiddot 0 I~ j A our feast day our feast day evn I
- - ~
J I
-
l evn in the time ap- pointed at __
A 0 ~ )
y 0 J I I
poin - ted at our sol - emn
- -0 dl ~ ~- - A middotmiddotmiddotmiddot-
feast day i at our feast at L
LJ
I
- 0 - - _A
v
our feast day sol emn
l -1 I- _pound_
I -_
in the time t
ap- pointed at our feast day evn l
_ 0 1 J l ~
-- - ~ J I 1 1 - I
our feast day evn in the time ap- pointed
0 ~ _ middot- A
feast day evn
- - -d A (
at ourmiddot -f- at our ~ ~ -- 0 - ( I I
feast day evn in the time ap- poin - ted feast
I
110
J omiddot u --1 -I
lt---
in the time ap -I
poin - ted at our
0 - ---1- -I-- I
at our feast day 0middot
I - --
l
(i nJ the time ap- pointed_ at feast day
I our
l Omiddot (_) y l
I feast day
0 ap- poin - ted at o~r I
~ 7 ~bull
I v
day at our feast day in the time
115 I I -middot
I-
-- 0 bull ~ -
middotfeast day evn I in the time ap- poin ted -
I I - - 11 (7 ~ 0 -at our feast day
bull 1- t -
- A ~
I evbull n [in) the time ap-
-middot y
I
~--c CJ
feast day evn in the time pointed at
r 7- ---ap-
J ~
y -ap- pointed at our sol emn feast
iblihing Mil 414 A bullbullbullbullbull
120 -
~ y r tFU
L j _L_ y -
at our feast day at our
- - - _ (7 _ - __ -
at our feast ~ L)
a_ 1 _L r I y r1
pointed at our
feast day middotI evn UnJ th time ap -
0 1 - --I -
A middotbull -
our feast day evn r 0 0 I -- Q_
-
day our feast day feast day evn
11 - -_y 11
_V -J
- __l -
feast day at our - 1 I _L_
_Ql_ A (7 I r-i 0
daymiddot ap - poin - ted at our 0
v I y ---d I
poi n - ted at our feast day at our
____
I I - -1 v J 1
FJ Cl bO L
I I ( t-I in the time pointed at ap - our
_)_ 1 ~ ~
Ll f
_r I
in the time ap - poin -ted at our
11ishing MP 454 A bullbullbullbullbull
67
A ~ ~
Ai 0 -- C-
-feast day
I
c- _- I - -
feast day
I I --
- _ _
-- -bull
I
I
feast I
day
u -I
feast I
day
I - I
~
middot~ lt-
feast day
130 f A -J I 0 A
-7 bull - -
A - men ~
~ v j middotmiddot r I I I _ l _
A - - - - - - _ -- -- -
- j -A men
_t - - -1
0 --
I - - - - -A
I I 7
A I ~
A
i
I -I I t- 7 -t I -~
A - -
~ I I - l I
t-- 0 I A
I I
- A men I M - I
- r ~I r v t I 1 I I _t J I I T I
A - - - ~ - men
c-~ I
- -I -
mmiddoten A I I I
--- 1 I I I J
I I T J _t A - I -
men A
135 l
I I I I _I -1 I ~~I I I 1 0 -l - I I I J rj~
- _
r --- ___ A -~ - - - - -01en -
I 11 - ~ - I t _ r p
r I J I I v I l J I
- - men A - -I I - I I -p - v_
v C7 I I -- __ I
-A men A
~ J I I I
I l I J I A _ - L7 JJ J ~
~ v p
- - - - - --
I I I J y __ I T r I I
~ I I I 0 ~~ - V
men A
lblishint MP 414 A bull
I I
I --- -~
- - tf a ~ - - _ - -- - men
0 ___
- men - A _ - ~ I --- -
I - men
- i _
- -- ---men
--
~--
_
men
tblishin9 MP 414 A 7
----
l I
72 ___________ ____ Ff gure 1
I I I
middot-
i
l I I r I 1 I
I r
IH pound
FIRST BOOK E I I ofSo11ge or q_fyftlJ of iRetiiu~
rourf parn ilh TJ 1
binsr~l tb( lbullU
paru togethcror ~lther of middot dle1Jlfhur2llynliay be toils it _ l 11l~U~~~r
to dte Lutebull Orpbad~l
or Viol de gllllbo Compoftdby Robct~ ltJ~Xto
f
----
1
l
I ~
1
I I
73
Figure 2
TO THE HO middotNORABJJE Ai~O VETt T OVS GENTLEMAN SIR ROBERT SlDNEY KNlCH -c
Gouernour nder her Mai~fi~e of the tOne f VltlbitJ1
and the CaAJe of the Jldlraquotftns In the low C oumnes and of tJtjorll ojtltf411Jt AJtntLrrpuh thtJbullrr-ifonthenmiddot
In plilctdMTftU D b~ifi~jiUitt
~~~ii~5fil Our great loue and famor Honorable Syreuer rhanifellcd toal OrthyScier ces hath ltnbdened me to offer vppe t
y~ut ~ordfiups Shrnc thefe the vr I wortht~middot labours of my uulicall trau~~middot And though in refpect or their Veake nes they ln~y perhaps leenu vntin1ely
bull=-o=====~ broughtfor[hand theremiddotbre the vnlikelrshyerlo pr~fpermiddot yet doubt I rt~t butj~ renderd by you they fl1all happclbulle find gentle cherdh~ng w h tel~ n1ar be a mea ne to make them more tlronger or elfe mtfcarrytog to etcour~ge my en~ ~ deuours to beget a better for as no arts vinclf at fever errors than muficke fo none greater enimies to thcirDvoe profeffion then Mu 1cians whowhdn in their-own ~tlguaritietheycon demne euery mans ~rkes raquo as fome wate ~duty they are cbe caufe dm an istbcmiddotldfcentc~emcJ ian~ they thuitfelues feEuted as fclfc-com e1enders tnd men man fan[aLlicll Vhcrfore if chis one cen~uringinfirm itie were remoued thefe nty ayres (free l dare fay from groffe crraurs) wauldfitde euery where mort gratious entcrtainement bull Butfince euei thofe who are betlfecneirtthis art cannacvaunt themfelueJ free from fuch de tra~ours~ ~ lhe~ leffc rega ~d irbting_fo w~ accompanie Howfaeu~r tfheretn I may gatne yout Honor~goodallOwance fuaU thinke I haae attained co the better en de of my labours (vbicb with my fdfeandthebell of my Ctruite) rcfies eaer more at your Lordihips in1ploimenc
Your LorJjh1ps lmotetl in ~tO dutifiiJfirmce
aobett lonebull
----
middotmiddot
74
Figure 3
ro THpound READER
~ gtltmiddot bull bullbull bull bull bull middot~ EntlettztnJfincem1dtireu)ourtllrtsfoulde middot ~~-- ~imiddots benlindijferentiudgtrfclllnot thin41t nt
-~~i ~ ~rflary to filalt nv trautil or nu hringing -vp ~ tbull middot 01 argtttJmts to plr[Jllade you that f haue a ~Ofd
~ op11110n of 111) feft~ only tht~ much lwzl~tJte 1n~ ~ I ot ihatJmttypretttnttherifhudgnlentsoJ[uch
bull _~~~ ~ t- ) u now n1c not E11er jinre I praflftJ fe4-- middot bull ~ kng I hat~e praRifid inging lbullauin hail not
itr qualitie tobitJder mefro1nmiddot the pifefimiddotI(TIOTPfedgt o(th~]aculu I rtue ~~~n incortngtil kr tbl lParranmiddott oj Jiucts good iugmentr that my
pt~ints herein foal 11tihe eafl proct~re_gooJii~ng if riot delight ~hich Jttfor ntineownetJtitl muflueeder Jeare 111 much 111 defi~e ~efpmiddotecialy
lien I conidtr tb Nptnes ofthu induflriousagtlhtrtillaU mtn tndeshyrwurto nol~t all Ninges I ronfefo I 1as not --nTiiUing to emhract the conctitr of fuch ge1tlemen uraquorere ear til to h11 ue me AfpbullreU thtfo ~~~ tits for them ~hihthough they intendet or their pmiddot_iuate rmeation 11eUcr meaning thfJhoultcomeintothe~tght~tre 1elf(I1Jten~ )pon inshytrtiiJ ~o ma~ thtoncouragementr of tq1s ~ jrfl di~tr~tllre 1Pkere11p~ PO f lilas ~lmrfl ~~to m4~e tnJ flfaJ ftiJt~ne lJJtbtU~OTJ pr~-shymtn~ thAt if lY ctfimiddotnnrfoilttltn( ~ M_~HJI ~~H fllghl P_eakt for theme~ts ~boTPfoeiltr 1~plt4ftth tbtm middottodlaquonunl bl~tt of thest ihen oftbeft1 0 f purp_ofo ( M -ltfiOiddfiemt)tom~t4 mehJ1eut I hm do (omething 1111 onb hope i1 thai fo~ing ntither J cold AJres A nor fheir idedties ( u thgDi[ntedtl hau t cAUthtin) hAue hithn-to Jeene foc~ttd in Ut tdrtJ of rnanie thg maierh~nttlflil)dt f~Kh enshytertllinmentJ llJ conmonlit nn~e1 aoth in tht bullorJ ~thith if I J he fo
middot ~appie~(o he11re lTtiUnoefaie my next jh11H Itt ampttirr1hut I ~a promift tO tfl~middotIJfOft f4intmiddotsroJmJ lliOt fOintsof mfiampJtwbich noJJt coufJ not JohectJuft YlitJtffcllrerPu (ofttlht (Jf~mtk~Jor~ ~~~~hen muflhe-ullJe~ connntDith e11ch IIJantlll))foU cenfurtU IjhJbe giAJ of fomt mtns vndeftrueJ fouourl
-J
--
IJ
Figure 4
~~ ~ A Table of aU the Songs contained in thir7JooJc ~~~Ul
middotImiddot AWordans LookecS middot Fertd Wlnto~ youdu ~~= Sheewhorematd)Jet1ebcaury f+- ~ Qncre did I laue ~~~ L~d ~r~Atongdcfuc l Ltc dOwne poorc bean J ~ bull n Wl I _ ~ -b _nere rngrrnguare
1 - i1 Hcroatenotchougb ~ z- middot ~ Wbcnleucandumo bull ~~ Swee(te come awa t bull -a Wmiddotomenmiddotbullhataicrtbey
EarcweHdccrc louc ~ middot gt ~ ~ 0 my paorc eiu r~ ~ a If fathers knew
bull ~e i Life is a PoeampJ phablo ~~~ Sweere Pbilomdl fi ~- ~ 9 That heart 1 ~
1 VVbit ifl feckc MymiRris
middot~ M ~ Petplcxed _ 1 ~ Can lllodca pbine dctir
I
middot 11 - 1 ~ ~ middotr_ ~ r fl~ - I
l j It I I
~ ~
-I i I
lj middot J ~t ir- I
bull Ill - -middotmiddot - B
L lL m IUL v VL vu VUL IX X XL xn
xm X1Dl-xv XVI xvn
I t
I r-middot
r --- ~ I r- ~ J
I
Figure 5
--------------~- ____ __ t
lf~ flfl TJE
B 0 0 K E 0 F S 0 N G S AND AYRES
Set out to the Lute lhe bafe Violl the pr-ynt Wdl etr tbr 84ft by
tablcturc afitr lhc lctlo ~114
CftftJJ Kobert Iones bull ~middotihl~ by Pr flaquo Afbs by bullbe
~Jm ~f11HtfNI Al~rl)l J tbull6t Cold bulll bullhe Inner l(mplc
u bullr bull 1-ot
_ +- - middot tmiddot bull
~
II
Figure 6
------middot--~ middot-------
T 0 T I-1 E It l G I-I T V E R T V 0 V S A~ D V oR T II Y K ~I G H T S 1 R
H F N It Y L f 0 N i D -middotrmiddot t ~ ~ ---middot~middot 0 R T H) Sir mJ my_ Honourablc fiicnd I giue you thi~ ~~ ~~~1 bull CIJIIJl pr~u~ gtou hnng at vp bccaufc I ttm o1 ~orc mn ami t ~ middot ~ _ can nor maanrunc bull t 1t bulluy ~ulfcc muchaducrfi u~ ~~~ my nam c
middot middot your For~u~c mnc aJ~cr llJS rtJrrcs 1_nd make h1m hJppac bull f ~ I fhopghllllbtherbe ahmiddot oe l ulltec~Uhoun Orpbanrlorpm rc
mens CbddrlfJ -are Orplano borne and more to be piuiCd d~cn they liJJt hJ11c changed thcidltl cr) lor their ltuJ ~ fud1 mlc bullai(e themfduc~hl due time we h0111C oo wJ ic to l lciglncnour being bm by lbulllothcr pomiddotNcr As Gcntlcwo- mtn pecce lhcmfdbullcs with Tij es and Co ronctsto t p flC trt mor~ per fcmablc ~nd t~ll o UltJfi woaJdc VntO OUl )ulctlCS if wew11 not De (corned iardwarfcs) rhccroYlC of Acnllc pC1fons mgtre cmincnt and hi~h Our (Lnurcs ~rc nor fct aboue d3nshygcr i WCcJuJowc hdor CUCflC footetO trcadc vpOtr OUt place IS he cround there icnodnng balc-~trwsandycr dcuil~ion _m pun n lower if wee h~uenotgood ~(reds Th~ y wiH fin_J _me~nc~ lfl digg c and In v s down~ irnu the cllth ~ nd burie yenS
bcfotc ourume Th1s 1s the nufc of pttroua~ct nnd thli ts rho p(rlecutton o( ahem tlpt wouldingroffc ~11 Gloric imo the~r owne hmds But t~cdJt UJl~ o~ rhtfe mcn they bite the truhe~ thcmfdues 01ould fee de vpon Vcrtuc would llrlng fonh mmie h1idrtfl but 1hey hold them an the wombe that lhcy due not come hut As the coshyucrolls maf~~ fi~gcth aU the hind about h1m wath fi3tuus 6ncsand b~nds i1 nd othc r (uch Iike~iumiddot 1 warre (o doth the ambitious intrap the Jinle pori ion of ante commenshydations cha m~ ic fie II bcfidcdilm And like the mercalcff- Souldicn lhe Cafilcs they cmnot t~ kc they blow vp They uc a~ f(nring of cucr ie CmUlrcJun~flc of crcdifbull ~s iflt were I aide vp in oonnnon-bmke and the more were giuco a wile the IelTe would ~orne to tl1cic nbullarcs Theya1 c mafcra~lc men) _f roill onlf br~md (htm wi1h this m rk~ and let dttmgoe Thty were Eaglci tftheyd1d not rJtch Hycsas lheY ate thcy-bullro grculhings)muchldfcthcnnoamphing For my parc)l willnotcorucoa wiJhchcm ( aeiire JlO appf~u(c or commcndadons lei ch~m haue the flmc of Ecchocs and (oundf and let me be a Bird in your C~ge fin~ to Y fclfc ~nd yo-1 Tl)is is uiy coment and this is my llmbition~ if 1 haucthis Jfiile nm in mtcxpclhton il more for rour akcth~t is my ashbntagct andl will owe you duciie for it in the m~anc time lrcfL
fl 0 Jt I ll T 1 0 H R ~
A 2
10
Figure 7
f
TO THE READER
rSI~~---11~~~ E AD E R 1 btt11t atrl moruuuttiWtJ to At~ IIgtJ oujlU rtPhul~r J b411t 6o1ft WU r no td~n( tlull
--=middot ~m~laquoh ft~inen~ rltoife thrt e~tU th4t jwiUf-1 fortify j - ~ry inrtnl toJll~rJdbtt lllll JJ 1tt btctufo
z kow tlwcwot r middot41d I IU jtlllrl ftDf gr~flJ(t D
comftlirltfto Wilrrant J tnJtutJMrs lll-bullfl o~U met~ ~ J bull JqJ it 110 fJ1J1111t tJ ()~~ Vfri~btrztQt ~~~ thttiJJkJt 1 ~~
J tntlfflt IUJtl~ AUfljt my Jrlfrof~lliJtnltt yluggbullJ ~~a~ ~~~~ iby fat~olll ~ whrrtin l t~sft rt~tiJti tJ itftritk rkJt ~D11bull
II~~~~~-~~ llllldllllorlt 1 then PJ my ownt bullfi 1 to frt 9 l4hD~ifl ~Ill (o Jbulllr The llNIIb b lllthlugh l wbull nbulll fo nilt
Jllltll J rptnpofol l~rt cA7rn t~Jt J J4n1Jt~t jl11d c tbrbbull~r~ of t~rirt~~min~tion Ttt Jwould bt ~it~J( if 1t ~IJtbi) thfl~tlt J1nJI7 tpptabat~tm mtJbtgtlltll1t mcouragtmtntto foutJJm t1Jan4rfoltJumfltt JrtlltfJJJJ rlmu t4ttJ hertJttr bull Jftb( Dtt~itr aiftk dJrlmiddot 1
1ll mjiullt- th~tt lJU fo e~DlJ til flbfffll 1J_
pri~su rt~nttnrntu(JilltrJ Gnt(tmt~ith~ut tbti~tonj~IUJ lhh ( lmiddotbPfl J nor 4middot gbullmJltbdr tltls RPtrtm if t~oN ftrJJ afllltiJmg to rnrtttfllltbmiddotrlq Jefiri rblt~k m~ jtlr th] rtltre ~uwr mr~nt tiNt~ J (nmiddotow nDJ l11w 11 ttiiIbullrt~ttmt Q(lr~IJt bullMtillllb~n~l tkrt p~NJ btn~ GtJ~thmbulln ( btn H 1tJ4j ~middot1 fo mfcb pbullrnufor fo hulltMJ) tbl wbullD n ~911middot cl11~1ht c~n 4~ ItA k bull~ loiftr bi Imiddot~~~middot 1l~~JtMjrlrJIJ g_olll bullJtiK tlritil bullfhu tNnmng JifJbulltlltmtbulltJJ tblttll) bt(t11TiflfllJ ~~JUJhlllfJ nolliIYIIJ hu tiJN)t rl1tfo Jrtlo dtjilehim Cif ht-6middott nt~~zruiiPbullP bulllirbnmiddotz ii) tb41hfmaj(J 4ctrp1tbt N6inrri DnDfiiiJ Nt1111t M 11 f~cirnl Tiflsmonit th~t J ttm wat bAiflrJ oinflrt~DJ~Il Jflhtrtifl Iter 1 iraquo94fftt~r rt~hbullffibullNJ7rll ~ ~ J~fiijitJIIjon ~so~middotrbrr~fl tb~l1fDMJj~inc in formt llltil tbtY ktofMttlhm~ Jytbur gmzt411Jtjl~ ~INtrltlbltlg J IJ n1t j11 rnbullch 41 tltfirtthtm o 6elftbulltbull ltARJf11ould hfrrbl teacluhmr At lr~tp bow tbl) IJII~ bt ttmt je F r 1hl 1Jc)Dl 1 will foit 1n1J t hHJ mMch tbtrt blllh not bttnl u~tPttt of tbil fojhitm wampicblf tha jh11l1 pron~gturt to bt blWirtbmiddottb btAtHitJ rtfl fJfifjitJ) if tlbJtit~tor Pbullrewell~
Leaftanie ntan fi1ouldfeen1e to acctlfc tneoflingularitit for expref~ fing thetimeo( myfong~s by prlcke fong Neres neuer b~reto fore vfemiddotd Ihaueforhis ~euer innruction hcr~un~o indeuoored to fatiffie him
amp t r f A Scmlbrcofe Minnum~ ChrocberQampIItr
-----
~ qA~ ~- ~ 1b [G~ ir~1
~~J ~ v 1
~ ~~ c a
c ~ ~79 - =-m
IC~~
~ p _l
9t ~ ~
ll4 ~ l
-- 79
Figure 8
-
A Table of all the Songs contain~d in thitltBook
I loue wing middotd my hopes I I Jly louc bound m~ with ~ kiffe
1 I f bull 0 how my thoughts doe be~ t me II [ Ore ames ~nd I magi Oitiom V Nfcc thought thi~other night V l IVho fo is tidmiddot= 1 II fie fie V Ill e~~utic (bndc further I X Now what is loUI X loues God it a boy X I Ouerthcfebrookcs X I ( Whither 1Unnc1h my fw cct hart X II I Once did lloue X II I 1 F1ire womtn X V D~mtic d~rling
X V l My Jouc is neither yoong nor otd X VI I Loue is a b~blo X V I I I A rife XIX Did cuerman
middot XX To lighandtohefad X X I Come fa tro-w con1e
0
I l Jl
iir 01 11 -~
~~~ ~~ ~
t~ ~1
~P J
~~8 L e
( _] middot~- - ~
v lft -amp A
l -
I
~u
Figure 9
-----------------------------~
VLTMfiM fl IILE virh a triplicity ofMuficke
W HEREOF lbt firfl p~trt ir (or t~t Llltt J tbt Voyc~ and the Vbullolc Deg1mbo The Jcflt lbt Lbulltt tfH Yllt 2J IMrt
p1ne1 to fine The third part is foe twoTtcbl~t to 1fint ~it hc 10
lbtAr n- rhll 1~ bullr t-
bull bf ~ Compofed byR obull bull T lo bullbullmiddot
fl fr1fbull1JibullJ~ ~ 4111 Priorcd It london br r~ i JIIiWd
~re robcfoJd l)yS pfn (lw J bt sJ-laquo
ttfiN C01bull1 I 6 G l bull
81
Figure 10
r~IW~- ~~~middot middot~- middot ~middot bull bull
TO THE GREAT lOY AND HOPpound OF PCZ(ESB~Tuf ~Jgt rUTUfF
Times H E N R ~ E P ri nee of lf a cr Duke Cl~r41wt1 ElJieoflhc CIJjtJirfbullibulltifttfchtjltr Knight ~fthdiDIN ribkoJenf
dl G4rUr Hcyu App rant 10 tht Rcllmcs of Elrjuntl Scotbnd France and JrdoJnd
Ojl Exrelknt Prince T Jr flrengtb of our d rt (] houJ aythrrPuaf(ncsgt) cannot endure tbc force of Soueraigne
erltlCpoundOf1tcncarcitwemay tU ncarc u to you your poundarcJ TPillyet_ be arc to deale wuhfottndes tbougb nor to
dwcU there yet to pajfe by tbcm1nd by teJiJ to learn to tune Jenjcs lJ a nper a~c c-A lmo all attr k[JlPicdge ir drallme through the ftnfirtbey arc the Saulctntclligencfrf -wbcrciy (he paffith into tbc -world a11J theTPorld into bcrttnd tJntangl ali ~(than )there is none fo learned__ a1 the tare~ none hatbobtainedfa cxccllrnt tJJJ ufrtJjodelicate1[a ablrufe fo p_irituaJ thAt itCIJtChftb rup TPifde fo undet in tbe Jitt and brin~~J tk Under tJ goucrtJC1fttnt ntJt to he expreffi1gtbut donegt and done by no sQll buf it otPn~ Thereu Mufic-k in all thinretbttt ettery tnan cannotfinde i t Ot4t)
iltampAJJjeofbilo~neurri11ghee MJlft baue 4 harmo1J_J in hiinftl[e)hat hold goe-about it and then bt u in~ good way 111 be that ht~th a gwti ~artJ in d
oudfot1llardtUJ to our focultit [ onceitc u but aTPtll tundejat~ry done in tinu ~ pLsce ~~~ ex(ellezt fintencril hut a TPell lHn~e rea(vn Dell nit ltgethtr P ollte or the fubt efl therof a [omit 1on IJ1ellltbu6utll lite I tuul middot e
Song T~htr~-allr41ltl Joettgrec ana lnccte together~ith foil C011ftneanti lJartiJOnJ one Jertung otherand cuery ont rhemfeltlet in tht Jam~ lAbour ButnolP] intrudeintoJOilr llrtin whicb 411 pnry(anJ ftc hoper)thal q oJ ~iff giucyou a oJy aru profpetOI~S k_JoIIJfedge anJ t)en aJ orhtr eJ rtCS foal profPpoundrnder it Our gracious S tll7aigt7(Tour H~h11ei dear FatJcr) hath ar11trd atul conortedjomc great prOfifiolH areaJy~ fi~eh1ittleoneJ dJ this )oo e for itgtand heg il cfw OJ4 your p ri nccb nature promi[eth it J hich m4 es nv boJJnet bopefor p4r on ltJucbfiifc tne(mojl exctllcnt Pr1nce) )ourProte8ion Ph(f1flt)on41lowJall Qtbtrs rPill conrmtnd theircenfitrer n A it fobulluoflrlikjngthst ot~~rraquoJift1Pold Jifpift me bull EN en your n meJ the forefrTJntu ll charmifor ~~talttiOHl trmgtu ThAI praJtng thatyour Htghnt IIJ aDtaet h~ttte dtJ tttre t~be te alir bulllltuJijingulj1J ~tht _fo14tuJ of lTlCth l necl tftJOUr Higbnes feet
Your Highnes in all hom blc tl~~tJt AIIJ cruice
RoaampampT
lo N s
82
Figure 11
- ~ H c ldndc A pplauf~ vherevith I hau~ been~ revardcd in n1y former A yrcs hr fuch Gcndemen as can iudg~
~~~mJ Imiddotb middot Y the e bull are~ an not other 1n~ns Echo~s hath nov du s ~ middot durd t1me gmcn n1e heart fron1 then to hope for the
like in tbcfe V hich l hauc corn ofed cuen to hew n1y
graticude rovarcles them I lulO eucry Father is paniall ouer the i ue ofhis body)and hauing his iudge1nentcorrupced by Insaffecti- onis VOn[ rofpe~J e bis Chtldrens prayfesaccordingto hisovn de fires rather the i1 I he ir de f~r ts 1 t tna y bcJ h aue thuS oucrlookcd this iffue ofn~~ br3iue whereforel wiU onely comm~nd my pur_pofceto ntakc tlus lail my bdt expcchng to reade the rruchof my fdfe out of thy reporc AnJ becaufe ant notignorancenough)to b ~egroffely taxed by any of our cunningJvlaiJlers nor bigge enouamph to beflar te~ed or c n u yed 1 hope I 01a1J not be driuen toe nq utre out my en~ 1 middotes) co heare of n1y fa~cs nor to befpeake mylriendes~uour F or ho1rvloeuer l an1 fe t in an vndetfortune thac hath need ofampicndlhip y~cit n1y Vorl e~cannot 1ufiifie n1erny wordes Htalluotl bad rather dye a be g r 1tbcn Jiue a boaler what skilltimeand mycontinuall
radifehath biucnme)hcre I gladly impantocuery wel wiUert lat gr(tuntcs me buc acc~tanae for my paines And fa I comn1it my icfe to thy cenfuse1 F arevcJI middot
7ohertloner
( middot
83
Figure 12
A TABLE CONT AI-ning all the Songs in rhis
BooK E
1 ooenotO do not prize thy be11utie 2 middot 73ea utic fote bathing h y a j pri ng ~ CjoctobedfrJJcct6lvluzcgttak thyrcjl 4Shalil loaktampoenogriifc 5 ~Pbar1jJ fpcd1t1hert 1 leafl cxpeEled 6 Slpeetcijyoulik and lotte 1ne fliJ 7 SetifetrothledrhoughtJtofgh 8 Scinrhia~cene ojSeas and Lands 9 rB la111enot tn) chee 1 I l o There is a qardci1 in hc1 forc 11 S1reete Loue my oney Trcafr4re u ~hinkft thou 1_ate to put me doUJne I) Jfhen willtltfounraineojmy tea res bedrye J+ F lye ji-o11J tbe TParld 11 Happy he botofrraquo etebomc retirdc
-Thcfc following are for z Tr~blcs
l61Jiftlaine thntjoll amph Jilfne 7 middot o) et)erchangeandjjttre not
I8SirctiuftJijJAineh 1~to ri t
19 cuftler ry hands lo vh ue lgrt~ceintreatetl ~o Oft haut fmJe the cartfe to ftn e ll J(o hAuefleamd-mithmuch4doot~tfpjl
B
84
Figure 13
ORTHE FOVRTHBOOmiddotICEOF A Y R E s
The Firlt partisfor tbe Lute poundVO Voyce s and the Viole de G ambo The Second part it for tbe ~amptte ebe Viole and joure V oices to Sing The 7 bird paramp
is for one Voycealon~ ono ~he Lumiddote the llafTe Violeot to bach if you pleaf~ VYIrrtoj~ tAlo ut ltzlitn AJrtt middot
CompufcJ by R o bull l ~ T 1 a bull s
2f trfont (intIJ J1fJJmiddotil4 iMMJifl
L o P n w lrnplintedbyloHN WI~ D T andaretobcColdcbv StCO-rt w TElSO lol inPowlcs
ChMhmiddot]tlfd)bulltlhl SlJt j lit Cfll~middot l o 9bull gt
-----
I
--- 85
Figure 14
1
- ~~
TOTHERIGHT YV 0 RmiddotS HIP F V L L AN D VV 0 R--
thy Gcndcn1nn Sir I o H N ~ E v r N T u o u r pound Knigbc pcrptlll3ll liafpinrffe and [or~tcrlt
~~)1-lpound--- -- fmiddotts not vnkncvne =nco your wcl deft ruing fdfe 0 R igh~ V Vorfhipfull that not long fince 1 cooke n-1y
V~tiltttm )a[t vith a refoluing in my ldft lHter co
put llfh aoy VOdc~sof che f1mC Natllre and Fan ion VJlereupon) betooke n1e co the eafe of n1y PJIIov
middot where SompUI -auing taken poffehionofmyeyesand u 1orphttlf the charge of my feofes it happenrd
~~~~Mmiddot~~~bull rnee to fall into aM uftcal dreame wherein Jbulldl middot nc~d - to haue many opinions and extrauagant hun1ors Lf
di uers Natures and Condttionsfome of rnodet mt rth fame of a marc llS Louc ~nd orne of mofi diuine contemplacion all (hefe I hope 1 fl1all not gue any dtilafie to the eareror d nde to the mind eyther in their words or in their r~~ ueraUfoundsalchough it is not nec~ffarie co relate or diuulge all Drean1es or PhanrafiesthatOpinioo hegcrsin lleepcor happeneth to the n1indes apparbull[i onAnd continuing long in chis my dreaming humber I btgan to avake anJ vp n my eyes v ndofin~ l bethought n1 y fclte being full a Vak~d aJu itlng n my n1ind Vhom~ to dec1 and chute as a Patrone for the lan1~ l Vas eafily in -ued to n11J~e choice of yqur V orO~ip a3 one to V hom~ I necelfarily ou ht
both lou~ and duety l nJ howfocuer l m1ght feare that you Vil not adamp0
ledge it yec in thlt Nature ha th inricheJ you Yith more chen ord1nlrie know le oe in th ~ Art~ be~inga Vi ntsofthat Lo~t~ Vbich you haue ahvaycsl ffor
ded to Mufick gtI en1boldened my fel fe the rather ro pre(ent it vntu ycu Accept itthen(good Sir) as a T oken of vnfained Loueand a e be
worthily Jue ynto middotyou for your many fauours done to him [hat is
uft)middotour lforhiju conJmaund
----
86
figure 15
Thi~ Greetin ~middot bullbull
~~~~ HoulPhofo dare itcbeJ ltJith the VJrietie of opinion h~aring thinr oraquome otlJdtJf tJc ecchqc nuerbcrtJ~ ing otfJeTJ fubflt~nCC and lmprofit4hfr ~n it
middot jtlfefhclpt s to tbe IVorld comfJrtaJie liJc though to thy orvne ~Je bttle middot~~~~pleajurcLJ retjon of)lnch-umiddotirbl~ctn[ure I fpc zlte tot bee m ujirall Mo tuusthotljimiddotcm ruboft Jucctie IUimhcrr ~1 J rajiy pafeJJ drop1 foil in tbc jhonre Dt4l
)ithlrjfiprofiufcomprutmiddotthcetothqhlt nuy Jr4l tbatjlitr int0 11UJUCJCf and ltJill twt tbcncertJithout much troubli) or tbuu rn t JJ Jfper[el iulgemeiltgt not oneamp art afo jeniru tofecing kJonde~~c hut moj fo ttlty f ct o d jcruing i~Jdamptflr]fL~~gtg 1110zte r ctU of the 111oilpurt Bilfoaud Jmoothiu~ tbt~ plztncl Citttl ~ rvben on ely thine on~ne opt 11iltJ1J it more nJrinc~lcd and more vitiotH mit ~( then grcjJcr10Yle lo tbJt 11 a brujh 111
jcFlcdlPilhfithgttbott ralbcrjomiddotlcfl theti iiMI( pebullje( 41VWl) I ha~1e jlooJ atthi11c e lho1PJ andh~arJ tbcl prop~Jtne cur a 1 dlfit c1 bcfl J(ryu and 1tJith thy lntu~zde ref 1b Jot f~rde~J rfl gnoh iy l4J1l ltJJilre~ ~nil f f~ renot g~eaty_tJat tboul~iltlay to raquo1J ciJatg t 1 111 lD vtfu111C )Oll11 ~Cttrrag1tRf 6ecaufe fft011tied a r ~nuch but 1md~rflauJ me tbou-ns ~VIitll dojcanterdtriur Ji o 11 tba t JCrue fPlaineSong charit4bletJtlm hers)and tbotl (hale fnd harb Joicr I ttr~ ojtrtl t1 J0te ahoue pound redr1c el hJ tn~er
izulgtment n bicb 1 htrc4Uc tht of tJmiddotorPinrl by RJtler are as orr nelll cmne Lutf be~ -_ ing ofrJany ftri~I(CfIJOt((ffamp tJjJJlmlcflr ~~~ ~dllefittlreti1 praf1i(tput fon~4rd it1to
dcjerurng Dst4ijtaiJ rr hH nIJ aduerJI ure I r nomiddot rtccd but drtanze) and utJat art tlrcamei poundut aiJie fCtjcfi iotJgtandjcttrall ayrc s 6reathll)~ Jarmonio111 llilijperitJgt tbongh to thee difcordlmiddotet toolbcrs indffirent 1rvill not ttY cxcellel~(~ becHfe it is 4J
othen otflce 110ttni1u 6ru let tbcm6~ as thtY arto~lmiddotcn propuu tul my p~inct _(rt forth j ar pleafurcgt uot for pw1HJIc~l poJou Jiucfl itntrginatioiJIJO but aJ a fhorPrcjt~llitiJ i1 ~urcdfuil ft~fouJ~ 7 jJtUr m fmiddotlje atlrajlaJJd wrl(ay fo et4er bY au otbmiddotrj lPhofe IJ bourfhJI vfJ(t Alujt~udl uuulu~ztt -~ Jbe rmeiy rPiug fJ IrJe courage being tl1e mofl pltttfo~~ 1luice ~(11~ 1) nmiddothotjnmiddoteet~rc J t t11chcr h 1m to hcaiHIJ itfelf~ Jt ir Jjara if a thi r pztt1cs rcpt ntgood romm~ndJti~Jniand it lf t~ttr Ulrtlll out of 11 Flint itJ the toll ith l hou ntHer rl ink (I u ell of di1J 1 Jn ~rlJ bull(rt in tb) fjto v nri(Jifi1 encr aJ l lJ Tt~tor jranJ tbr I ~ Jllol middotrc fotdtlneuct Jnn rbcc 1~1~ it~ irune be 4J thott art a h1mp of Jc(onnity lllbm I Jjhonbrcldt i11 tbe Ufvdr ampi diAI~ir~e nd 6rontht forth b1 b~n~iulr l1emiddot g~r ~ t htftt r1 11idn fc to ~til t i nc m n rt f
j i umiddotme lc u todrplrt Jmiddotor ifnd J1Ntbout it J $111 gonec rtltfic o~ til)middot crnfitrillifi arf jJ~IIy p( ~(n 1dcd thuu ca1Jjl110t thiole tlrlnd tcrefurc art crufl tiJ thy [raJie 11 IHr pound0 1e btu (rttclltJntl being 6on1c wit b rce tb irJ tly bc11dbit eucryeuronJC D47111ele t jJ tbir orwbat rijeboncfl iudujlry~nxcr th) ~111 egosip trJo
fucwdl1f thou wilt in ~in~llclfeot hoi~ tlly fClfltfitgtm1inthcr cupmg
87
Figure 16
lee Caldi fopitmiddoti Samor nfltJ c t~t du119Uc
B
lO
l~
------
88
Figure 17
Or [he tift Bookeof Ayres onelyfor rhe Lure che Bafc vyoll J and the Voyce
[ompofedb) RoBs R T IoN E s
QEe profontjingula mdta ibullmant __ _ ___________________ __ middot~-middot -middot middot--- -
L 0 N DC
rrintcd hy tlbullc Afigur~ ol ~~
Jij0ilfm lJdr ley t 6 1 o
I 89
I Figure 18
TO THE TRVE HONOVRABLE AND ESTEEM ED VVOR THIE THE
1 f q H T If 0 7 S H I P F V L L r If E LAVY vv R 0 T ll
~~~~~~On Honoured Lady my ddcfl anJ firft iiTuc hautngthr(ud fo ~middotdl vnder the protec1ion of your Right Honourable Facher blame not this my yonshygell and h1tl Babe if it dcfiroul1y fecke ampnctit~ric
~ with your fdfe as being a mopound1 vonhy branch frotn fo Noble and renov1ned a flocke It is here uarie tc I
a - your whole houfc noton ly to be trudy Honoura7 bl~ i o your feluesh ut to be the fa u ou rers and fu rd1ercrs of all hone 0 and crtuous end~uourpound in others And [hJt n1akes n1e fo farr~ daringas ro prefunle to offer rhis o~dicadon to your fJire acceptlOCP- AnJ hovfoe uermy defeCts therein may happily (or rather v1happtl y) be n1any ~t an1 I moficonfiJent(and tl1atgrow~s fion1 tbe worthinefleofyourowne nature) that your 1-Ionourable minde middotviii he plea fed (fince it cg s c fc lfc moll humbly in your annes) to giue it villin~ eqtcnain~ment and to countenance it Vith the fairc Liuca ie of your nobl~ Name It may bee flighted in ref peel of its ovne valev bur your f1uourable acceptance
wil~ bot~ grace it andmy fdfe a~ a poore Table hung vp euen tn Pnnces G lJoncs ndt for lhe VVoo ~hut for the Ptdurc
And fo (Noble ~ad y) not d~ring to bee ir~Ious of your rlonourable entercaine
menc I rcll
-I our LaJyjhip Jellcted in all dutit
I
RonERT I o Npounds
-----
~
90
Figure 19
~ )~To the friendly Cenfurcrs
- Eart jriend1 for fi I ~sJIyou ~(you pltbulltJ(e to acctpt my 7ood lllttJning i prefented yot l~fl rraquouh a Vreame i1j
middot wbich 1 doubt not ttt Ottr jJJta(ies htJue receuud fame rcafota6e contentment and now f JO~t pleaje to lee 1l9afd ortt of that VreiJJne f jhaU for your rerre JIJOIJ 1nd rcfi pound(bing guide you to tbe_1v( v s ~ s G A u ~
~=-o~-o~~ o EN Pberrytu (halljindj~cbVttrittiemiddot of Jelighn tiJt quc-ihunltfeJmiddoton n ill wilitt~Jjcnd fome time in the vien
t rrtof 1 n )Ot~r 1jentr411Ce into -which Cjardtmiddotn) yotl jhJIJ mtett ~ith Lout 1 CJr r and li6tl6ht bHt L4Jur frt foortb at lt~rge i11 biJ colourrby JFay ofdecypht t in6 bim in hit 11 ~1turt_~ ln the midfl ofzt yat4 fbaU find Lcmt rciefleJ) vpon t~rLnfu~cie 1nd b1rd mtajuteoj-ingrt~titude T ruching them that ar~lourrt gtI cr1 tumiddot tl1em to tltiro1~ne Ctl~(ure in Lout I defcripttou eJrul nowfor tht end it tf )liJn~ble UJ anorbcr ~ tur)for tbedcligbt oftht ettrf tnjamptUJjit opbull~1io1 14111
nM ft lrogant loco 1mf1Jd mi1te onme gitt neither yet fo Jegtnerate IU to be-g )Uto tdl(rartvn fftbejt d hgbtroFloftl(rt) or)4r(tico[PruittY ruaymJ
)1 ~1~Yt J -t rle _rjtng WJOffr_(ut i 1 jla1 bl gitJd Othel TPije J raquoiiJ )O)) nelIICr to J~middot t_fot~gtPluu orgraft and my ittbourJ butcrflrtb jh111l rtaft to trou61e)middot~ott
iJ Jt41)middotilln retlr lniflil r ~-tren ot will f1etunty ourctnforesl and dcfi~ your malice if you drJfe iht 1 a111 rifolute 1
ijyou11[e me r~ith rtjfe(l 1 bidJou mojl bearti_v
R I
--I
91
Figure 20
THE ry A11 L E
~Ouelouc=
middot~ tpound1 Soft Cupid fofi middot~ Alec 1 the fiUy 6th begu1c 1middotmiddote lounuhtcs ~~noake o =okin~ hy ti~( Riocr ride 1 n nnot (n 1fc but liuc 1 (mile loy in lhy Imiddotmiddot ( S
How rn~uy New yccrcs luuc grow ~n nldc There vvas lt~~ ll lcptCoJrd bull hn d~d litH The Sea h~h 1nany tbo~L~nd llnd Omiddotlmiddote dimiddotJ tnt thoHgh 5-both cLbc bullnd Sow l ~m b t~rrt ftom piuyh g th rc h 1 2] lately in a d1 came There wu 2 wil y a ddt My f~thtt fampinc would hluc me uke Mv loue harh hcr trot L ue bctro11d All roy fenC~e thy tweeuncfl~ g2incd T middot t~ CC de1fe A fpc wnh dyna voice Ddwld her I d ct like wire~ ofemn Gold 1lhouwb d1lt 1iogs ufmy ddirc h( dipt _l~ht 1 rcdccun cnln cu on witu mtnc ryet
middot
92
I Figure 21
Robert Iones bull XIX CANTVS
-~----- middot_ - ---------~- htl_ _+--=--= =- middot __ - -middot ---=---- - middot- --- -==== ramp-1==+~- - middot -~------- middot-- ---- ---___-
kt her goc
rtmiddot-w
bull And 0019 lbc rwofa dit but hu Nzyny)l moRneoctdlyou An yri I will ltis fo ( 1
A5 tlaquobelt tahha ~hen loucn IIKGC
5trt ~oma~oo tk ~ ~ Tatdl you mateilis necdldft~ I nnnt md c u hew by middotthe 1ooe And tbcnlQll chis wu ooJ~
93
Figure 22 ------~--- ---
bullsAtlV
llil 11 ~ middotl llh1J 11111 lllll t ~ I l ~ ~ I II II II I ttJ S amp I a HIH lf lll It g I J ~ I L~ Ill~ lt lll
vi i i II t middot1 ~ ~ I I II I ll
r
I l I I
l I bull
l 0 middot bl
1J 1 bull i ] _ Q
middot a middotmiddott kl U I I I I
_____~_=~=-~JIlW~ wrong bdccue htr not it wu not fo I dJd but lilfc her I did b~ Lilfc bcr aac~
-__1---------- -middot- ------middotjmiddot------ ------------- - --- -~-- middotbull - ___~__-- ~
~ ~__ - ~--- middot --~--~
----- -------------middot--------------------===-================-=-=~--middot---------
4
Figure 23
Rob~ rt lonts Xlr CANTVS
~ F 1 r ~ l ~ - ~ ~ - P r lt1 J c r bull ~ ~ r t r- r n t b c- - c
- middot (~-middot~ ~ ( - ~)7-47-~- ~ ~ amp --_-_ ---_- ~sectC-~---_---~- -(--~- --~-- -- -~ -_- - _ E - -- middot- --- --~ -L-~L-middot = middot ( -- --~middot-- f -=---~~ -77-_-C_ - t _ c ( t2 - -= ---~---- -- middot-----------
middot~ middot
n_ tt=l= -iIt~_plusmnt_~~poundltr=t=~~~=middotumiddot==---= -_ ~t=-==t=-=xtptl--~=t---=-t-x~-E~=-------
go there be many mo I fcltC nor why then let her goe 1 care DO[
---middot-------
l
Far--cwt UfJrewdllincc d1ls 1 finde it llllt 1 will not fpCod more nme in wooing you
nul I iH cce d w htre lfl mivfindhctthcrc S1=-ll l bid hct goc Vh1~ and rll Jocf
Sh~lbid her go and fparc not tll oo oo no I date noc
J Ten Lhoufand imes f1rcwcll yet fl2y I hilt Swca kilfe me onceJ t t ltdfcs limcbcguic 1
l h~ue no pow ~r lo mouc
How oow 1lt2m 1 io laue W ilr d10u nec middotbe gone Go then all is one
Viit thou need be goncoh hi~ thee Nay 01y ~nd doc no lnoampe dcwcmec
Once moce flrewcll t ~lorn rodcrrwrct Bids oamp adcw to her due holdcs Ill bm
But fcdh~ r mnR kgtof~
7hy loucwbi h ldid chufc Go rhy waies for 111t_ smiddotncc irmay nOt k
Gothywaiesfor mehucwhithcr Go oh burwhcrcl may come lhitber
r Wh~cCh~D I doe~ my laue is novvdqnr d Shccinsramiddot~ -a -c iscrucUhart d
Shcc would nor be intrc-attd Wirh pnicrs oft ~~ -J neccomc no more Shall I die ther(forc
H tb~e come no mor what c~rc II Faithlctbcr go or c-owe oa
(
95
Figure 24
---middot -- _____-- ~ -- ~
I
- --__ -----~ -------__- ~-~~ _ _ ____ ___-__ -
- middot --~~--~ ______ ------------111middotmiddot-middot ~-_--------middot ----middot---___- ___ __ _______ _ ____ ~------~--~-- ~__~___ __ _
------ -~ _~-----~- -~-middot----------------
96
Figure 25
204 SONG
CoMIOS-U uv middotnoLn nT Jor-o Js
~ - I middot middotluoted by ShakbullHiU~are - ~~~~ homiddotm tht 1 Hnukpul1lliOI
middot~ h-51 Jggff==r middot r~ Fate- ~ wtdl (l~arl loe since thou wilt needs he gem~
-=-t middot g-one
luC 111inn~ thnn wile IHls lu ()UC
J J loftgt since thou rilt nteds middot lumiddot
1 Jp4 J =-amp=imiddot------middot -r~--t-11---+-middot r=~-r=----middotJ__tJJ middot Jnine ttcs tloe tth~w my life i almost done
--
fl-=t~ -
IPg I WlH y middot t
~fLSI==r=f=lplusmna min~ eie doe _ 11hew
r nbully middot lite middot is almost douc yetmiddot J wilt
rplusmnHmiddot ~ ~ff my lilc iJ ycmiddott I will
Imiddot r--d E4 m y life ia almost yet 1 will
( -~
~__~middot--==--==t~- ~~plusmn 1
ne Vtr die HO lni1J t I ran tpit 1lumiddotnmiddot l)l- trHlll)
~- Jl==q=T-=_==~-middot- ~T~ - 11~~----e= - =r=-=ct ~middot - r--==EF~----=I-~-===+=FL0 - middotFJ==Z=c~~middotmiddotmiddot- - -
n-=- wer dit~ lon~ as I taU 51lio tlu-nmiddot ltl ny nm
~MIEF F i t~sect E tr l I c=middotreg~-~~~~-D bull v~r dit bulln oug a~ CiR hllie thn c 1-tmiddot uuuy inu
a~ t==t~~ r _ q~~~-=-~ ~= lllt - tr tlic ~ ~0 long lUI I I can illh t1wr htmiddot Utmy UIU
97
Figure 26
LO)
J t W=- --~4-~ middot thoughtlmt 5heeclre gomiddot -there he rnan u1u I If~ -1110
I I b P c ~ -B - j- -k=tJ4--t==fi=4D_ I ~middotrt thouKb that Hbec llo e Jeo fhuc be nuny mo not
not 1 _why tlnm let laer gne 1
Eamp--e - ~ - 1 r
1
uot ~middotby th~n let her gne I
1 F~nbullwell fflttbullwl1 sintmiddot tlll i I rt11ltltt li truemiddot I will 110t 11p~ml rn~bulln~ time iu wouing- )Oil~
Unt I lt~ ill fttbull(bullk tmiddotl~ wlwnbull If I m~y fhnt l1r hlaquo~tt
Shall 1 hid hlr gnf hat litnl if I de~
Sha)) 1 bid lwr gne and middotpar~
0 no no tut no 1 dare nut not
l i
Ten thnmbulland bullimt-11 lart-wllII)Lbullt 11taymiddot Jwh ile Swevt kisse me onctlfmiddotWNt kis~d t ime b(J~middotuile
l hamiddote uo flPWer to mmmiddottbull lluw uow arn I iu I on Vilt tbon n~tgtd8 be gonemiddot
Go then) all i~ onbull Wilt thnn umiddotN)~ btgt gontbulloh hie the4l Ny ~tay oUHt lintbull 11U lnonbull thmiddotuhbull lll~middotmiddotmiddot
J L IJ_ -
0
cnr-r lOt
-~ 1-e lg
care not J
JJi I 11laquo1 ) ~ar-e not -
0 IIi
ca re nut
4- middot bull ~ Onc-e more fu~wbullmiddotll~ l 5ee )Qth to dlaquo part j middot
1
llid R ull bulldew ifl lwr that l1ohtfbullbull my b umiddoth Butmiddot ~~ting I nnut )O()In~
_Thy love whkh I did chuite
Go thy wRie Jbr me _ Shlfe itnu1y not he ~ middot
(4) Uy WHit~ for me~ lu1t whithfr~ bull 0 J - f
Go oh hut wlu~re 1 mRy come th~~lur
f bull bull lmiddot I It tihaH I doer my lo~ it now middot-middot~middotpart~middotd ~ Sheto is ttll fnirr asmiddot6hee ls cruel1 harted
Slu~middot would nnt h~ intr~ated
With pra irra oft repeated ~ _ ~ If slw~ f()rne nq more middot middot ~ ~
Shnll I middot11~ thtoreforf I
lrsh6e come no mor~ batwh9t cbullr middote I~~ -1 FHifh)rt htr gnor lomfor tarry
98
Figure 27
CANT VS vI I I rCDERT loNE~
== ttf=y-=-t-===~=~~plusmni+==---=middoti--=rr~ -t=-r~==t-=t= W sect~~= - =i middot =clt=cL =~-t=- -middotr ----=i_ --~ ~-- - -middot-- middot-- --middot--- ----middot-----l- --middot----middot- ---middot middot--- -middotmiddotmiddot-
Clut no I phinrly Cu how chou wouldftbinclc~ucauurc l ~a~ t c11rll not to gofatbullu a
1 r 1 l 1 l r l lmiddot r ~ r i r --- ~---n_plusmn ______ ~ ---J middot- ~ s L -d--r--gtlt---- J LL---- J ___ c_ -------j- ~-n1l ~1~( _ _ il_il_ t_ ~----nt_L- -----_[c______ -+~~ 1--L- p ___ -L- -~--Lpound ____ _ ~-____ j__ __ + ------ l -middot~-- ~~- l --1 __ j_ ______ (__ l ~10_ -~---- -- i - -- - - middot - middot -- - ----- - ___ _ I _ __ --middot ~-~ ----- - 4l_ __ ampJLt __ --------~----P-1---~middot 3 __ c__l_J _ _r__-ltJ ___ _ _ _____ L ------
- n
--~- -~--+--middot-1--~ 1 middotmiddot---middot--middot~---- middotmiddotmiddot- -----~~-middott- =--~--- ~~ - middot~---iL-i- -~-- -- -t- r middot-~- middot -l middotjmiddot -bullmiddot I- middot -t ~--~---- -t-~~-tmiddotmiddotH- - middot -----t-~T middot ---- -l -- ~ middot-07- middot- -middot-middot bull ~-Lmiddot- J bull---- ~--- middot-t- - -- - --f -middot-- - -fi-l-L- -+- --[middotmiddot -middot-~ middot--middot--middot--1 --middot-- - -- - bull - -f- ~- --I=_ --middotmiddot---- _I __ __ _ --~- middot- _ _ - _ ______ __L _-t _ middot~_- --_middot--r~ -~~~ Q-- -
fuct 1 wlscnrfiO Jic fi~ nofwtctt lhy amp 1 w 11i leU thee why noafuc 1 wu ace urn JJol bullto goc oat bull
t f t 1 ~ lmiddot t r 1 1 t i ----middot-l~a--__ _ __ St_tLi-3---- --~(~ l-~---1~-d- a aL _ __ _ ______ Jtl a_JAi~-11---~-middot(_---+7Jk~-- - [ A--- -----__ lgt __ ~-1 ----lmiddot l _ ____ i-----middotmiddot-----~--L-----6~ - -
S-( _ 1-h_kJ--middot ----middot ~- L-----Llt-S-L----L__L ------- _______ J_ ______ ---Aplusmn- ---__ _1 ____ -middot---bull ~ ---~-~---1 ~-----L---- 3- ~_t_~- - ____ [ _ __ ~-~- -A - --J
----middot-1---r--t---------t-t-middot-----1---middot ------11-I-t=-~ middot ----L-- - -middot -plusmn --- r-middot-~--- ------middot middot --~middot--- 1--~-middot _-middot- --- ~---------===middot ~-middot-b-1_ --middot- - --- - ----- -~---f- ---fmiddot~-- L- bull - ----- --- middot--- -1-- - ----- --~middot-------~- ---- -1middot-middot1middot-middot--t- --J- -middot- -- - -middot--middot----~-----shy--- middot----~-~ ---- - --middot------------- --~ -~middot ------~- ----------middot
firnrurc I wu l lturfi 0 fie fie oegt rwct lll) uu J will tell thee why no
t I t l t lmiddot~ 1 l -L--~- - - middot-tmiddot J _______ ncU ~A ---S-A-------tl- -11- middot~-- - - --------middotbull-- middotbull----t_ _ _~_ 1 ---middot-~ - ll -o-A--AJl ___ ------middot- t------k- Jt-- -~~ ~--middot- - - - -- -middot- -r~-~ 4- ------llmiddot - middot -
-_~------ _ --~-~---t- -~-----J-- -- A- ------~ _ ----- - bull 1 --middot- -L--middot -- ------------ ~- - c --~--------~----- --------middot ---______ z_j_ _______ __ ___~~ ~-L-------a-e middot- ----middot --
J Oncr m()tdrewdllincc fiJI l 1ord lh_ lpcak
1 uJ bull 1rl bu1 (mlIJrcwcll ubull larHIWout lbullrcalt( Bbull middott bullbullo middot ltn( 1 Joe linJ 1hy loumiddot~ 1lltkt 1he -middotioampl
Wl11 1 l olo-u I Tl llcl-1 cro die
Whlll foolc- lnll u aor Y t fq 1 at l (oulc J ~~lfc nor
)
Wocnne ai~Gc h) diJ lllt[ b_im soc~ 1 hdc be the ~middotutccs of uilc fiym nbull
Now tbu hec o dfproucluchow uullhc cuct loucroe Nay bu t n he gCncbull
lhcn I am bullndunc Nay lnn i1l1c ~oneO hodliD
fl(c-uy hing lU ~CCVD oJcihua
vi gt VI V)
lt a
99
Figure 28
1 tn 1 I I I II
ll 1 I l middotI I I ll l l l tl I I i Imiddot i I i II I 1111 ll I l n I It i i Ill l I d l t I I I ~
f Hif tt I I ~~ I if t
1+1 ~ a j
thll
ALl V S
I Tl Ill i II L I I I II I I
II II I I rL ll1 I t I I
l i I I I I I I I
Iii 1middot I t
IHL IIIli
I I II 1 II l I II 111 I I I I I bull I I I I I
I bull I I ll 1 I I J
L t I llmiddot II ~ I ~ middott
I I ~~ ~ 1
I 1 t I 1
111
t 1middot II I bull
I tJ It I q I I
~~ I I I I
r
I z-1 __ 1 __ =t=-~-----1- - middot -~--~- ~ -f=middot -t=--~--~- middot~-- -===-middot~~-1 N~tsect t-~--_ _ c ~middot _--- __ _ ~-- c -=-b-- _ ~ ~ =-=-=--Xl =plusmn=
- b--- ~--_ __ -- -----middot-middot --middot--- - ~ ___ - ------------~-
nl rJ iiOr-T 1 -
ArCwtll fond )OUt h iflhcu hbulldR llOt bccnc blinCl aut cf Dline emiddotcbull thcu mi~tu n ll)Ut read my mintl ~~ J411
t==+=i =middot -=+-middot---poundmiddot _Emiddot -~ i=j ~ -ti~- -Qt=~ middot=i==- -tl-~- --~ - -~shy~t ~-i ~----+=middot = --~~ - -= bull ~ _ +=a~C -c + -~-=-middot ~ ------ -----~ --- --- --middot -~ - ----------laquo= ---- --~- middot-~ middot--
but now I plaincly fcc how thou wouldll fainc luuc mc(orc lPII~S Uturflnot hJ I)OCIC firtlft~re lu atcurflO hamp
-=t~-----------r+--tmiddot --1-1-l middot 1middotmiddot-r~--- -- middot middotmiddot- --- ~------ - )middot~-----~----- at-middot_t-~--1= 11_ ~tc=l=~ Ei middotmiddot-r- --tI +middotl =0Etmiddot plusmn middot i irlttmiddot ~ - ~-~ middot ~ --plusmnt-~ - - ----middotmiddot-middot---middot--- -middot- -middot _[ - ---- middot- middot---J -- - 1--l-- - -- - - - - -- -~---middot------middot--- - ----middot-- ---- middot---middot---middot+middot--- -~-r-4- -- --middotmiddot fic6cao fwect Aay ~nd I will cell thee why t~ofurc I w~~ accudl not JO goc at firfll(urc 1 wu accudl ~0 fie no f wcct
100
Figure 29
I
CANTVS
lt ll-rllt 1r1t 1 lmiddottl 1 1 - t4---6 A-A~ d~Apound~-fi------ ~ middot ---~
bullmiddot te_- ~I i~~I~- ___ --=~rmiddot --t=Z=j- = --Lt-- -- - middot--- --middotmiddot -- -----middot - - A-- middot - -- _ _~__ __ J ___ _ J_ - - --- - -----~ n a- L r amp_-4--- - -A I - -
~ - - -bull -middot_[- _ - - - - middot - -middotmiddot - - - lt- ~ Ll bull middot- -- ---_ middot- --- ---l~-middotmiddot -~ middot -~gmiddotr ~iiftmiddot- middot--~11--j~-middot _t~middot ~-- plusmn~~ - _-- -- ~- _ J middotmiddot~ - middot J J -- - J~ ~ - bull - ~ -- - ----= ----middot~ --- ------middot -------- J __ ___ --f ___ ~ -~----- -----middot bull middot- - - middot--middot- -bull- middot --- -- middotmiddotbull--- -1-- - middot- - -- I - bull bull --~-
I
bull A Mble d~middot ~fc wH ~ obin Jhlod - V(c l ~t be cbullJultl J ccc 1uc Jumj
yet r- ~r r middot~middotin hh br ltlt H lmiddotllOJ
C u iJ~~I hbulll hrlll bcruuc h middotlll to gr u rn ductelbulltl-hidkn wJltr ~kinmiddot
then lnauty doft lylo~l~ddn womcnt C )CI
Htf i lly jobJh
4
J An Our-b lr as 1his Rollin I lood
H1i l-1fc free and vnruly Yu [O fitc M~bullri~n boull d h~nood
Atul louu debt payed hu duel y Who111 cur be of Ctnc lmllaiyen could nor hold ia
Louc t~ri th obe)middottd~s mJ a winLt could wiltnc Heyiolly Roh
NoW~ w(nd wt l1olll r ilou1 Robi ro HooJ Lc~uc wuhc woodl bchsnd vt
_our fl ho n1 muU nor be w~lhfiood but ~~nr whelt u fi lld ll
1 h t Ill hclIbull11J h)WUC 1 bullud fo ltltd h( I otm( w r icentW~HJdbull 1 1ootlollnwcd r
lhr ullzllt~~J
v~
gt Vl V)
lt
Jlftl
litH ~~rm ~ middot II
I Imiddot~
I
II tt-1 )~
101
Figure 30
I
102
Figure 31
CANTVS bull III
W=tRW=~~~~==--=-------=--=--=--== 0 lollc is but 3 bhu~1-fwtetmiddott I en r r middot r r
~tP ltm~~-~t----~-
Mu1enorvpon hCI fmili ng lookcs Thinke thtr they ~re bttt baitcd hooka
Audu fncy Loudufranzy~
middot e( not J toy Then breed chtc foch annoy1
bur kaue to coke vpponfuch fond booka
)
L(Jtnt ro fotgct fu ch idle royn Finer for youtbcs md youd1full boya
L~ o~ one fwccte frnilc Thy rrue loue igtegllile ~flOibulltiownc
r c-ur uft theedowne- Jlopund jllmiddot to bed iathcf~ioy~
I
bull
103
Figure 32
BASSVS
---------middot--- ----- ------- ---- -- ---------- ---- -~ ------------- - ----------- _ ___ - ~ _____-------~~~------------ - ----- - - ---
- -- -- --~-- - ___ __
CJ
I
-70-
If other sacred music by Robert Jones exists 1 it has not
come to light The Reformation did much to improve English
Church music However the combined effects of Civil war
supremacy of Puritanism suppressed church services disbanded
choirs and the destruction of organs and libraries by the B
soldiers of the Commonwealth resulted in irretrievable loss
The hatred of the Puritans for the English Church and its music
was so strong they seemed to consider it their duty to root out 9
and destroy every office-book they could find lmiddotluch music has
also been lost because of errors and omissions on the part of
scribes the use of old manuscripts as waste paper and in the
binding of new books and in the practice of sending manuscripts 10
to continental bookbinders The fact that any sacred rausic by
Jones exists may possibly be attributed to its inclusion in two
sources meant for secular use
What happened to Robert Jones after the theatre difficulties
remains a mystery Loss of records because of fire or
carelessness only allows speculation in this area Since the
English style of string playing was in fashion in Germany France
8 ~Talker p 56
9 F~ Landon Hunphries The Evolution of Church Music (New
York J J Little and company 1896) p 94~
10 William Joseph King The English Anthem from the Early
Tu ~or Period t roug_ the Restor_fltj gn Era diss Boston University Graduate ~chool 1962 vol I and II (Ann Arbor university Microfilms International 1982) p 12
-71-
and Italy he may have returned to the continent It is equally
possible that he died in any of the plagues which forced the
theatres in London to close so often That his music still
exists to be enjoyed may be epitaph enough
104
Blank
Appendix One
Sources of the Husic of Robert Jones
BookSong
The First Booke of Songs or Ayres
The Pirst and Second Boeke of Songes and Ayres
Ultimum Vale
First Set of Madrigals (inc)
A Husicall Dreame
The Muses Garden for Delights
Hhat if I seeke for love of thee
There is a garden in her face
Doe not o doe not prize Beautie sate bathing 11 Goe to bed sweet museu Shall I locke to ease
griefe 11
11Jhat if I speed Cease troubled thoughts Scinthia queene of seas
and landn Thinkst thou Kate to
put rre down 11
nt1hen will the fountaine of my teares
F1ie flie flie from the world 1
Fy fy 11 (inc)
Date
1600
1601
1605
1607
1609
1610
1600
1605
1605 1605 1605
1605 1605 1605
1605
1605
1605
1605 1601
-105-
Source
British Igtluseum Folger Shakes~eare Library
British 111luseum Central Library
Hanchester
Royal College of Music
Private ownership Furst Alexander
British Nuseurn Royal Library
Brussels
San Marino British 1middotlus eurn Euing Library
Glasgow
San Harino
British Library Add Ms 15117
The First Book of Songes or Ayres
British Library Egerton ~s 2971
Ultimum Vale
British Library Add Ms 24665
Giles Earles his book taken from Ultimum Vale
u
II
fl
fl
n
The First and Second Boeke of Songes and Ayres
-106-
The love of change hath changed the world 11
What shall I render to the 1614 Lord bullbull
Let thy salvation be ~Y joy
Lament lament my soul cry 0 cry
n Sing j oyfull ybull
Arise my thoughts
11 Dreams and imaginations
uFie what a coyle Now what is love
no date
1601
1601
1601 1601
Folio ms in Folger Library
British Museum Royal App 63
The Tears or Lame tations o f a Sorrowful Soul
RISM attributes 4 songs to Jones
Christ Church Music Mss 56-60
Christ Church Husic ~1ss 439
The Second Book of Songes and Ayres
lt
-107-
APPE IDIX THO
Contributors to Manuscripts nu~beren 56 through 60 in Christ Church Oxford
SEC~~ number CC lmiddot1SS Voice 334 Hus 56 c 335 Mus 57 Q 336 Mus 58 Sx 337 Mus 59 Ct 338 Mus 60 T
Bassus lacking ca 1620
a alternate sources published b transcribed c Psalm 81 in two versions
Amner John~ 1579 1641 B r-1 Oxford 1613
Consider all ye passers by (b) 3349835803378633896 verse
I am for peace inc) (with different verse section) 33463356337~6 3386 verse
Bennet John flca 1600-ca 1615
Great God of Gods 0 God of Gods (a) 334 113 33595 33710133811 verse
To the almighty Trinity (ptll of 0 God of Gods)
Bull John ca 1562-16287 B H Oxford 1586
Almighty God who by the leading (ab) 334110 33592 33798338 108 verse
How joyful ana how glad (inc) a) 33448335483374833748 verse
Byrd William ca 1542-1623
Save me 0 God for thy name bull s sake (I) 33410 33510 33710 338 10 fS
Sing joyfully unto God our strength and Blow the trumpet parts I and II and Sing we merrily and Blow up the trumpet parts I and II not in this source from Christ Church (c)
-108-
Corkine William1 fl 1610
Praise the Lord 0 my soul (inc) 33441 335413374133841 f5
Cranford William fl early 17th c
My sinful soul (inc) 33413833512033616337126338136 verse
Daman (Damon) William ca 1540-1591
0 heavel]nly God (b) 33451335513375133851 f5
East Michael ca 1580-16481 B M Oxford 1606
Blow up the trumpet Sing we merrily (Pt II Take the psalm PT III Blov1 up the trumpet) (ab) 33420933520233698337196338214 verse
Take the Psalm
Ferrabosco Alfonso Sr~ 1543-1588
0 remember not our old sins (a) 33414133512333619337129338139 f6
Ford Thomas ca 1580-1648
Miserere my maker (inc) 334151v33513533631337141338151 f6
Gibbons Orlando 1583-1625 Phd Mus Oxford 1622
See the Word is incarnate (ab) 33495335773378333893 verse
Hooper Edmund ca 1553-1621
Hearken ye nations (a) 334211335204336100337198338216 verse
Jeffreys Matthew fl ca 1590 B M Oxford 1593
If the Lor~ himself (a) 33414833513033626337136338146 verse
-109-
Lord rernerr~er David (a) 334142 335124336120337130338140 f6
My love is crucified (inc) 334100335823378833898 fS
Out of the deep (a) 33414633512833624337134338144 verse
Sing we merr-il y (II) (a) 33414433512633622337132338142 verse
Jones Robert fl ca 1600 BM Oxford 1597
Sing joyfully unto the Lord (inc) 33412335123371233812 f5
Lupo Thomas fl 1593-1628 or fl 1605-c1660
For I knowledge my faults Have mercy upOii me (pt IIFor I nowledge my faults) (inc) (ab) 33418335183371833818 f5
Out of the deep (c) 33420335203372033820 pound5
Mundy John d 1630 B M Oxford 1586 Phd Mus Oxford 1624
0 give thanks unto the Lord for he is gracious (a) 33416335163371633816 fS
Mundy William ca 1529-ca 1591
0 Lord I bow the knees (a) 33490335723377833888 f5
Parsons Robert (I) d 1570
Deliver me from mine enemies (ab) 3348335833783388 f5
Peerson Martin ca 1572-1650 B M Oxford 1613
0 Lord in thee is all my trust (inc) 33488 335703377633886 verse
-110-
Philips Peter d ca 1635
Bow down thine ear unto my crying (a) Adapted from the motet Cantai mentre 334217 335210336106337202 338220 f6
Portman Richard~ d ca 1655
Rejoice in the Lord 0 ye righteous (I) (a)334226 verse
Ravenscroft Thomas ca 1590-ca 1633
0 let me hear thy loving kindness (a) 3343133531337 3133731 verse
0 woeful ruins (a) pt II and pt III Those sacred walls and 0 how these graceful piles not in 334-338 33440335403374033840 f5
Simmes William fl ca 1600
Awake (Away (a)) fond thoughts 33415733514233638337148338158 verse 6
Rise 0 my soul (pt II and pt III And thou my soul To theee o Jesu) (a) 3342833528 3372833828 verse And thou my soul To thee o Jesu
Stubbs Simon fl ca 1600
Father of love (a) 3348633568 33774 33884 f5
Tye Christopher ca 1500-ca 1573 Phd Mus Oxford from Cambridge 1545
Christ is risen Christ is rising again (pt II Christ is risen) (inc) 334225335218336114337212338230 f6
I lift my heart to thee (ab) 33492335743378033890 f5
-111-
Ward John fl early 17th c
Down caittiff wretch (a) (pt II Prayer is an enciless chain) 33424 amp 2633524 amp 2633724 amp 2633824 amp 26 verse
How long wilt thou forget me (a) 33422335223372233822 f5
Let God arise (a) 33411633598337104338114 verse
Praise the LordO my soul a Lord my God (a) 334219335212336108337206338224 verse
This is a joyful day (a) 33413333552336523375233852 verse
~~larwick (Warrick Warrocke) Thomas d 1660
0 God of my salvation (a 3349 335933793389 pound5
Weelkes Thornas1 -1623 B M Oxford 1602
Alleluia I heard a voice (ab) 33414335143371433814 pound5
Gloria in excelsis Deo Sing my soul to God (ab) 33415533514033636 337142338156 pound6
Hosanna to the Son of David (ab) 334214335207336103337201338219 f6
Lord to thee I make my moan (ab) 3341023358433790338100 pound5
0 Johnathan woe is me (ab) 334151v33513433630337140v338150 f6
0 my son Absolom (I) (ab) When David heard that Absolom (ab) (~t II 0 my son Absalor1) 33415033513233628337138338148 pound6
-112-
Wilkinson William Thomas
Hear my prayer 0 Lord and with thine ears (a) 3341043358633793338103 verse
Preserve me o Lord (a) 33443354 33743384 verse
Put me not to rebuke (a) 3341063358833794338107 verse
Compiled from
Nan Cooke Carpenter Music in the Medieval and Renaissance Universities
Ralph T Daniel and Peter Le Huray compilers The Source of English Church Music 1549-1660 part I and II
C F Abdy Williams A Short Historical Account of the Degrees in Music at Oxford and Cambridge
-113-
Appendix Three
Graduates of Oxford
Doctors
Robert Fairfax John Gwyneth John Merbecke John Shepeard Robert Stevenson Orlando Gibbons Nathaniel Giles John Hunday Christopher Tye John Bull
Date
1511 1531 1550 1594 1596 1622 1622 1624 1548 1592
Tye and Bull were incorporated as Doctors of Music from Cambridge
Bachelors
tathaniel Giles John Bull John t-1unday Thomas Morley John Dowland Giles Farnaby Edward Gibbons George Waterhouse Arthur Cocke Francis Pilkington Robert Jones Thomas leelkes Thomas Tomkins Richard Deering
1585 15B6 1586 1588 1588 1596 1592 1592 1593 1595 1597 1602 1607 1612
Author
Robert Grossteste
Robert Kilwardly
Roger Bacon
Bartholomaeus Anglicus
Walter Odington
Simon Tunstede
John Hanboys
John Hothby
William Bathe
John Case (attr)
William Barley
Thomas Morley
-114-
Ap~endix Four
Oxford Treatises
Date Title
ca 1175-1253 De artibus liberalibus
d 127 9
ca
ca
ca
1351
ca
1584
1600
1586 1588
1596
1597
1214
1230
1330
1450
94
De ortu et divisione philosophiae
Opus majus and opus tertium
De probrietatibus rerum
De speculatione musice
Quatuor principalia musicae
Surnma super musicam continuam et discretam
Regulae super proportionem De cantu figurate Regulae super contrapuncturn Caliopea legale
A Briefe Introduction to the True Arte of Music
A Briefe Introduction to the Skill of Song
The Praise of Musicke Apoligia musices tam vocalis quam instrumentalis et mixtae
The Pathway
A Plaine and Easie Introduction to fvlusicke
-115-
Appendix Five
Baccalaureus in musica solvet
Imprimis pro cumulatione presentatis Pro comrnuniis Pro scriba universitatis Pro circuita Pro camera Pro curnulatione sex annorum Pro anno instante Pro horolog-io Pro deric[t]o universitatis Pro inferiore bedello artiurn
Si beneficiatus vel patrimoniatus fuerit solvet pro vino
Si non praebat convivia solvet betiellis facultatis suae pro prandio
vj s
i j s
xiij s
vij s
viij d vj d
xij d xij d
iiij d
xij d ij d ij d vj d
iiij d
iiij d
ix d
116
Appendix Six
Words set by Jones for Leighton
Let thy salvation be my joy
Let thy salvation be my joy Confirm me with the spirit of grace Let sadness not my soul annoy For pensive thoughts too much take place 0 let my comfort still reside In Christ who for my sin hath died
In setting the third line Jones uses sixteenth notes on the word spirit 11 to compensate for the extra syllable
What shall I render to the Lord
What shall I render to the Lord For all his blessings poured on me My heart and soul with one accord Shall laud and praise thy majesty All praises do from thee desend Blest be thy name world without end
Lament my soul cry cry o cry
Lament my soul cry cry o cry Swe et Jesus pity pity me Help help help help for sin I die Sweet Christ come ease my misery
BIBLIOGRAPHY
Primary Sources
The Bible That is the Holy Scriptures contained in the Old and Newe Testament London Deputies of Chrlstopher Barker Printer to the Queenes most excellent Maiestie 1596
Book o f Common Prayer and Administration o f the Sacraments and Other Rites and Ceremonies of the Churchof England WiSh the Psalter or Psalms of David Printed by Thomas and John Buch Printers to University of Canbridge 1629
Fellowes Edmund H ed The English Madrigalists val 35A Revised edition edited by Thurston Dart London Stainer and Bell 1960 The First Set of Mad_ri a_l s 1607 by Robert Jones
The English Madri al School val 32 London-stainer and Bell 1923 The Triumphs of Oriana to 5 and 6 voices Compose - y D1vers several Authors published by Thomas Mor ley 1601
Jergens Elise Bickford English Song 1 600-1 67 5 Part I British Library Manuscri ts London
Pu middot- 1sh1ng Inc 1986
Leighton Sir William Th e Teares or Lamentaciones o f a Sor rowful Soule London W2 1arn Stansby 1614
The Teares or Lamentations of a ----Sorrowful Soul Transcr1bed and edited by Cecil Hill Vol ll Early English Church Music London Stainer and Bell 1970
Morley Thomas A Plaine and Easie Introdction to Practical Music Edited by R Alec Harmon New York WW Norton and Co 1952
Smith John Stafford Musica Antigua London Preston 1812
Sternfie1d FW gen ed English Lute Songs 1597-1632 A Co l lect~on o Fac s imiDelRepr ints
ress t Vol 7 edited by David Greer The First Boeke of Songes or Ayres 1600 by Robert Jones The Second Booke of Songs and Ayres 1601 by Rober ones t1mum Vale 1605 by Robert Jones A Musicall Dreame 1609 by Robert Jones The Muses Gardln for Delights 1610 by Robert Jones
-118-
Books and Articles
Abraham Gerald ed New Oxford History of Nusic vol IV uThe Age of Humanism 1540-1630 11 London Oxford UP 1968 3rd impression 1974
Adams Joseph Quincy 11 A New Song by Robert Jones bullbull Modern Language Quarterly I (March 1940) 45-48
Adler Kurt The Art of Accompanying and Coaching Minshyneapolis The University of Minnesota Press 1965
ArkmiddotJright GE P Catalogue of Music in the Library of Christ Church Oxford London Oxford UP 1915 ed 1971
Bateson fW ed The Cambridge Bibliography of English Litshyerature 4 vols Cambridge University Press 1969
Bentley Gerald Eades The Jacobean and Caroline Stage Dramat~c Companies and Players 5 vols Oxford Clarendon Press 1941 reprinted 1949 bull
The Profession of Player in Shakespearebulls Time 1590-1642 Princeton Princeton UP 1984
Blom Eric ed Groves Dictionary of Music and Musicians vol IV New York St Martins Press Inc 5th ed 19B4
Boyd rbulllorrison Comegys Elizabethan Music and Musical Criticism 2nd ed Westport Greenwood Press Publishers 1962 reprinted 1975
Brown David nJones Robert in The New Grove Dictionary of llusic and Husicians vol 9 p 703 Edited by Stanley Sadie 1980
Carpenter Nan Cooke Music in the Medieval and Renaissance Universities Norman Okla University of Oklaho~a Press 1958 reprint eo New York Da Capo Press 1972
Chambers E K The Elizabethan Stage Vol I-IV Oxford Clarendon Press 1923 ed 1961
Crewsdon Henry Alastair Ferguson TD MA comp The Worshipful Company of ~t-lusicians Loncion Constable and Co Ltd 1950 new ed London Charles Knight and Company Ltd 1971
Cutts John P 11 Everie Woman in her Humor Renaissance Nevs 18 (Autunm 1965) 209-213
-119-
Daniel Ralph T and LeHuray Peter compilers The Sources of English Church Music 1549-1660 Part I and II London Starier and Bell 1972
Dart Thurston t-1A The Interpretation of Music 4th ed London Hutchinson University Library 1960
Dodd Gordon 11 A Summary of Nusic for Viols Early flusic 6 (April 1970) 262-267
Doran T s A Dr Annals of the English Stage from Thomas Better ton to Edmund Keen Vol 1 New York bullJ J ~1 iadle ton Publishers 1865 republished St Clair Shores Mich Scholarly Press no date
Doughtie Edward ed Lyrics from English Airs 1596-1622 Cambridge Harvard University Press 1970
Einstein Alfred Essays on Music London Faber and Faber 1956 rev eng ed 1958
Feldman Martha 11 In Defense of Campion A New Look at His Aryres and Observations The Journal of Musicology v
(Spring 1987) 226
Fellowes Edmund Horace CH Mvo MA Mus D English Cathedral l~sic Edited by J A Westrup Westport Greenwood Press Publishers 1981
_________ The English Madrigal Composers 2nd edition London Oxford University Press 1921 1948 reprinted 1967
bull The Text of the Song Books of Robert Jones Music --------middot and Letters VIII (Jan 1927) 25-37
__________ Tudor Church Music Appendix ~lus D New York Brouclex Brothers reprint 1963
Greenberg Noah music ed Auoen ~middotlH and Kallman Chester text ed An Anthology of Elizabethan Lute Songs Mad rigals an Rounds Pew York ~middot1 w Norton amp Co Inc 19 55
Greer David What if a Daybull - an Examination of the Words and r~usicbullt husic and Letters 43 (Oct 1962) 304-319
Gutmann Veronika Instrument oder Diminutionspraxis 11 Archiv fuer Husikrvissenschaft 35 (1978) 187-190
Heseltine Philip and Warlock Peter The English Ayre London Oxford University Press 1926 reprinted Westport The Greenwood Press 1970
-120-
Hesel tine Philip 11 Robert Jones and His Prefaces The rmiddotusical T ime s bull ( Feb -t-1a r 19 2 3 ) 9 9 -1 0 0 16 8 -17 1 bull
Humphreys Rev F Landon ~lus Doc STD The Evolution of Church Music New York J J Little and Co 1896
Jeffrey Brian ed Elizabethan Popular Music for the Lute London Oxford UP 1966
King William Joseph The Englsh Anthem from the Early Tudor Period through the Restora t ion Era PhD dissertation Boston University 1 962 Ann Arbor Mich University Microfilms I~ternational 1982
La Fontaine Henry Cart The Kings Musick New York Oa Capo Press 1973
Lewis c s English Literature in the 16th Century excluding Drama 11 in Oxford History of English Literature p 266 Edited by F P Wilson and B Dobree Oxford Clarendon Press 1954 reprinted 1962
r1ason Dorothy E Husic in Elizabethan England Washington Folger Shakespeare Library booklet 1958
rtaynard Winifred Elizabethan Lyric Poetry and its Music Oxford Clarendon Press 1986
McGrady Richard J The English Solo Song from William Byrd to Henry Lawes 11 PhD dissertation University of Manchester 1963 This dissertation arrived to late to notate McGradys theories on Italian Monady and Jones
Meyer Ernst H Early English Chamber ~iusic ed Diane Poulton London Lawrence and Wishart Ltd 1946 Boston Marion Boyars Inc 1982
Mies Otto Heinrich PrussJan Castle
Elizabethan t1usic Prints in an East rrusica Disciplina III (1949) 171-172
Naylor Edward Noodall Shakespeare and Husic rev ed New York De Capo Press 1931 lew York Benjamin Dlom Inc 1969
Pagallelli Serpoundio Jusical Instruments from the Renaissance to the 19th Century trans Anthony Rhodes Milan Fratelli Fabbrl Editori 1966 7 London Hamlyn Publishing Group 197 0
Pattison K An Analysis of the Ayres of Robert Jones MFA thesis University of Georgia 1965 (Request for this thesis has been submitted through the inter-library loan service but has not arrived)
Phillipps G A Charles 1 11
-121-
11 Crown r1us ical Patronage from Elizabeth to Music and Letters 58 (Jan 1977) 29-42
Phillips Peter 11 Performance Practice in 16th Century English Choral Music~ Early Music 6 (april 1978) 195-199
Prior Roger Jewish Musicians at the Tudor Court The ~~sical Quarterly LXIX (Spring 1983) 253-265
Poulton Diane Graces of play in Renaissance Lute Music 11
Early Music (april 1975) 107-109
Reese Gustave Music in the Renaissance revised ed New York W w Norton and Co Inc 1959
RIS~t Einzeldrucke vor 1800 Karlheinz Schlogervolume III Basel Barenreiter Kassel 1974
RISM Recueil s Imprimis XVIe-XVIIe siecles l-1unchen G -Henle Verlag 1972
Robertson Dora H Sarum Close London Jonathan Capt 1938 Bath Firciurt Publishing Limited 1969
Seng Peter J The vocal songs in the Plays of Shakespeare a Critical History Cambridge Harvard UP 1967
Shakespeare William William Shakespeare The Complete Works Edited by Alfred Harbage Baltimore Pen~middotuin Books rev ed 1969
Smith Irwin Shakespeares Dlackfriars Playhouse Its History and Its Des~gn New York New York University Press 1964
Spink Ian English Song Dowland to Purcell New York Charles Scribnerbulls Sons 1974
Sternfeld F w Music in Shakespearean Tragedy London Routledge and Kegan Paul 1963 rev ed 1967
Stevens Denis Tudor Church t-1us ic Nev York Merlin Press 1955 bull
A History of Song New York W W Norton and Co Inc 1960~ First American Edition 1961
Stevens John Music and Poetry in the Early Tudor Court reprint ed Cambridge Cambridge University Press 1979
Traficante Frank Anthony 11 The Mansell Lyra Viol Tablature parts I and II PhD dissertation University of Pennsylvania 1965
-122-
Walker Earnest A History of Music in England New York Da Capo Press 1978
Wells Robin Headlam John Dowland and Elizabethan Melancholy Early Music 13 (Nov 1985) 514-528
Wickham Glynne Early English Stages 1300 to 1660 2 vols London Routledge and Kegan Paul New York Columbia UP 1972
Williams C F Abcty A short Historical Account of the Degrees in 1usic at Oxford and Cambridge Lonaon lovello Eivers and Co 189 3
Woodfill Walter L Musicians in English Society from Elizabeth to Charles I New York Da Capo Press 1969
Christ Church Music Manuscript 56
Fanshawe part-books
60 that is the
Biographical data are presented in the first chapters
the remaining chapters are devoted to the secular music and
the sacred music Contained in the latter is a transcription
and a recreated bass part of the Oxford Anthem possibly
composed by Jones to complete degree requirements at Oxford
Supplements include facsimiles of all the prefaces to the
publications of Jones discussed in the thesis
THE LIFE AND WORKS OF ROBERT JONES
by
Cathryn J Gaherty
A thesis
Presented to the Faculty
of the Department of Music
of Christopher Newport College
In partial fulfillment
of the Requirements for the Degree
Bachelor of Music
May 1988
Approved by
CtU w 15()(BKr----~ Dir ect or-VClyde W Brockett PhD
R Hines Ph 0
TABLE OF CONTENTS
ACKNOWLEDGMENTS
LIST OF ILLUSTRATIONS bull
LIST OF APPENDICES
I IDENTIFYING THE MAN
II EDUCATION AND SOCIETY
III ~vAITS MASQUES AND THE THEATRE bull
VI THE SECULAR MUSIC
V THE SACRED MUSIC
I LLUSrrRATIONS bull
APPENDICES
BIBLIOGRAPHY
iii
ll
iii
iv
l
11
21
29
39
72
105
117
ACKNOWLEDGMENTS
This paper cou l d never have been a t tempted without the
faith and assistance of many wonderful p eop l e I sincerely
pray that the results will repay your belief in me
Many thanks to Mr Richard Austin cura tor of St
Luke~s Shr ine i n Smithf i e ld Virginia It was through his
kindne ss that I was a b le to use the Bible of 1615 Mr
Richard Johnson of the New York Public Library Performing
Arts Research Cent er at Lincoln Center was of great
assistance to both my husband and myself I t is because of
the senerousity of Mr HJR Wing of Christ Church Oxford
that I am able to include the Oxford Anthem Mr Arthur
Searle Assistant Keeper The British Library was kind
enough to s e nd sources for the works of Rober t Jone s
I am especial ly thankf ul to and for t he librarians of
Christopher Newport College Mary Daniels Cathy Doyle
Maureen Humphries Trish Kearns Carol Lockwood( and Betty
Smith Their incredible support proves t here i s no place
like home
The following people can never be thanked enough Pat
Silvis for still being my friend Anne Catherine Braxton
for the most awful puns to make me laugh Dr B for his
guidance and support which stretched beyond belief Dr Bill
Stoney for supporting my dreams Dam who wil l get her mom
back soon Jimmy and most of al l my husband Steve the
ma n who killed chauvinism resurrected chivalry and who
loves me so much that he can l et me indulge my passion for
iv
an obscure Elizabethan Composer
I also wish to thank those faculty members who have
consented to read this paper Dr Elizabeth Jones Dr James
Hines and Dr Clyde Brockett May you enjoy Robert Jones
v
LIST OF ILLUSTRATIONS
Figures 1-4 The First Booke of Songes or Ayres bullbull 72 Title page Dedication Preface Table of Contents
Figures S-8 The Second Boeke of Songes or Ayres 76 Title page Dedication Preface Table of Cpontents
Figures 9-12 Ultimum Vale bull 80 Title page Dedication Preface Table of Contents
Figures 13-16 A Musicall Dreame bull 84 Title page Dedication Preface Table of Contents
Figures 17-20 The Muses Gardin for Delights 88 Title page Dedication Preface Table of Contents
Figure 21 92
Figure 22 11 Farewell dear love 94
Figure 23 Transcription from Musica Antigua 96
Figure 24 Farewell fond youth 98
Figure 25 11 In Sherwood liude stout Robin Hood 100
Figure 2 6 11 Goe to bed sweete muze 102
vi
LIST OF APPENDICES
Appendix One Sources of the Music of Robert Jones
Appendix Two Contributors to Manuscripts numbered 56 through 60 in Christ Church Oxford
Appendix Three Graduates of Oxford
Appendix Four Oxford Treatises
Appendix Five bull bull bull Baccalaureus in musica solvet
Appendix Six Word set by Jones for Leighton
vii
105
107
113
114
115
116
CHAPTER I
IDENTIFYING THE HAN
Robert Jones who flourished between 1597 and 1615 is
one of the lesser known Elizabethan composers He has been
claimed not without causing confusion to have taken to
himself a number of QUSical assignments One author asserts 1
that Jones was a composer for virginals Another calls 2
him a composer for viols He is referred to by one historian
as a prominent lutenist to be numbered with Dowland 3
Campion and Byrd He has been called song writer and
1 Kurt Adler The Art of Accompanying and Coaching
(Minneapolis The University of Minnesota Press 1965) p 12
2 Gordon Dodd A Summary of Music for Viols Early
Husic 6 2 (April 1978) 263
3 Elise Bickford Jergens ed British Library
Manuscripts Part I English Song 1600-1675 (New Yorkmiddot Garland Publishing Inc 1986) p 11
-1-
-2-
theatrical manager both controversialist and genial person
Yet some authors such as Edmund H Fellowes in English
Cathedral Music consider his accomplistooents in some areas 5
too meagre to merit mention
In extant records for the period from 1520 to 1620
there are numerous references to R Jones Richard Jones and
Robert Jones There are also references to a w Jones and
an s Jones in the same Stationers Register that lists an R 6
Jones seven times Another Jonest Luke is a
4
contributor of one of the poems in William Leighton bull s Literary
Introduction and Laudatory verses to Teares or Lamentaciones 7
of a Sorrowful Soule from approximately the same period
It is possible to reduce the Richard and Robert Jones
references to four people that is two Robert Joneses and
two Richard Joneses It is also within the realm of
possibility that these rnen were related Their paths
4 Philip Heseltine Robert Jones and His Prefaces The
Musical Times (February and March 1923) 99 171
5 Edmund H Fellowes English Cathedral Music from Edward
VI to Edward VII rev ed Edited by JA Westrup (Westport Greenwood Press Publishers 1981) Fellowes discusses Leightons Teares or Lamentaciones of a Sorrowful Soule yet never discusses Jones contribution of three anthems
6 EK Chambers The Elizabethan Stage 4 vols reprint ed
(Oxford Clarendon Press 1961) vol II pp 380-389
7 Sir William Leighton Teares or Lamentaciones of a
Sorrowful Soule Transcribed and edited by Cecil Hill (Lancon Stainer and Bell 1970) p xviii
-3-
crossed often enough and in at least one instance
scholars have confused them crediting one with the work of
the other Some historians have also preferred to gloss
over the obvious inconsistencies in dates and make no
distinction at all in their references to Jones
The first Robert Jones conceivably the grandfather of
the Elizabethan composer is said to have been a chorister in
Henry VIIs Royal Household Chapel In 1512 it is
claimed that he was a member of Henry VIII s Royal Household
Chapel This Jones furthermore is listed as a meniDer of
the Gentlemen of the Chapel at the Field of the Cloth of
Gold in 1520 Three of his compositions have survived 8
although they are incomplete Thomas Morley cites Jones 9
work in A Plain and Easy Introduction to Practical Music
8 The New Grove Dictionary of Music and Musicians 1980
ed sv Jones Robert (1) The three-part song Who shall have my fair lady is in an anthology XX Songes Gustave Reese Music in the Renaissance (New York ww Norton Co 1956) p 763 discusses this book in a footnote as one of the earlies middott examples of music printing in England which was formerly considered to be a product of the press of bullbullsynken de Warde Denis Stevens Tudor Church Music (New York Merlin Press 1955) p 50 mentions this Robert Jones Mass based on the plainchant cantus firmi Spes Nostra
9 Thomas Morley A Plain and Easy Introduction to
Practical Music R Alex Harman ec (New York ww Norton and Company Inc 1952) p 321 Robert Jones is noted here as a vJelshman active ca 1485-153 5
-4-
The dates for Richard Jones span a time period of
ninety years from 1532 to 1624 Even allowing for
extraordinary good health and ideal living conditions these
dates must at the very least be for two men The first
Richard Jones is listed as the High Master of the Grammer
School for the children of St Pauls from 1532 to 1549 He
followed John Ritwise who was said to have allowed the boys
of the grammar school to perform interludes at the court of
Henry VIII There is no indication that this practice was
continued under the headmastership of Richard Jones The
lack of reliable information in this case can be attributed
to the loss of archives in the Great Fire of 1666 and the 10
confused records of the choir school and the grammar school
It is also possible that this is the R Jones who
entered three plays in the Stationers Register from 1567 to
1569 which had been performed by the Children of the Chapel 11
The headmaster then was Richard Edwardes In 1561
Edwardes received his patent as Master fron1 Queen Elizabeth 12
and this patent was entered into the records by an R Jones
10 Chambers volII pp 8-12
11 Chambers volIV p 381
12 Chambers vol II pp 33-34
-5-
The next two Joneses Richard and Robert have caused
the most confusion They were active during the same time
period and were associated with the same group the Children
of the Revels In addition both men were musicians both
were connected with a theatre troup manager named Robert
Browne and both men travelled to Germany It is a very
real possibility that these men were brothers possibly sons
of the first Richard Jones discussed It may not even be
far-fetched to suggest that all three were related to
the Robert Jones connected with the courts of Henry VII and
Henry VIII
Richard Jones was associated with the acting companies
of the Earl of Worcester in 1583 the Lord Admiral in 1589
1594-1596 and 1597-1602 and the Earl of Pembrokesbulls Hen in
1597 He was in Germany in 1592-1593 1615 1620 and 13
1622-1624 In 1623 he was a musician to the Duke of
Wolgest At this tioe he petitioned the Duke to be allowed
to return to England In 1624 Richard Jones again
petitioned the Duke this time to be taken back into service
as a musician In 1630 he is connected with John Jones a 14
dramatist
13 Chambers vol II p 324
14 Gerald Eades Bentley The Jacobean and Caroline Stage
Dramatic Companies and Players 5 vols reprint ed (Oxford Clarendon Press 1949) val I and II pp 135 485
-6-
Richard Jones entered four plays in the Stationers 15
Register between 1578 and 1594 In 1580 he was the
enterer of the song A newe northern Dittye of ye Ladye
Green Slevesu Jones was granted a license in 1584 to print
a book really a collection of ballads printed in broadsheet
form entitled Very Pleasant Sonets and Stories in Meter by
Clement Robinson Robinson was an Elizabethan poet fl 1566-16
1584 This was in response to a popular interest in signing
to the lute This Jones was not above using the name or initials
of well-known writers to enhance the sale of his verse books
At least three of these books A Smale Handful of Fragrant
Flowers (1575) Brittons Bowre of Delights (1591) and the
The Arbor of Amorous Deuises (1594 and 1597) used the initials
of Nicholas Breton much to Bretonbulls anger These books included
poems by Breton and others used without their consent Other
collections printed by Richard Jones are A Handfull of pleasant 17
delites and A gorgious Gallery
It was this Jones erstwhile actor and printer who was
granted the patent by which the Children of Whitefriars were
once QOre entitled to call themselbulles the Children of the
Queens Revels This patent dated January 4 1610 was
15 Chambers vel IV pp 382-383
16 The Cambridge Bibliography of English Literature
ed F w Bateson 5 vols (1940 Cambridge University Press 1969) p 646
17 Winifred Maynard Elizabethan Lyric Poetry and Its
Music (Oxford Clarendon Press 1986) pp 16 14 48-50
-7-
given by James I It reads in part
Know ye that wee haue appoynted and authorised Robert Daborn Phillipp Rosseter Iohn Tarbuck Richard ones and Robert Browne from tyme to tyme to provide keep and bring vpp a convenient nomber of children and them to practice and exercise in the quality of playing by the name of Children of the Revells to the Queene within the white fryers l8
It is this patent which seems to be the source for
confusing Robert Jones and Richard Jones Several
authorities claim that the Elizabethan COQposer Robert Jones
was involved with the Children of the Revels of the Queene 19
in 1610 However he is not mentioned in their
history until five years later One historian even claims
that Robert Jones is the founder and manager in 1610 of the 20
Children of the Revels to the Queen within White Fryars
18 Chambers vol II p 56 Chambers and Bentley
Jacobean Stage discuss the various associations of Richard Jones and Robert Browne in greater detail than is within the scope of this thesis
19 Edmund H Fellowes The English t-1adrigalist 2nd ed
vol 35 A (London Stainer and Bell 1960) p 4 and Heseltine Prefaces p 171 It is interesting to note that both these works were originally published in 1923 and neither lists sources Chambers also originally published in 1923 clearly states his sources for these patents the original cocuments
20 Morrison Comegys Boyd Elizabethan Music and Musical
Criticism 2nd ed (Westport Greenwood Press Publishers 1973) p 199 Boyd has all references to Robert Jones under one index heading although be discusses the work of the Tudor composer as well as that of the Elizabethan composer No source books on Elizabethan or Jacobean Theatre are included in his bibliographies
-3-
Robert Jonesbull connection with the Children of the
Revels is clearly stated in a patent granted by James I on
June 3 1615 It gave authority for the erection of a new
theatre for the continued training of the Children of the
Revels This theatre would replace the expireci lease on
another house used by Rossiter
And whereas the said Phillipp Roset~r together with Phillipp Kingman Robert Iones and Ralphe Reeve to continue the said service for the keeping and bringing vppe of the children for the solace and pleasure of our said most deere wife bullbullbull by the name of children of the Revelles to the Queene have lately taken in lease and farme divers buildings Cellars sollers chambers and yardes for the building of a Playhouse therevpon bullbullbull All which premisses are scituate and being within the Precinct of the Blacke ffryers neere Puddlewharfe in the Suburbs of London called by the name of lady Saunders house or otherwise Porters hall and now in the occupation of the said Robert Jones Nowe knowe yee that wee of our especial grace bullbullbull doe give and graunte lycense and authoritie vnto the said Phillipp Rosseter Phillipp Kingman Robert ones and Ralphe Reeve at their proper costs and char~~~ to erect build and sett vppe in and vppon the said premisses bullbullbull one conve ient Playhouse for the said ctildren of the Revelles 21
It is interesting to note that Robert Jones is mentioned
three times in this patent
This patent and its various details are confirmed in
other sources of the period The Privy Council was
21 Chambers vol II p 473
-9-
approached by the inhabitants of the Blackfriars area They
maintained that another theatre in Puddle Wharfe would be
too close to the church of St Anne and that it would
disturb the congregation during services Because of a technical
flaw the work that was begun on the building was ordered
stopped in September of the same year (1615) Plays were
performed there as late as January 1617 The last mention of 22
Robert Jones in this instance was the Kings patent
Robert Jones had other connections with the theatre
although he is not called an actor In 1602 he was in
Germany at Frankfort where he was named as a fellow of
Robert Browne Browne was something of a theatre impresario
who specialized in bringing English actors to the continent
and was also included in the patent of 1610 with Richard 23
Jones This year was the start of a three year
publishing hiatus by Robert Jones Appendix One includes
the titles and dates of Jones work An interesting fact
which may or may not be connected with Jonesbull time in
Germany is that his third book Ultimum Vale is one of eight
22 Chambers val II pp 472-473 61 val IV pp 343-345
23 Chambers val II pp 273-282 p 56
-10-
Elizabethan Music books which used to be in the library of 24
the East-Prussian Castle of Schlobitten
This Robert Jones then is the Jones who is the subject of
this paper He was active in the latter years of
Elizabethbulls reign and the early years of the reign of James I
He may or may not have been an actor but he was
associated with actors and the Chilciren of the Revells He
was stable enough to own a house and to enter into a risky
theatre venture
24 Otto Heinrich Meis Elizabethan Music Prints in an
East-Prussian Castle Musica Disciplina III (1949) 171-172
CHAPTER II
EDUCATION A~ID SOCIETY
Robert Jones is known to have graduated from Oxford
University in 1597 It is also known that he was at St Edmund s 1
Hall and was for sixteen years a student His date of death
is unknown although a valid theory has been put forward for 2
his approximate year of birth to have been 1574 This would
have made him only twenty-three when he graduated slightly
younger than n1ost of his contemporaries A comparison may be
rMde by using Appendix Two an outline of works contained in
Christ Church rlusic Mss 56-60 Composers who graduated from
Oxford University are identified as well
Music both sacred and secular was an integral part of
university life Until the Reformation it was customary to
have Masses sung for the souls of the kings and founders of
the various colleges ~ The playing of secular music and
instruments had become so distracting that it was forbidden
at bullbullunseasonable times 11 unless after meals and there was a 3
fire in the fireplace of the hall or communal erea
1 c F Abdy Williams A Short Historical Account of the
Degrees in fiusic at Oxford and Cambridge (London 1893) p75
2 Hese1tine Prefaces p 99 Heseltine combines the fact of
Jonesbull years as a student and Jonesbull admission of practicing music since he practiced speaking to estimate the date of 1574
3 Nan Cooke Carpenter Music in the Medieval and Renaissance
Universities (1958 New York Da Capo Press 1972] p 169 81
-11-
-12-
Since the singing of Masses was required by statute some
means had to be provided for the training of choristers Many
colleges maintained choir schools These younger members of
the college community actually owed their positions at Oxford
to their musical talent and duties In 1547 the Act of
Dissolution under Edward VI closed many church schools but
not the collegiate foundations in the universities the
choirs of St George and Chapel at Windsor and the cathedral 4
schools
The young choristers were taught plainsong and pricksong
and when their voices changed they were preferred for vacancies
in the universitys scholarship lists Among these colleges
were the Schola flusicae of Queens New College Corpus Christi
College Cardinal College (later Henry VIII and nm1 Christ
Church) St Johns College and Magdalen College The statutes
of Magdalen College also provided for places for thirty indigent 5
student-- iemyes) to study plainsong
In the preface addressed to the reader in his First Booke
of Songes or Ayers Jones states that ever since he practiced 6
speaking he practiced singing By his own words it is likely
4 carpenter pp 167 88 388
5 Carpenter pp 267-171
6 F w Sternfield general editor English Lute Songs 1597-
1632 a Collections of Facsimile Reprints (Manston The Scholar Press Ltd 1971) 26 Robert Jones The First Boo~e of Songes or Ayers 1600 David Greer ed
-13-
that Jones was trained in one of these choir schools anG it is
not inconveivable that he was a recipient of a scholarship to the
university of Oxford Indeed Jones was probably at school at
Oxford rather than London and may even have been one of the
demyes of Magdalen College This is especially likely in view of
the fact that Jones had no steady patronage each of his song
books was dedicated to a different person and he was not 7
connected as household musician in the same way that John Wilbe B
and John Ward were involved at Hengrave Hall and with Sir Henry
Fanshawe
The power for presing choristers into service started in
1420 and this practice continued through Elizabeth bull s reign Im-
pressment of exceptional singers men and boys from all over 9
England into service in the Royal Chapel was commonplace
7 Sir w H Hadow English Music (London Longmans Green and
Co 1931) p 65
8 John Aplin Sir Henry Fanshawe and Two Sets of Early
Seventeenth Century Part-Books at Christ Church Oxford Music and Letters 57 (January 1976) 14
9 Carpenter p 341 Foster Watson The English Grammar
Schools to 1660 Their Curriculum and Practice Cambridge University Press 1908 Encyclopedia Britannica Library Resources Inc LEL 10880) pp 155 212 217 Watson mentions several grammar schools in London which incorporated music into their programs at this time They include the Merchant Taylors School St Paul School Thames School and Christ Church Hosshypital It was necessary to know the catechism in English or Latin read perfectly and write co~petently before acceptance at these schools Hulcaster headmaster at Nerchant Taylors claimed that extra subjects like music were studied privately by gentlemens children and that nusic itself was a part of the math curriculum
-14-
It is doubtful that Robert Jones was impressed into such service
He was both eloquent and voluble in the prefaces to his song
books and would certainly have alluded to this aspect of his
life had it been part of his own experiences
The awarding of baccalaureate and doctorate degrees in
music at Oxford was a tradition dating from the early fifteenth
century Music had been established as a separate faculty the
only liberal art so distinguished In fact the English
universities were the only ones to confer degrees in music
There is no indication that a prior arts degree was required for
the Bachelor of Music as was often the case in other fields
Many of England s most talented musicians became bachelors or 10
doctors of music at Oxford Appendix Three is a partial
listing of these musicians drawn fron information in Carpenters
and ~lilliams bull studies Furthermore the University of Oxford
was after the University of Paris the inspiration for more 11
treatises on music than any other medieval university
Appendix Four is a compilation of these treatises taken from the
work by Carpenter
The dichotomy of music that is musica practica versus
musica speculativa was reflected in the requirements placed
upon the degree seeker at Oxford It was as necessary to study
polyphonic music as to study theory Music classified within the
mathematics traditions and the text of Boethius De institutione
10 Carpenter pp 159 89 336 160
11 Carventer p 82
-15-
musica was required by statute since 1431 In 1549 after
Edward VI visited Oxford the candidates for the bachelor of
music degree were to concentrate on the disciplines of the
quadrivium Sixteen terms (four years) were to be spent in
grammar rhetoric dialectic and arithmetic and 11 in musica
Boetium Admission to the bachelor of music granted the right 12
to lecture in any of the music books of Boethius
Each student at Oxford was instructed by his own tutor until
he had obtained his first degree This meant that the musical
careers of some students were actually shaped by the methods of
their tutors Attendance was required at public lectures Aside
from the usual difficulties with student participation and indif-
ference or inability of some faculty these lectures were to be
given in Latin Dr John Bull not being proficient in Latin
was granted permission to read his lectures in English in 1597
Jones of course should have attended these lectures since John
Bull was incorporated as a Doctor of Music from Cambridge in
1592
In order to obtain a degree it was necessary to compose a
Mass song or canticum bull bull bull to be performed before the university bullbullbull 14
on the day of the Cornitia 11 This was not meant to determine
eligibility for a degree rather it was meant to add to the
12 Carpenter pp 89 77 153 159
13 Carpenter pp 154-156 163-164
14 Williams p 21
-16-
solemnity of the occasion This rule specifying a piece of music
to be performed in the university churcl1 at Act time remained un-15
changed from 1516 until 1608 when a hymn only was required
However there was a dispensation from this rule A
candidate could apply for a degree pro circuitah He would
request the Vice-chancellor and proctors to summon a Congrega-
tion On the afternoon before the Congregation the student
preceded by one or both of the bedells of his faculty and accompanied by the person who was to present him in congregation bullbullbull attired in academic dress but bareheaded went round to the schools and also called on the Vice-chancellor and both proctorsl6
Tradition always was an important part of university life
Oxford in the early sixteenth century was no exception Fre-
quently these traditions became codified in statutes Gloves
were an expensive luxury and early in Oxford 1 s history it became
obligatory for the degree seeker to give a pair to the Bedells
and other officials No man could dress above his station and
students fined for wearing silk were required to wear gowns 17
with loose sleeves and square caps in public Following is a
list of graduation fees established by statute at Oxford in 1601
taken from Carpenter Appendix Five is a copy of the original
version According to the custom Jones would have had to pay
some if not all of these fees
15 Williams p 27
16 Carpenter p 165 citing Clark in Register II p 46
17 Williams p 59
-17-
TABLE ONE
Graduation fees at Oxford in 1601
The baccalaureate in music will disburse
First for the total for gifts 6 s For the service of the room For the clerk of the university For possessions For the chamber For the six year total [tuition] 2 s For services during the present year For the clock For the right of the university For the lesser porter of Arts
Total 13 s
IE he has been subsidized by the church 7 s or by patronage he will disburse for wine
If not arranged in advance [] he will pay for the table servants to the porters of his faculty for meals
The greatest expense on this list is for wine [)
a d 6 d
12 d 12 d
4 d
12 d 2 d 2 d 6 d
4 d
4 d
9 d
-18-
It is not indicated in the available sources whether Robert
Jones composed a piece for graduation or used the pro circuitubull
option However a good case can be made for the former there
is an anthem in Christ Church Imiddot1usic Mss 56-6 0 Singe joyfully
which was composed by Jones The words are from Psalm 81 and
are identical with those in an Elizabethan Bible printed in 18
1595 This is two years before Jones graduated from Oxford
Furthermore the Christ Church lbulllus ic t-lss was compiled 11 wi th
most of the material at hand gathering together works which may 19
already have existed in worn or loose copies It was planned
as a memorial to Prince Henry and most of the composers repre-
sented were court-based friends of the composer John Ward who
was in the service of Sir Henry Fanshawe These part-books were
compiled at Fanshawes request and completed by his son before 20
1620 The Oxford anthem Singe joyfully will be discussed
further in the chapter on sacred music
As can be seen music was an important and necessary
part of the education of a gentleman and it was a necessary
18 The kindness of Mr Richard Austin of St Luke bulls Shrine
Smithfield is gratefully appreciated He allowed access to the Bibles there which proved that Jones used the Elizabethan transshylation and not the King James version of Psalm 81
19 Aplin p18
20 Aplin p 14
-19-
21 accomplisr~ent of the perfect courtier Even Morley begins
his book with a description of the embarassment caused by a lack 22
of ffiUsical knrn~ledge Furthermore a degree in music was an
invaluable asset to obtaining a post in the Chapel Royal
Neither Elizabeth nor James I gave honors such as peerages or
knighthoods to musicians rather they used offices in the
Royal Household the Chapel Royal and the Kings Musick as reward 23
for services In 1605 Jones dedicated his Ultimum Vale to
Prince Henry ~hether this earned a reward for Jones is not
known However it is likely that the Mr Jones listed as a 24
Gentleman of the Kings Chappell in 1612 is Robert Jones
It is possible that this position and not great reknown earned
a place for Jones in the Fanshawe part-books
As a Gentleman of the Chappell Jones would be expected to
be quite proficient in reading music and well-versed in plainsong
and pricksong That he could COQpose apart from performing 25
would have been the highest recommendation of all It is note-
21 Carpenter p 343
22 Morley p 9-10
23 G A Philipps Crown Musical Patronage from Elizabeth I
to Charles I Music and Letters 58 (January 1977) 29
24 Henry Cart de Lafontaine The Kingbulls Musick (New York
Da Capo Press 1973) pSO
25 John Stevens Music and Poetry in the Early Tudor Court
(1961) Cambridge Caniliridge University Press 1979) p 309-317
-20-
worthy that although Jones was actively composing in the latter
years of Elizabethbulls reign he was not associated with her court
Like many others he sought patronage elsewhere as can be seen
from the dedications of his song books His appointment as a
Gentleman of the Chappell may indeed have been a result of his
having dedicated his third song book to Prince Henry elder son
of James I Jones published no work after 1610 two years before
his name appears as a Gentleman of the Chappell It is possible
that Jones again travelled to Germany with theatre impresario
Robert Browne or he may well have decided not actively to
compose as he had implied in the prefaces of his last three song
books Records in these areas are incomplete although further
connections with the theatre will be discussed in the following
chapter
CHAPTER III
WAITS V~SQUES AID THE THEATRE
The waits were orisinally watchers at the gates and were
probably descended from the watchmen and sentinels for camps 1
castles and other fortified places In fact wait is the Saxon
word for watcher Eventually they were employed by the cities to
keep watch and guard during the night and to call out the time
and weather Their main purposes were protection order and
safety within the cities To carry out these duties the waits
were furnished with musical instruments These were used to
sound alarms and call for help when needed and were probably an
early type of shawrn or a horn made of metal In 1296 a statute
was enacted in London which required the servants who closed the
gates at night to have waits at their own expense Eventually
the term wait came to mean the man the instrument and the music 2
played on the instrument
The connection between Robert Jones and tte waits only
beco~es clear when the development of the waits and their
1 Walter L Woodfill Musicians in English Society from
Elizabeth to Charles I (New York Da Capo Press 1969) p 33
2 Henry Alastair Ferguson Crewsdon camp The
1-Jorshipful Company of -iusicians ( 19 50 London Charles Knight and Co bull Ltd bull bull 1 9 7 1 ) pp bull 16 2 -16 4 bull
-21~
-22-
place in Elizabethan and Jacobean society is discussed It was
not long after the first statute concerning the waits was passed
that they came to be considered musicians They are included
called by the nanle of wayghte and other variant spellings
among the musicians of Edward III (1327-1377 and are named in
records from Henry VI through Charles I From watchmen with
musical instruments to capable musicians is a logical development
of talent and time For a watchman with musical ability there
was time to acquire skill and thus gain employment publicly or 3
privately as a musician when not on duty
Many of the principal cities in England employed waits In
London the nunilier of groups varied from six to nine and the
number of masters and apprentices in each group was strictly con-
trolled Their places were so coveted that musicians good or
bad bargainea fought or sued for any vacancies Often a place
would pass fron1 father to son Their privileges included
monetary compensations and gifts distinctive livery status in
the city as freemen in the Company of ~usicians without charge
and the right to keep two apprentices at a time Their services
publicly and privately were much in demand by the lord mayor the
sheriffs and aldermen and the playhouses They were required
to meet regularly for rehearsals and only the 11 ancientist
3 Crewsdon pp 165-167
-23-
4 that is the eloest of their society could dispose order and
direct their music
Until 1525 the wait pipe (horn) and shawm were the only
instruments used by the waits The sackbut was added in 1526
In 1561 instrumentation was expanded with the addition of
viols and recorders and cornetts were added in 1568 and 1576
respectively In 1597 the curtal a bassoon-like instrument was
added Records indicate that portable organs keyboards and
harps were hired for special occasions In some waits the lute 5
and singing were included as early as 1555 The waits
provided the music for visiting dignitaries parades and court
masques and dancing The First Book of Consort Lessons by Thomas
Morley was meant as a guide for the groups of instruments used by 6
the waits Their music consisted of traditional wait tunes
(simple airs meant originally for wait pipes and shawms played
with cold fingers) music which may have existed only in
manuscript form written expressly for use in a masque or pageant
and music apt for viols or voyces u including madrigals
Ultimum Vale of Robert Jones contains music for colibination of 7
lute voices and viols Figures 1-20 are facsimiles of tbe
4 Woodfill pp 37-44
5 Woodfill pp 34-36
6 Wood f i 11 p bull 4 5
7 Woodfill pp 44-52 Waits and their history are more
fully discussed by both Woodfill and Crewseon A very brief outline only has been possible in this paper
-24-
title pages dedications and prefaces and tables of contents of
the song bool s of Robert Jones from Greer
Ultimum Vale is probably the book included by Gordon Doad in 8
his list of music for viols This song book is also the source
for ten of eleven songs by Jones included in the Giles Earles 9
book It is this custom of performing vocal and instrumental
music only instrumentally that forms part of the basis for early
chan~er music in England It was advocated by Thomas Morley in
his book and used not only by Jones but also by Sir William 10
Leighton in Teares or Lamentaciones of a Sorrowful Soule
It is possible that this evolutionary process in performance
practices and adaptations of popular pieces for other instruments
may be the basis for the idea that Jones composed for the
virginals Certainly no music specifically for the virginals or
instruments other than lutes has been found to have been
composed by him
When playing for the masques the waits probably performed
in a room or chamber near the pageant rather than on the street
or porch where the masque was being presented Robert Jones bull
8 Dodd p 263
9 Jergens p f 13V-f22V
10 Ernst H Meyer Early Englisn Chamber ~1usic ed Diana
Poulton (1946 Boston Marion Boyers 1982) p 135 149
-25-
11 naroe is not in the lists of appointments to the London Waits
But Jones did have so~e of his music included ill masques Everie
vloman in her Humor a masque by Maclin published in 16 09
includes two songs from The First Booke of songes or Ayres The
title My mistris was not used in notes for the masque rather
lines from the song were used thus hindering our identification
of Jones as its author Figures 21 and 22 are facsimiles of this
song This same song was used in Loves Charity by Shirley in 12
1631 and The Dutch Courtesan by John Marston The latter was
presented at Blackfriars in 1603 performed by the 11 Children of 13
her Maiesties Revels Christ Church Ms 439 which contains
four songs from The Second Boeke of Songs or Ayres is said to be 14
a compilation of songs used in masques
The dates of the songs discussed indicate that Jones was a
source for music used in masques rather than a co~poser of music
for masques This is admittedly a subtle difference but it is
a critical one since Jones is not credited with supplying tPis
music in tle published sources of the time such as the plays
themselves
11 Woodfill p 48 and Appendix A
12 John P Cutts Everie ~loman in her Humor Renaissance
News 18 (Autumn 1965) 210-212
13 Chambers vol III p 431
14 Cut t s p 212 bull
-26-
Songs used in masques were declamatory in vocal style with
rare word-repetitions except towards the end of a song The
lute accompaniment tended to be chordal with an harmonically
15 statis bass The aforementioned 11Ny mistriS 11 (see Figures
21 and 22) very clearly demonstrates this principle The masque
an offshoot of the main dramatic movement was musically con-16
nected with the great nass of songs with lute accompaniment
Robert Jones was a natural choice for the masque authors His
melodies tend to be rhythmically simple and singable By his ow~
admission in the preface to his First Booke of Songes or Ayres
Jones main concern was fitting the note to the word (See Fig-
ure 3)
Shakespeare also liked to use contemporary songs in his
works for the theatre and in the music of Jones Shakespeare
found songs to express the moods of his characters Perhaps the
best known instance of this reliance upon Jones is in the comedy
Twelfth Night The song 11 Farewell dear love bullbull is number twelve
in The First Booke of songes or Ayers
15 Ian Spink English Song Dowland to Purcell (New York
Charles Scribners Sons 1974) p ~0-41
16 Ernest Walker A His tory of Music in England (rJew York
Da Capo Press) p 153
-27-
In Twelfth Night II iii Sir Toby Belch and the clown
Peste sing a version of this song that telescopes the first and 17
second verses Malvolio warns Sir Toby and Feste that
Olivia will bid farewell to Sir Toby unless he reforms It is at
this point that these two characters alternate singing lines of 18
the song This song was set in 1600 and the date of Twelfth
Night is 1601 The obvious conclusion is that Farewell dear
heart was a popular favorite and would have been recognized no
matter how much it was condensed Another testimony to its
popularity is that the tune appears as a hymn setting in a Dutch
psalter The Dutch version is Heilgierig mensch and the 19
psalter was published at Amsterdam in 1713 That Jones himself
favored this song is shown by the fact that in his fourth book
nine years later Jones sets Farewell fond youth Its meter
is identical and its melody is similar to that of 11 Farewell dear 20
heart Farewell dear heart may be seen in Figures 23-26
and bullFarewell fond youth in Figures 27-28
17 John Stafford Smith Musica Antigua (London 1812) p 10
204
18 Peter J Seng The Vocal Songs in the Plays of
Shakespeare A Critical History (Cambridgemiddot Harvard University Press 1967) p106
19 William Shakespeare The Complete Works ed Alfred
Harbage (Baltimore Penguin Books 1969) pp 316-317
20 Edward Woodall Naylor Shakespeare and Music rev ed
(New York Da Capo Press and Benjamin Blom Inc 1969) p70
-28-
Shakespeare also turned to Jones for parts of the mad songs
for Ophelia in Hamlet IV V Although it is not a proven
fact the setting of In Sherwood liude stout Robin Hood see
Figures 29-30 from A Musicall Dreame bears close resemblance to 22
the words sung by Ophelia That it probably is this song is
due more to the nature of the scene and the impropriety of the
words words which would never have been sung by a sane Ophelia
and to the popularity of Jonesbull work rather than contemporary 21
documentation Frequently Shakespeare had his
characters sing snatches of songs or refrains and further
attributions to Jones are possible but not provable without a
shred of documentation Nor in general are Elizabethan
composers who often set the same words identifiable unless the
tune had been transcribed or the composer named in the
manuscript
21 Heseltine Prefaces p 168
22 F w Sternfield Music in Shakespearean Tragedy
rev ed (London Routledge and Kegan Paul 1967) p 57-58 71
CHAPTER IV
THE SECULAR t-1USIC
The secular works of Robert Jones consist of five books of
lute songs or ayres and one book of madrigals One or two copies
of each song book have all survived in excellent condition with
minor problems such as missing title pages The madrigals 1
however exist only in an incomplete state Possibly this is
due to the difference in publishing techniques of the two types
of song The song books include all voice parts printed on
opposite pages in such a way that tt-e performers can stand around
a table and use the same book The madrigals on the other hand
were printed in separate part books with the result that the
loss of one part book took away from the whole
Lute songs increased in popularity and availability
when the printer Peter Short acquired a font of lute tablature
This acquisition in 1597 greatly facilitated the publishing of 2
lute music William Barley had published a book The New
1 Fellowes Madrigalists p iv In the preface
Dr Fellowes describes in depth the location of various part bookst and which madrigals are complete because they were found in alternate sources
2 Spink p 15
-29-
-30-
Book of Tabliture in 1596 which contained the first solo song
with lute accompaniment published in England In the four years
between the publication of this book and the First Boeke of Songs
or Ayres by Robert Jones in 1600 books by Dowland Morley 3
Cavendish and Farnaby in this style were printed Peter
Short by the essence of Thomas Morley was the printer of the
first two song books of Jones and the first book of Dowland It
may thus only have been for practical reasons that the title
pages are virtually the same
Lute and vocal music were easily printed For the lute
tablature letters not notes were placed on a six line staff
Vocal music used about a dozen signs for clefs tempos and
accidentals and thirty individual signs for notes apportioned on
a staff of five lines each with a note on one of the lines or 4
spaces Obviously it is this setting of each individual note
with its staff which gives the music its slightly wavy
appearance
Each of Jones five song books includes twenty-one songs
although contemporaneous song books usually vary in the number of
songs Whether this really has any special significance for
Jones is impossible to know For all his loquacity he did not
3 Phillip Hes~ltine The English Ayre (1926 Westport The
Greenwood Press Publishers 1970) p 138
4 Boyd p 178 Keyboard music was not published until 1611
and tben it was engraved This was because of the difficulty of dividing the staff to print cords of two or more notes
-31-
refer to this in his prefaces All five prefaces are illustrated
as follows The First Booke of songes or Ayresw Figures 1-4
The Second Boeke of Songes or Ayres Figures 5-B Ultimun
Vale Figures 9-12 A Musicale Dreame Figures 13-16 and
A Musebulls Gardin for Delights Figures 17-20 However that it
was important to him could explain why he chose to include two
Italian songs in A Husicall Dreame They are for solo voice with
lute or bass viol accompaniment (or both) and come at the end of
a book of songs for three and four voices
The idea of performing vocal music instrumentally has
already been discussed with the performance practices of the
waits Another common practice of lute playing was to use
alternate tunings of the lute The more usual tuning is gd A 5
F C G Plternate tunings included the sixth or bass string
tunec to F not G or the tunings called the 11 leero fashion 6
These were d a f a F c This method was used by Jones in 7
The Second Book of Songs and A~res published in 1601 The
words 11 Set out to the Lute the base Viall the playne way or the
5 Edmund H Fellowes The English t-ladrigal Composers 2nd ed
(1921 London Oxford University Press 1967) pp 304-5
6 Veronika Gutmann Instrument oder Dininutionspraxis
Archiv fuer Husicwissenschaft 35 (November 1978) 189
7 Frank Anthony Traficante The Hansell Lyra Viol Tablature
Parts I and II diss University of Philadelphia 1965 pp 188-189
-32-
Base by tableture after the leero [lyra] fashion appear on the 8
title page There often was a seventh string added below the
bass string tunec to D To avoid confusion this note was not
annotated on the staff instead ledger lines were added to 9
indicate its implementation This may not have been a popular
practice Jones used it sparingly in Ultimum Vale his third
book However all songs but one in A Musical Dreame call for
the extra string That Jones was criticized for use of this
extra string in Ult1rnuro Vale can be inferred from the preface to
A Musicall Dreame This preface is not addressed to the reader
but rather to all Musicall Murmurers
Understand me thou vnskilfull descanter deriue from that Note of Plaine Song charitable numbers and thou shalt find harsh voices are often a Note aboue Ela reduced by truer iudgement which I bereaue thee of nowing thy Rules are as our new come Lutes being of many strings not easily used vnlesse in aduenture till practice put forward into deseruing Diuision
From this preface it appears that Jones was something of an
innovator often embracing ideas before their full acceptance
Jones also may have ornamented or used graces in his work
However we cannot know this because the art of ornamentation was
a live tradition passed from one player to another The second
reason is that printers of the time did not have the necessary
8 The title page of this book is misleading The correct
title appears to be The First and Second Boeke of Songs and Ayres It is usually referred to as The Second Boeke of Songs and Ayres See Figure 5
9 Fellowes Madrigal Composers p 304-305
-33-
10 signs for ornaments or graces in lute playing
The following chart of lute tablature is adapted from
Fellowes The strongs are labeled treble small mean great
mean countertenor tenor and bass All but the treble string 11
were doubled
Treble ( g I ) a b c d e f g h Small r-Iean (d ) a b c d e f g h Great Mean (A) a b c d e f g h Counter-tenor (F) a b c d e f g h Tenor (C) a b c d e f g h Bass (G) a b c d e f g h
The fingerboard of the lute has ivory frets When stopped
each fret raises the tone of a strong by a half step The small
letters bullbullabullbull bullbullbbullbull 11 C 11 and so forth indicate behind which fret the
fingers are placed to produce the desired tones The letter a
indicates an open string that is one which is not fretted or
stopped b shows to stop the string behind the first fret It
raises the string by a sernitone Each letter represents the
next semitone to be produced on a string
These signs irdicate the duration of the note 1 ~ ~ f ~ ~) and stand for semibreve minim crotchet quaver and semi-
quaver respectively The last sign used gives the duration of
10 Diana Poulton Graces of Playing Renaissance Lute Music
Early Music (April 1975) 108
11 Fellowes Madrigal Composers pp 304-305
-34-
following beats Dots of augmentation with their accepted mean-
ing are used when needed Barring follows the rhythm of the 12
music or the words and is not always indicated It must be
remembered that Jones did not always use this tuning for the lute
rather he indicated it by specific performing instructions on his
title pages
Lute songs have roots in the freemens songs Freemen bulls
could be a corruption of the Anglo-Saxon work 11 freibull meaning 13 14
fesitval or of the term three mens songs In either case
they were lively cheerful songs with the tune in the uppermost
voice the tenor They were the basis for the simple part songs
which were so popular in mid-sixteenth century England These
songs then evolved into the Elizabethan consort songs and finally 15
the lute songs
Lute songs ordinarily were published with only a word or two
of the first line printed in beneath the score The singer
12 Fellowes Madrigal Composers p 306
13 Smith p 10
14 Walker p 45 The book published by Wynken de Warde in
the early sixteenth century which contains the work of the first Robert Jones also includes freemenbulls songs~
15 Spink p 16
-35-
16 either knew the rest of the words by heart or vocalized 11
Jones however is one of the few composers whose words are
carefully and consistently placed beneath the notes in his song
books This note-to-the-word placing allowed him more control of 17
the rhythm in strophic settings of different stanzas of poetry
The lyrics of English lute songs and ayres consisted mostly
of typically short verses The sources for many of the lute
songs and ayres were the ~any Miscellanies published during
Elizabethbulls reign ~ong these The Phoenix llest and Englands
Helicon were the most popular However the collections of
Richard Jones were also used by some composers Richard Jones bull
not properly detailing the authorship of the poems in his
collections is the primary source of confusion in identifying the
authors of the poems set by composers Another problem in the
use of MiscellanieE is the resultant multiple settings of 18
favorite poetry Robert Jones set many poems of Francis
Davison Sir Philip Sidney and Thomas Campion What initially 19
may appear to be plagiarism is really an accepted practice
16 W a 1 ke r p bull 4 6 bull
17 Winifred Maynard Elizabethan Lyric Poetry in Its Music
(Oxford Clarendon Press 1986) p 71
18 Maynard pp 54-55
19 Heseltine pp 130-131
-36-
The main differences between lute songs and ayres tended to
be those of length and rhythm Ayres generally had simpler
settings were more strophic and shorter and usually were better 20
sung as a solo song with lute acconpanirnent The ayre is
normally considered a short lute song with the accompaniment
providing the clue to the difference~ Performances could vary
according to the abilities of the performers and the instru-
mentation they used Frequently this lead to harmonic 21
discrepancies in the vocal and instrumental part-settings
This perhaps is the basis for one claim which has been made
that Jones did not write these parts for what are really solo 22
songs in his last two books
The English Madrigal developed as a result of the
publication in 1588 by Nicholas Yonge of a collection of works
by Italian and Italianized Netherlands composers This book
Musica Transalpina contained fifty-five of the best Italian
madrigals translated into English and proved to be very po~ular
20 Maynard p 55
21 Walker pp 80-81
22 Edmund H Fellowes The text of the song books of Robert
Jones Music and Letters 8 (January 1927) 25-37
-37-
In 1598 ~iichael Cavendish wrote a madrigal with the nLong live
fair Oriana refrain This may have been based on a madrigal
published in Il Trionfo di Dori It was this refrain which may
have been the impetus for The Triumphs of Oriana published by
Thomas Harley in 1601 The Triumphs of Oriana contains twenty-
five madrigals by nearly all the most distinguished English 23
composers of the time 11 Robert Jones contributed Fair Oriana
seerring to wink at folly 11 to this collection
The First Set of Madrigals was published by Jones in 1607
Its being called the First Set is no proof that Jones intended to
publish more sets Rather this avpears to be a publishing
convention of the time Where this set is unique is its
containing madrigals of 3 4 5 6 7 and 8 parts tvhereas
most madrigal sets were in groups of one or two different numbers
of voices this book has six different voice groupings These
combinations alone would give rise to the idea that although
Jones experimented with the madrigal form he either was not
comfortable with it or was not proficient enough with it for
his own standards On the title page~ Jones claims that the
collection is for Viols and Voices or for voices alone~ or as
you please 11 Several of the texts included in this transcribed
edition are poews by Francis Davison and two are by Campion
23 Walker p 78
-38-
The English madrigal was something of a compromise in form
It combined the contrapuntal secular music of the Italian style 24
and the harmonies of such songs as the frottola It typically
was a single stanza of seven to eleven lines in length A line
maybe made up of seven or eleven syllables with short and long
lines in any order The rhymes were mostly feminine and in
random order For this the Italian verse setting was standard 25
but short verse ottara rima or sestina were also used
Perhaps the one concept about the secular work of Robert
Jones that should not be overlooked is that he intended his music
for pleasure He had no rigid rules about performance practices
and he was willing to experiment with new techniques He was not
tied to rules of harmony and counterpoint and he seems to have
been partial to the sounds of open fifths and false relations
He was clever and innovative in his use of rhythm and rests
formed an integral part of his control of rhythm It was an
unhappy man who composed the song Goe to bed sweet muze This
was in Ultimum Vale the book that Jones intended to be his last
He seems to be saying goodbye to his love of music and composi-
tion rather than to an unfaithful lover That music in his muse
can be found in his explanations for publishing again in the
prefaces to A Musical Dreame and A Muses Gardin for Delights
24 Walker p 77
25 Maynard p 55
CHAPTER V
THE SACRED NUSIC
In a fashion typical of the Elizabethan era one music
publication could contain ayres madrigals or religious motets
The Teares or Lamentaciones of a Sorrowfull Soule by 1
Sir William Leighton is one such book It contains eighteen
consort songs twelve songs for four voices and ten songs for
five voices The contributors of songs for this book include
Byrd Milton Bull Ferrabosco Jones Peerson Thopul
Coperario Dowland Ford Gibbons Giles Hooper Johnson
Kindersley Lupo Pilkington Ward Weelkes and vlilbye As can
be seen Jones is numbered among the finest composers of the era
Sir William Leighton was born into an influential family
He had social economic and educational advantages However
because of carelessness and misfortune in his finances he was
imprisoned In 1613 Leighton published a book of his own
poetry The Teares or Lamentaciones of a Sorrowfull Soule This
was followed the next year by a book with the same title cf
musical settings of these poems composed by himself and twenty
composers The purpose of these books was to show Leightons
1 Walker p 81 The consort in this case refers to the
accompaniment of the cantus voice with the treble viol and lute tablature The altus was accompanied by the flute and had tablature for cittern The tenor voice included tablature for the bandora and the bassus was paired with bass viol tablature This was in reality the broken consort
-39-
-40-
repentance But the laudatory verses composed by his friends
and included in the introduction of the book seem to negate
this These poems use word-plays and puns on Leightons name and
deal with his unjust imprisonment
The works in this book are on sacred themes and could be
considered appropriate for use in church However that Leighton
intended for then1 to be domestic fare is seen in the style of
printing used that is on a double folio in the same form as
that used for lute songs and in the performance practices he 2
recommended
Jones set three poems for this work The first two anthems
are included in the poems published as The Teares or
Lamentaciones of a Sorrowful Soule The third piece by Jones is 3
set to words not included in the 1613 edition and the poetry
differs in form from that of the others The words of the first
two anthems consist of six eight syllable lines rhyming ABABCC
The third anthem is a simple quatrain with an ABAB rhyme scheme
The first two anthems closely resemble the favorite form set from
The Phoenix Nest the difference being that the lines in the
2 Leighton p x
3 Leighton p xxv
-41-
4 miscellany are ten syllables long The poetry from these
anthems is included in Appendix Six
Robert Jones composed a fourth sacred work This piece
Sing Joyfully which will be referred to as the Oxford Anthem 5
is included in the Christ Church Mus Mss 56-60 The source
for this manuscript has already been discussed in Chapter II No
modern transcription exists for this anthem and may be attributed
to the fact that the bass part is missing and this anthem is one
of a few anthems in the Christ Church Mss not found in other
sources
The possibility that the Oxford anthem was the piece that
Jones composed to meet degree requirements at Oxford has been
presented in Chapter II To substantiate this claim further the
words of Psalm 81 from the Book of Common Prayer printed in 1619
and from The Bible of 1595 are included here This will
facilitate comparison with the Oxford Anthem facsimile from
Christ Church and its transcription and recreated Bass part
4 Edward Doughtie Lyrics from English Airs 1596-1622
(Cambridge Howard University Press 1970) p 25
5 This manuscript has not been recorded in RISM
-42-
6 The Book of Common Prayer 1619
Sing we merrily unto God our strength Make a cheerful noise unto the god of Jacob
Take the psalme bring hither the tabret The merrie harp with the lute
Blow up the trumpet in the new moon Even in the time appointed And on our solemne feast day
7 The Bible 1595
Sing joyfully unto God our strength Sing loud unto the God of Jaakob
Take the song and bring forth the timbrel The pleasant harpe with the viole
Blow the trumpet in the new moone Even in the time appointed At our feast day
6 The Book of Common Prayer and Administration of the
Sacraments and other Rites and Ceremonies of the Church of England with the Psalter or Psalmes of David Printed by Thomas and John Buch Printers to the University of Cambridge 1619
7 The Bible That is the Holy Scripture contained in the
Old and Newe Testament London Deputies of Christopher Barker printers to the Queenes most excellent Maiestie 1595
-43-
The bass was reconstructed after a study was made of the
style used by Jones in his two madrigals for five voices and the
one anthem for five voices in Leightonbulls work The madrigals
were used for this comparison because of the similarity of style
with the anthem
In general Jones uses the bass as a platform for the other
voices Large skips are used sparingly and the relationships of
thirds and sixths with the tenor voice is usually maintained
The frequent use of whole notes and rests and the rare use of
dotted rhythms and eighth notes emphasizes the stable voice
leading Jones rarely initiates word painting or new rhythmic
patterns in the bass However the bass is used to start an
upward scalar pattern carried through by the other voices in turn
It is hoped that the reconstructed bass for the Oxford
Anthem is in keeping with Jonesbull methods The transcription
would not have been possible without Dr Clyde Brockett It is
possible to include the anthem because of the assistance of Mr
H J R Wing of Christ Church Oxford
44
Cantus middot
( -11 ((
) L ~L I
middotmiddot~middot 0
I I
45
Cantus
------------------------------ ====~====================~ I
I ~
j-- ---====-=--=--=--=---=----=---=--=----~~----------===shy
l I
r
l t
I
~-
t ~
middot r I
(1 c I ( middoto
A ~ -1 bull T I bull 1-Jtc v I
bull
~iof~ictf ----middot-
t~L f ef a attf j az ~ E I cfft ~ fiipound wuamp J1 -------- --4----bull- - -- --
iS
l ----=-----------
47
I middot--- - -- - -- I
j It~middot~ ~~I ~CJ m bKpound fy nt-l a~ PJtttfd (Ul A ~
t Ybull T 0 A I I I
~ -t-I I I - bull I I l bull I I I bull bull J I 1 bull I I I
A - bull ~ I
1
-~-- -- ---middot-------------+
-------middot---middot~---------
1----- --------~---
48
middot- middot---- -- ------middot --~___middot---~- ~--middotmiddot ~
49
Contra tenor
middot -bullmiddota --~ilirtttwbullnbullmiddot d_rl_ mr
I ~
i-----------------------_)_
F------ --
______ _
-------middot--middot-----middot -~-- ----- middot-middot-middotmiddot --~----middot- ------- ------shy+----- ------------ -----r=-~----_____middot ~~~---~--~- ~~~-~~-~-----_ --I
I
(I
bull
middot~
I ii l
l
l Imiddot
-I
(
50
Tenor
------
fwaft qtmiddoto( tft~ tfttttt~l hF Ibull bull ~ l~~r---~-~- ~ - =13
t)tl) tfc G11 pound th (b ir th~ tf~~ v
~-f~~-~3 -----+ ~ ------middot =-==~-~-fi I 1Ppoundf ft t1 c If r 11 a h -middot qCo ~~ l-K~-
I I I
bull
51
Tenor
l ~
~ ~r--=t-~ ~ J middot~middot bull I I
13fon ~ lppt ~fie bmpt~H1 tfv1VC btpound lLi hum( Efl J A t I o bull
H-1----r~ni----=ll bull1 -----i - r~ n middot bull -~ t i ~ -J j) I l 1 bull 1 bull l
~ bull bull T _ obull bull -x I n _PI I I I T I I amp bull T 1 1 middot y tl- 1 L~t--I ----J-middot-middotmiddotmiddot1_--1-- _-~--~~--Jmiddot middotL__-1L --1-- -
- I 1 I _ 1___1 - -4-1-J - +--+1--ll- J ) 0 I 1 I I I I -~-- ----- ~ A bull bull I (I V =-
---- - --------- middot------
I he Oxford Anthem 52 Robert Jones
5 J J J ) J f r middot r I
Sing joy ful ly un to the Lord our I 1) I Js - I 0 I ) ) ]I ) 11 J bull v- l l
Sing JOY ful ly un I to the Lord Si ngl I I - _ f r
1 r t7 t r t l middot~ I I I ~ _l I I
I l I
Sing joy ful ly un to the Lord our i strength
1 6J
J I
i - ( J amp J
-plusmn=-
I Sing joy ful ly
-c un to the
r r2 c= f r F ( f z 0 r I l ~ 1
Sing joy ful - ly un to the Lord our
10 j J r
I I I l r I I 1 I f I
0 0 tJ bull middot I ~ I I I t _a l r
II I I strength Sing joy - ful -t ly un - to the ~middot Lord our I I I i
I
_I 1 I I I I l I
I ) I 0 I ~I I j l Ll I I
$ j I lfO J I - -~~ L7 t I -v - _
~ joy - ful - l y un - to the Lord our I I
~ ) _ IQoll I ~ 1 y middott I -
I I j I l r I I I -r r 1
I Sing joy - ful - ly un - 1o the I Lord our
I I I I I 1
0 0 I ~ Q - -~
- I - -~ - lord our l strength Sinmiddot] _
I I 1 - I I ) i j J middot __ ___ -- t -
strength Sing loud un-to the
I r I J () h fl e J j (~ I I II r- j 0 I v 0 i r c
53
I i
I - I - I - I r r r ( J I _J_ I 11 _l [
~ I I I
I
~
I strength Sing 1oud un-to the I
I I I I r r r J y r J - 1 v I I 1 l -l - I - -
I str ~ength Sing 1 oud un-to the j god of I la -
t I I J J l J r
11 - f~ t v I I I L y
r l I
I
strength Sing 1 oud un to the god of j I
I
- ~ ~
r r 1 r r t Igt I
J r I I I r - I
I - loud un to the god of I Jq -
I
v I () p 0 I I _ I ~
I I
god of Ja cob Ja
5
god of Ja cob
cob Sing I lou un to t e j I I
] l ~ ~ i
r - I r r r I v I I (7 I v I I I i
I t
Ja cob Sing loud to thf god of I~
- un I l
~ bull
I I L A 1 I I f- I 1 _J _I L l_ l I t I I ~ t r __ __
-fi I l I I
cob Sing loud un to the god
0 eO 0 __ =J
of j Ja cob i middot
----------~--------------------------~1---o----------~l ~ gt~ f middot
cob Sing
20
- I r j I 11
C I r
I
loud Sing un ~ - r 0
I
god of Ja
r 1 I t7 J _J
~
Ja cob -
1 -I J p 0
Ja cob
r c r f
(l
loud un to the god
I l I JI I
-1
0 l-
cob the god - y 0
I I I
the god
0
I
cob f
~ I I 1 I I J
I ~ t I J middot 0 t--1 J I
t to the g od
c9
god of
r I
to
-I
fvO
Ja
I I
l
Sing l
~~
of
I r I I
the
I
I -
---L--1 I
I J ~
54
y
god
L-
cob
I J
cob
_j
I 0
I amp
Ja
25
l 1
--of
- a I
of
Ja
0
i
I of l Ja
I 1
~ t 1 _ Q _ ~ middot
of
Ja
Ja
I I -J I I
- 0
of Ja -I -middot I
J l _ I I
rl 0 0 - -
I of Ja middot-
I j j I _ J I
~
~ (_ I ~
loud un
ampI _
j9
cob the
r
J I I -1 --11 2_ ~~~~
I
Ja - middotcob
i-1 I -f-1
I bulli cob
I
I
- j - w cob j
i l i
J I ------ I t-1 I I - I cob
cob
1n I
I I I J (7
c_ -
-Take I the
- bull- I I r 7 A_ f I r
0 I ---
j
Take the harp t the I
J ~middot
I bull I f~ [ I [ I
J -Take the harp the
1 1 -I I I _
( y
~
Take the
p f bull
Take the
35
f J J I
I 15 Z
) lt I
brell I
tym tym
I 0
CJ ) J forth the tym- 1 bre 11
I I l _ I I I 1 j I
omiddot i I I
harp and ~ bring forth the I I I
1 r
I I + and bring I
~)
r t harp and bring
55
_ -
harp
j fr
r - ti (J J ____ r
-
f ) I
v J
harp the
a
(2
harp the
f
brell
1__ J
and
0 I tl
-
)
harp
~
harp
I J
harp
harp
~ the
r bring
r [I
I I y
rJ I
11
and I bring
f I
and I
f
I ~
I
t take
___
I
I
r ta ke
J 1
tym bull
( r forth the
- _ --- r
tym - brell I j J
I I I J I r I i
_) middot forth the tym - bre 11 the
( t
f I r r-I I z
forth the tym brell the
I 1 1
amp
forth the
1 A ~
bring
I A
7
the
t )
the
I
~ I ~
I I
l
56
40 I I I I I
I t I 0 I _i I I i ~ ~ --middot
li 11 11 I -
- brell and bring forth the I tym - bre 11 tym - brel 1
I ~ - I 1 () 0 1 I r 1 - --- i
I
tym brell and brin9 forth the I - I
_ 17 - i 77 j
- r - T T _ I I J ~ I I I I
I I 1 ( bre 11 ) the tym - brell I the
i I I II
u I pound I A J ~ -1
I -
~
tym - brel l and bring I forth the tym -I
J amp Fyen tji
F l
tym brell tym brell
I I -- I I j I
I l
-J ~ I ~ ~
J
harp and the sweet the ~ I plea sant
middot - --f ) I i I e 61 0 J ( z
bull
tym - brell the tym brell ~ the ft ~middot c t r 19 ufJ f ( c t I
pleasant harp and the vi 0 ll the pleasant harp
j ) j middot99 J GJ or gt _ -5
brell bring forth the tym brel1 th ~e
9 l f~ ( __ r I ~~
-- -
Bring forth the tym brell
57
45 J
I I I [ f I C) A A I A I j l - -
-
~~ ( _
vi - I 011 t sweet vi - oll the I I
I -- 1 - l l 1 (7 I I I J 0 A I J bull
$ r - I brell I
themiddot 1 pleasant harp and the sweet i I
- p I I
r I I lt I_ c I I I r
I I and the vi - I 011
l vi - 011 I
I I I 0 I I
r I -J y v - I I I ~
p~~~~~nt harp and the sweet vi - 011
I
_ v - 0 I I r t I I II 1 I J I I
the plea sant harp and the sweet vi - oll
50 1 I I I I j tl I l bull I
I J L t- 0 J I
-
I ~
J I
pleasant harp and the sweet vi I ollll the I
~ -- _f I A middot bull 0 J i r 1 l I I
vi I oll the plea - sant p
r I i T 0 - 0 I I
I f I I - ------I I I I j
i
the ple~sant harp ~nd the vi - -
I
--- I _l I I I --1 0 I r l
C-
vmiddoti I - 011 the ~
pl ~ea sant harp - C) r 1-
~ r I I )
r ( I l r
I I t
and the sweet vi - all sweet vi ol1
58
I I I I L_ I J _l J f J
I I I
~ r
pleasant harp bull and the --_
t I I I -_j
harp and the sweet -l I
f middotv A I I I I
011 t the I plea - sant I I
I I
I I I i I J t7 Lc -I
and the sweet I
vi I -i - I -
- J
I c- -
oll and l i I
1 I J J J_ v A
I I
oll the I pleasant harp j _ k
-r= 0 I
t I
t
sweet I vi I I _I I
11 i I I I I I I 11 _j ~ C I J _lj bull
harp and th~e I J I ~
sweet vi - 011
J ~
t
the pleasant harp flnd
55 r J1
1 _r _I_
swe ~et vi - I I
- ~ I I A ~middot _t2_ I
I
vi oll I -
t I _l l
fL
harp and
t
al l
-
j_
A I I
th~ swee~ I
j_ 1 L1_
J _L _r I
I I
and the sweet l A
~
i t l I I
I
011
- I
r r the
the sweet vi
0
-0
vi 0
~
the
I t
the
-
60
0bull
vi
0
vi
-
J
pleasant
-
l I I
J bull
pleasant
-
-
amp l
I
l the
I
I
harp I
----1
59
I I
_ middot-I
- I - - __
I ---- oll I I
~~ - f r I f I J e_ I I _
011 I the plea sant harp and
0 - 11
r - - 1 v I I r l I I --~
J _L I l I
pleasant harp and th ~e sweet I vi --j 011 t I
I _I_ ) - I
_I r D I J I 0 I I
I and the sweet vi -- 011 and l the
J ~
-- -=- 7 r I
I T T r l I I 7 l I
pleasant harp and the sweet
65
- - r I
I I J I I J
I ~J ~ v I bull J cent ~
--
the pleasant harp and the sweet - _ r r ~if L) I I tJ - - I I l I I 0 -1 F _l T 0 j I J l I - -- the ~weet
vi - 0 ll t and the sweet vi -ll n middotmiddot-
I I ~middot r I - - t - f7 I I I l _ (7
j j --w
sweet vi - 011 sweet - vi -
I I I I T T - t i -- A t7 r 1 T 7 T i ~ i
_l J
I I I I
I sweet vi - 011 fhe I pleasant harp and the sweet j I I
u I l I J -1 1 0 I )
f I
vi 011 and the sweet
ou
70
-- - I I I I J
~ I I j ~ (1 77 -~
vi - oll the pleasant harp
I I - j I I I A I 410 7
-- L
- oll the plea - sant t --1
I L I I J 0
I I I I ~ ~ t r _fl_ 0 0 _ II I I
1 I - oll~ the pleasant harp and the swmiddoteet
~ I ~ ~
y JoiO c I- I l I r
I I
vi
I 011 sweet v+ 0 ll - -L
- l I I 0 J --- t 0
I
vi oll the sweet
75 I I
I I T J j I A ~
~
I - _() ] middot -- -- -- bull l I and the sweet vi - 0 ll
_l I 1 77 0 0 0 -I - 0 I y l ---- t ------ I I I
harp and the sweet I vi - 011 bull I I
0 0 C)
poundJ I - t (7
I middot-I
vi - oll sweet vi - 011
I I
~---0 J 1 I t J -middot
I _ _ bull I I 17 ~
I - -
I
f t he sweet vi - - 011 bull
- I CJ I
C if- I I
I I 0 T _ I I l I
vi oll vi
~ bull Scr-ibe error shc~AIJ b~
61
80 111
I I j t - - I - J I I y ( j r 1 bull
amplow the I
up I trum - pet I
~ - - j j I r A j J I t - 1
Blow up the trum - pet oiL - r
p r r Igt t r r r f- I I t J I I i middotp I I
I I J I I
Blow the I
i trum up trum - pet Blow up the l - pet
I I I middotr I
f r l J ~I I r- r _r j A I I I _
I i I I r I
Blow ~p the trum - pet Blow up the I trum - pet _ I bull_ _
0 ~ I I l I I I I I I
I
I I l I
Blow up the trum - middot pe~ the trum - pet
85
f 1 - I I I ~ I I I r ( J-middot I I r J J -1
I r l bull
I
trum pet the I trum pet the trum p ~et - -A - I p - - I t
~middot J I r _1 L I t
I I ~ I
the trum - p ~et 1 the I trum - pett
- i I i ~ _
-l f r r ll _r_ [ middotp t
t I I J l t I I I I l
~ I bull I bullmiddot
Blow the Bl~ ow the r bull
trum pet up trum - pet up -t I
- I t l j_ L _L A I
r r J r J I A J f ~
l I I - I bull I
bull I I
Blow up the trum pet Blm_r up the trum pet I - -I
tt) 7 - 0 _ I 0 i I I -I 7 I I I I I I l I
--J I I _J
Blow up the trum pet the trum pet
0pound
_I I I I - I I J I I I 0 -II I L J I J - j
- Jf o I J 0
ln] the new moont evn i n the time ap -
- -- I
- I t l v t -1 I I_ I l I J ~() -in the new moon the new
I I
~
[ 11 -~ - 0 J - I
I ~ l I I 1 I I
I
in the new moon in I
I I I I - I I j J l J _0 r r J p
I
gt in
I the in the new moon~ new
1 _ - r- r r r - I
I I J I I ~
1
in the new moon
A ~ I I I
r
r f cl - A I _f I I I I I
- _ 0
l I gt _ _ I
I poin - ted at our feast day at
-middot - _
-moon
I l I
_ I I J r ~middot I I J j - t 0 A A
I - r-- ~ ~
the new I moon evbulln [in) the time ap-
J I ~ 7 j I I I ~
r r T I I _I I
1 _ J J t J l - j ~
I I pol nted I sol moon I evn in the time ap at our - emn -
I I + -( _-f- i- ___ - ~middot
_ T I I I J 1 t l r 0 ~-
r I I 1 bull - I I r I I j_ I I I
r
evbulln at the time ap- poin- ted- at our feast day at
93 [ot] Ct =at II otl~ va middot
95 I I [ I l
17
J I
__ J r rJO
r---
our feast
- - I I
v_ ev 1n
0 f6 r I J l - -J I l I I I_ l J
pointed at ou~ast
1 L _ II I y _ r Cl
I r - I
feast day at our I I J
bull _) 0 [j A I _ I - t I
__- I I I
our feast
- - I I
C
evn I
- ~-
--_r r 0 ~ ~
J l I 1
our
u
day
I [ I
J _
in the ~
r I I I
poin - ted
roo -= ~5
q~
I
I r r feast dayt -oGr
- _ I
- _ I
evn I 1
I I I ~
r l l I I
~me~--I ~nted a_p_ I
J I I I I
at our fea~t day
c t ) o t h u o s [1 h) = a~ tr~J))~ribed from
altmne ~cill-ed o~~ ti
- _ _
day 1 I -I I I I
I I J r I I -J I J
in the time ap - poin-ted at
pound)- bull -J _ I j
day our I feast
- l 1 l I
~t _--tf 0 II ~ ( I
I
feast day~ ev 1 n
__ _ r I ~ r I I J
I I 1 -
day the time ap-
100 -Imiddot 6_ __ J J J I I I I J I r t _1 ) - I bull -
in the time ap- pointed at
0 _
feast day
- 0 _
r I _
bull I 1
bull jrlJ the time ap
I
~-
r T o I I I I l A _ J
a or feast day our - o---- r l - f I I I
i
1 _l 1 _ I
at our feast day
Ct VOIC~
b4
105
r r f 6J dmiddot 0 I~ j A our feast day our feast day evn I
- - ~
J I
-
l evn in the time ap- pointed at __
A 0 ~ )
y 0 J I I
poin - ted at our sol - emn
- -0 dl ~ ~- - A middotmiddotmiddotmiddot-
feast day i at our feast at L
LJ
I
- 0 - - _A
v
our feast day sol emn
l -1 I- _pound_
I -_
in the time t
ap- pointed at our feast day evn l
_ 0 1 J l ~
-- - ~ J I 1 1 - I
our feast day evn in the time ap- pointed
0 ~ _ middot- A
feast day evn
- - -d A (
at ourmiddot -f- at our ~ ~ -- 0 - ( I I
feast day evn in the time ap- poin - ted feast
I
110
J omiddot u --1 -I
lt---
in the time ap -I
poin - ted at our
0 - ---1- -I-- I
at our feast day 0middot
I - --
l
(i nJ the time ap- pointed_ at feast day
I our
l Omiddot (_) y l
I feast day
0 ap- poin - ted at o~r I
~ 7 ~bull
I v
day at our feast day in the time
115 I I -middot
I-
-- 0 bull ~ -
middotfeast day evn I in the time ap- poin ted -
I I - - 11 (7 ~ 0 -at our feast day
bull 1- t -
- A ~
I evbull n [in) the time ap-
-middot y
I
~--c CJ
feast day evn in the time pointed at
r 7- ---ap-
J ~
y -ap- pointed at our sol emn feast
iblihing Mil 414 A bullbullbullbullbull
120 -
~ y r tFU
L j _L_ y -
at our feast day at our
- - - _ (7 _ - __ -
at our feast ~ L)
a_ 1 _L r I y r1
pointed at our
feast day middotI evn UnJ th time ap -
0 1 - --I -
A middotbull -
our feast day evn r 0 0 I -- Q_
-
day our feast day feast day evn
11 - -_y 11
_V -J
- __l -
feast day at our - 1 I _L_
_Ql_ A (7 I r-i 0
daymiddot ap - poin - ted at our 0
v I y ---d I
poi n - ted at our feast day at our
____
I I - -1 v J 1
FJ Cl bO L
I I ( t-I in the time pointed at ap - our
_)_ 1 ~ ~
Ll f
_r I
in the time ap - poin -ted at our
11ishing MP 454 A bullbullbullbullbull
67
A ~ ~
Ai 0 -- C-
-feast day
I
c- _- I - -
feast day
I I --
- _ _
-- -bull
I
I
feast I
day
u -I
feast I
day
I - I
~
middot~ lt-
feast day
130 f A -J I 0 A
-7 bull - -
A - men ~
~ v j middotmiddot r I I I _ l _
A - - - - - - _ -- -- -
- j -A men
_t - - -1
0 --
I - - - - -A
I I 7
A I ~
A
i
I -I I t- 7 -t I -~
A - -
~ I I - l I
t-- 0 I A
I I
- A men I M - I
- r ~I r v t I 1 I I _t J I I T I
A - - - ~ - men
c-~ I
- -I -
mmiddoten A I I I
--- 1 I I I J
I I T J _t A - I -
men A
135 l
I I I I _I -1 I ~~I I I 1 0 -l - I I I J rj~
- _
r --- ___ A -~ - - - - -01en -
I 11 - ~ - I t _ r p
r I J I I v I l J I
- - men A - -I I - I I -p - v_
v C7 I I -- __ I
-A men A
~ J I I I
I l I J I A _ - L7 JJ J ~
~ v p
- - - - - --
I I I J y __ I T r I I
~ I I I 0 ~~ - V
men A
lblishint MP 414 A bull
I I
I --- -~
- - tf a ~ - - _ - -- - men
0 ___
- men - A _ - ~ I --- -
I - men
- i _
- -- ---men
--
~--
_
men
tblishin9 MP 414 A 7
----
l I
72 ___________ ____ Ff gure 1
I I I
middot-
i
l I I r I 1 I
I r
IH pound
FIRST BOOK E I I ofSo11ge or q_fyftlJ of iRetiiu~
rourf parn ilh TJ 1
binsr~l tb( lbullU
paru togethcror ~lther of middot dle1Jlfhur2llynliay be toils it _ l 11l~U~~~r
to dte Lutebull Orpbad~l
or Viol de gllllbo Compoftdby Robct~ ltJ~Xto
f
----
1
l
I ~
1
I I
73
Figure 2
TO THE HO middotNORABJJE Ai~O VETt T OVS GENTLEMAN SIR ROBERT SlDNEY KNlCH -c
Gouernour nder her Mai~fi~e of the tOne f VltlbitJ1
and the CaAJe of the Jldlraquotftns In the low C oumnes and of tJtjorll ojtltf411Jt AJtntLrrpuh thtJbullrr-ifonthenmiddot
In plilctdMTftU D b~ifi~jiUitt
~~~ii~5fil Our great loue and famor Honorable Syreuer rhanifellcd toal OrthyScier ces hath ltnbdened me to offer vppe t
y~ut ~ordfiups Shrnc thefe the vr I wortht~middot labours of my uulicall trau~~middot And though in refpect or their Veake nes they ln~y perhaps leenu vntin1ely
bull=-o=====~ broughtfor[hand theremiddotbre the vnlikelrshyerlo pr~fpermiddot yet doubt I rt~t butj~ renderd by you they fl1all happclbulle find gentle cherdh~ng w h tel~ n1ar be a mea ne to make them more tlronger or elfe mtfcarrytog to etcour~ge my en~ ~ deuours to beget a better for as no arts vinclf at fever errors than muficke fo none greater enimies to thcirDvoe profeffion then Mu 1cians whowhdn in their-own ~tlguaritietheycon demne euery mans ~rkes raquo as fome wate ~duty they are cbe caufe dm an istbcmiddotldfcentc~emcJ ian~ they thuitfelues feEuted as fclfc-com e1enders tnd men man fan[aLlicll Vhcrfore if chis one cen~uringinfirm itie were remoued thefe nty ayres (free l dare fay from groffe crraurs) wauldfitde euery where mort gratious entcrtainement bull Butfince euei thofe who are betlfecneirtthis art cannacvaunt themfelueJ free from fuch de tra~ours~ ~ lhe~ leffc rega ~d irbting_fo w~ accompanie Howfaeu~r tfheretn I may gatne yout Honor~goodallOwance fuaU thinke I haae attained co the better en de of my labours (vbicb with my fdfeandthebell of my Ctruite) rcfies eaer more at your Lordihips in1ploimenc
Your LorJjh1ps lmotetl in ~tO dutifiiJfirmce
aobett lonebull
----
middotmiddot
74
Figure 3
ro THpound READER
~ gtltmiddot bull bullbull bull bull bull middot~ EntlettztnJfincem1dtireu)ourtllrtsfoulde middot ~~-- ~imiddots benlindijferentiudgtrfclllnot thin41t nt
-~~i ~ ~rflary to filalt nv trautil or nu hringing -vp ~ tbull middot 01 argtttJmts to plr[Jllade you that f haue a ~Ofd
~ op11110n of 111) feft~ only tht~ much lwzl~tJte 1n~ ~ I ot ihatJmttypretttnttherifhudgnlentsoJ[uch
bull _~~~ ~ t- ) u now n1c not E11er jinre I praflftJ fe4-- middot bull ~ kng I hat~e praRifid inging lbullauin hail not
itr qualitie tobitJder mefro1nmiddot the pifefimiddotI(TIOTPfedgt o(th~]aculu I rtue ~~~n incortngtil kr tbl lParranmiddott oj Jiucts good iugmentr that my
pt~ints herein foal 11tihe eafl proct~re_gooJii~ng if riot delight ~hich Jttfor ntineownetJtitl muflueeder Jeare 111 much 111 defi~e ~efpmiddotecialy
lien I conidtr tb Nptnes ofthu induflriousagtlhtrtillaU mtn tndeshyrwurto nol~t all Ninges I ronfefo I 1as not --nTiiUing to emhract the conctitr of fuch ge1tlemen uraquorere ear til to h11 ue me AfpbullreU thtfo ~~~ tits for them ~hihthough they intendet or their pmiddot_iuate rmeation 11eUcr meaning thfJhoultcomeintothe~tght~tre 1elf(I1Jten~ )pon inshytrtiiJ ~o ma~ thtoncouragementr of tq1s ~ jrfl di~tr~tllre 1Pkere11p~ PO f lilas ~lmrfl ~~to m4~e tnJ flfaJ ftiJt~ne lJJtbtU~OTJ pr~-shymtn~ thAt if lY ctfimiddotnnrfoilttltn( ~ M_~HJI ~~H fllghl P_eakt for theme~ts ~boTPfoeiltr 1~plt4ftth tbtm middottodlaquonunl bl~tt of thest ihen oftbeft1 0 f purp_ofo ( M -ltfiOiddfiemt)tom~t4 mehJ1eut I hm do (omething 1111 onb hope i1 thai fo~ing ntither J cold AJres A nor fheir idedties ( u thgDi[ntedtl hau t cAUthtin) hAue hithn-to Jeene foc~ttd in Ut tdrtJ of rnanie thg maierh~nttlflil)dt f~Kh enshytertllinmentJ llJ conmonlit nn~e1 aoth in tht bullorJ ~thith if I J he fo
middot ~appie~(o he11re lTtiUnoefaie my next jh11H Itt ampttirr1hut I ~a promift tO tfl~middotIJfOft f4intmiddotsroJmJ lliOt fOintsof mfiampJtwbich noJJt coufJ not JohectJuft YlitJtffcllrerPu (ofttlht (Jf~mtk~Jor~ ~~~~hen muflhe-ullJe~ connntDith e11ch IIJantlll))foU cenfurtU IjhJbe giAJ of fomt mtns vndeftrueJ fouourl
-J
--
IJ
Figure 4
~~ ~ A Table of aU the Songs contained in thir7JooJc ~~~Ul
middotImiddot AWordans LookecS middot Fertd Wlnto~ youdu ~~= Sheewhorematd)Jet1ebcaury f+- ~ Qncre did I laue ~~~ L~d ~r~Atongdcfuc l Ltc dOwne poorc bean J ~ bull n Wl I _ ~ -b _nere rngrrnguare
1 - i1 Hcroatenotchougb ~ z- middot ~ Wbcnleucandumo bull ~~ Swee(te come awa t bull -a Wmiddotomenmiddotbullhataicrtbey
EarcweHdccrc louc ~ middot gt ~ ~ 0 my paorc eiu r~ ~ a If fathers knew
bull ~e i Life is a PoeampJ phablo ~~~ Sweere Pbilomdl fi ~- ~ 9 That heart 1 ~
1 VVbit ifl feckc MymiRris
middot~ M ~ Petplcxed _ 1 ~ Can lllodca pbine dctir
I
middot 11 - 1 ~ ~ middotr_ ~ r fl~ - I
l j It I I
~ ~
-I i I
lj middot J ~t ir- I
bull Ill - -middotmiddot - B
L lL m IUL v VL vu VUL IX X XL xn
xm X1Dl-xv XVI xvn
I t
I r-middot
r --- ~ I r- ~ J
I
Figure 5
--------------~- ____ __ t
lf~ flfl TJE
B 0 0 K E 0 F S 0 N G S AND AYRES
Set out to the Lute lhe bafe Violl the pr-ynt Wdl etr tbr 84ft by
tablcturc afitr lhc lctlo ~114
CftftJJ Kobert Iones bull ~middotihl~ by Pr flaquo Afbs by bullbe
~Jm ~f11HtfNI Al~rl)l J tbull6t Cold bulll bullhe Inner l(mplc
u bullr bull 1-ot
_ +- - middot tmiddot bull
~
II
Figure 6
------middot--~ middot-------
T 0 T I-1 E It l G I-I T V E R T V 0 V S A~ D V oR T II Y K ~I G H T S 1 R
H F N It Y L f 0 N i D -middotrmiddot t ~ ~ ---middot~middot 0 R T H) Sir mJ my_ Honourablc fiicnd I giue you thi~ ~~ ~~~1 bull CIJIIJl pr~u~ gtou hnng at vp bccaufc I ttm o1 ~orc mn ami t ~ middot ~ _ can nor maanrunc bull t 1t bulluy ~ulfcc muchaducrfi u~ ~~~ my nam c
middot middot your For~u~c mnc aJ~cr llJS rtJrrcs 1_nd make h1m hJppac bull f ~ I fhopghllllbtherbe ahmiddot oe l ulltec~Uhoun Orpbanrlorpm rc
mens CbddrlfJ -are Orplano borne and more to be piuiCd d~cn they liJJt hJ11c changed thcidltl cr) lor their ltuJ ~ fud1 mlc bullai(e themfduc~hl due time we h0111C oo wJ ic to l lciglncnour being bm by lbulllothcr pomiddotNcr As Gcntlcwo- mtn pecce lhcmfdbullcs with Tij es and Co ronctsto t p flC trt mor~ per fcmablc ~nd t~ll o UltJfi woaJdc VntO OUl )ulctlCS if wew11 not De (corned iardwarfcs) rhccroYlC of Acnllc pC1fons mgtre cmincnt and hi~h Our (Lnurcs ~rc nor fct aboue d3nshygcr i WCcJuJowc hdor CUCflC footetO trcadc vpOtr OUt place IS he cround there icnodnng balc-~trwsandycr dcuil~ion _m pun n lower if wee h~uenotgood ~(reds Th~ y wiH fin_J _me~nc~ lfl digg c and In v s down~ irnu the cllth ~ nd burie yenS
bcfotc ourume Th1s 1s the nufc of pttroua~ct nnd thli ts rho p(rlecutton o( ahem tlpt wouldingroffc ~11 Gloric imo the~r owne hmds But t~cdJt UJl~ o~ rhtfe mcn they bite the truhe~ thcmfdues 01ould fee de vpon Vcrtuc would llrlng fonh mmie h1idrtfl but 1hey hold them an the wombe that lhcy due not come hut As the coshyucrolls maf~~ fi~gcth aU the hind about h1m wath fi3tuus 6ncsand b~nds i1 nd othc r (uch Iike~iumiddot 1 warre (o doth the ambitious intrap the Jinle pori ion of ante commenshydations cha m~ ic fie II bcfidcdilm And like the mercalcff- Souldicn lhe Cafilcs they cmnot t~ kc they blow vp They uc a~ f(nring of cucr ie CmUlrcJun~flc of crcdifbull ~s iflt were I aide vp in oonnnon-bmke and the more were giuco a wile the IelTe would ~orne to tl1cic nbullarcs Theya1 c mafcra~lc men) _f roill onlf br~md (htm wi1h this m rk~ and let dttmgoe Thty were Eaglci tftheyd1d not rJtch Hycsas lheY ate thcy-bullro grculhings)muchldfcthcnnoamphing For my parc)l willnotcorucoa wiJhchcm ( aeiire JlO appf~u(c or commcndadons lei ch~m haue the flmc of Ecchocs and (oundf and let me be a Bird in your C~ge fin~ to Y fclfc ~nd yo-1 Tl)is is uiy coment and this is my llmbition~ if 1 haucthis Jfiile nm in mtcxpclhton il more for rour akcth~t is my ashbntagct andl will owe you duciie for it in the m~anc time lrcfL
fl 0 Jt I ll T 1 0 H R ~
A 2
10
Figure 7
f
TO THE READER
rSI~~---11~~~ E AD E R 1 btt11t atrl moruuuttiWtJ to At~ IIgtJ oujlU rtPhul~r J b411t 6o1ft WU r no td~n( tlull
--=middot ~m~laquoh ft~inen~ rltoife thrt e~tU th4t jwiUf-1 fortify j - ~ry inrtnl toJll~rJdbtt lllll JJ 1tt btctufo
z kow tlwcwot r middot41d I IU jtlllrl ftDf gr~flJ(t D
comftlirltfto Wilrrant J tnJtutJMrs lll-bullfl o~U met~ ~ J bull JqJ it 110 fJ1J1111t tJ ()~~ Vfri~btrztQt ~~~ thttiJJkJt 1 ~~
J tntlfflt IUJtl~ AUfljt my Jrlfrof~lliJtnltt yluggbullJ ~~a~ ~~~~ iby fat~olll ~ whrrtin l t~sft rt~tiJti tJ itftritk rkJt ~D11bull
II~~~~~-~~ llllldllllorlt 1 then PJ my ownt bullfi 1 to frt 9 l4hD~ifl ~Ill (o Jbulllr The llNIIb b lllthlugh l wbull nbulll fo nilt
Jllltll J rptnpofol l~rt cA7rn t~Jt J J4n1Jt~t jl11d c tbrbbull~r~ of t~rirt~~min~tion Ttt Jwould bt ~it~J( if 1t ~IJtbi) thfl~tlt J1nJI7 tpptabat~tm mtJbtgtlltll1t mcouragtmtntto foutJJm t1Jan4rfoltJumfltt JrtlltfJJJJ rlmu t4ttJ hertJttr bull Jftb( Dtt~itr aiftk dJrlmiddot 1
1ll mjiullt- th~tt lJU fo e~DlJ til flbfffll 1J_
pri~su rt~nttnrntu(JilltrJ Gnt(tmt~ith~ut tbti~tonj~IUJ lhh ( lmiddotbPfl J nor 4middot gbullmJltbdr tltls RPtrtm if t~oN ftrJJ afllltiJmg to rnrtttfllltbmiddotrlq Jefiri rblt~k m~ jtlr th] rtltre ~uwr mr~nt tiNt~ J (nmiddotow nDJ l11w 11 ttiiIbullrt~ttmt Q(lr~IJt bullMtillllb~n~l tkrt p~NJ btn~ GtJ~thmbulln ( btn H 1tJ4j ~middot1 fo mfcb pbullrnufor fo hulltMJ) tbl wbullD n ~911middot cl11~1ht c~n 4~ ItA k bull~ loiftr bi Imiddot~~~middot 1l~~JtMjrlrJIJ g_olll bullJtiK tlritil bullfhu tNnmng JifJbulltlltmtbulltJJ tblttll) bt(t11TiflfllJ ~~JUJhlllfJ nolliIYIIJ hu tiJN)t rl1tfo Jrtlo dtjilehim Cif ht-6middott nt~~zruiiPbullP bulllirbnmiddotz ii) tb41hfmaj(J 4ctrp1tbt N6inrri DnDfiiiJ Nt1111t M 11 f~cirnl Tiflsmonit th~t J ttm wat bAiflrJ oinflrt~DJ~Il Jflhtrtifl Iter 1 iraquo94fftt~r rt~hbullffibullNJ7rll ~ ~ J~fiijitJIIjon ~so~middotrbrr~fl tb~l1fDMJj~inc in formt llltil tbtY ktofMttlhm~ Jytbur gmzt411Jtjl~ ~INtrltlbltlg J IJ n1t j11 rnbullch 41 tltfirtthtm o 6elftbulltbull ltARJf11ould hfrrbl teacluhmr At lr~tp bow tbl) IJII~ bt ttmt je F r 1hl 1Jc)Dl 1 will foit 1n1J t hHJ mMch tbtrt blllh not bttnl u~tPttt of tbil fojhitm wampicblf tha jh11l1 pron~gturt to bt blWirtbmiddottb btAtHitJ rtfl fJfifjitJ) if tlbJtit~tor Pbullrewell~
Leaftanie ntan fi1ouldfeen1e to acctlfc tneoflingularitit for expref~ fing thetimeo( myfong~s by prlcke fong Neres neuer b~reto fore vfemiddotd Ihaueforhis ~euer innruction hcr~un~o indeuoored to fatiffie him
amp t r f A Scmlbrcofe Minnum~ ChrocberQampIItr
-----
~ qA~ ~- ~ 1b [G~ ir~1
~~J ~ v 1
~ ~~ c a
c ~ ~79 - =-m
IC~~
~ p _l
9t ~ ~
ll4 ~ l
-- 79
Figure 8
-
A Table of all the Songs contain~d in thitltBook
I loue wing middotd my hopes I I Jly louc bound m~ with ~ kiffe
1 I f bull 0 how my thoughts doe be~ t me II [ Ore ames ~nd I magi Oitiom V Nfcc thought thi~other night V l IVho fo is tidmiddot= 1 II fie fie V Ill e~~utic (bndc further I X Now what is loUI X loues God it a boy X I Ouerthcfebrookcs X I ( Whither 1Unnc1h my fw cct hart X II I Once did lloue X II I 1 F1ire womtn X V D~mtic d~rling
X V l My Jouc is neither yoong nor otd X VI I Loue is a b~blo X V I I I A rife XIX Did cuerman
middot XX To lighandtohefad X X I Come fa tro-w con1e
0
I l Jl
iir 01 11 -~
~~~ ~~ ~
t~ ~1
~P J
~~8 L e
( _] middot~- - ~
v lft -amp A
l -
I
~u
Figure 9
-----------------------------~
VLTMfiM fl IILE virh a triplicity ofMuficke
W HEREOF lbt firfl p~trt ir (or t~t Llltt J tbt Voyc~ and the Vbullolc Deg1mbo The Jcflt lbt Lbulltt tfH Yllt 2J IMrt
p1ne1 to fine The third part is foe twoTtcbl~t to 1fint ~it hc 10
lbtAr n- rhll 1~ bullr t-
bull bf ~ Compofed byR obull bull T lo bullbullmiddot
fl fr1fbull1JibullJ~ ~ 4111 Priorcd It london br r~ i JIIiWd
~re robcfoJd l)yS pfn (lw J bt sJ-laquo
ttfiN C01bull1 I 6 G l bull
81
Figure 10
r~IW~- ~~~middot middot~- middot ~middot bull bull
TO THE GREAT lOY AND HOPpound OF PCZ(ESB~Tuf ~Jgt rUTUfF
Times H E N R ~ E P ri nee of lf a cr Duke Cl~r41wt1 ElJieoflhc CIJjtJirfbullibulltifttfchtjltr Knight ~fthdiDIN ribkoJenf
dl G4rUr Hcyu App rant 10 tht Rcllmcs of Elrjuntl Scotbnd France and JrdoJnd
Ojl Exrelknt Prince T Jr flrengtb of our d rt (] houJ aythrrPuaf(ncsgt) cannot endure tbc force of Soueraigne
erltlCpoundOf1tcncarcitwemay tU ncarc u to you your poundarcJ TPillyet_ be arc to deale wuhfottndes tbougb nor to
dwcU there yet to pajfe by tbcm1nd by teJiJ to learn to tune Jenjcs lJ a nper a~c c-A lmo all attr k[JlPicdge ir drallme through the ftnfirtbey arc the Saulctntclligencfrf -wbcrciy (he paffith into tbc -world a11J theTPorld into bcrttnd tJntangl ali ~(than )there is none fo learned__ a1 the tare~ none hatbobtainedfa cxccllrnt tJJJ ufrtJjodelicate1[a ablrufe fo p_irituaJ thAt itCIJtChftb rup TPifde fo undet in tbe Jitt and brin~~J tk Under tJ goucrtJC1fttnt ntJt to he expreffi1gtbut donegt and done by no sQll buf it otPn~ Thereu Mufic-k in all thinretbttt ettery tnan cannotfinde i t Ot4t)
iltampAJJjeofbilo~neurri11ghee MJlft baue 4 harmo1J_J in hiinftl[e)hat hold goe-about it and then bt u in~ good way 111 be that ht~th a gwti ~artJ in d
oudfot1llardtUJ to our focultit [ onceitc u but aTPtll tundejat~ry done in tinu ~ pLsce ~~~ ex(ellezt fintencril hut a TPell lHn~e rea(vn Dell nit ltgethtr P ollte or the fubt efl therof a [omit 1on IJ1ellltbu6utll lite I tuul middot e
Song T~htr~-allr41ltl Joettgrec ana lnccte together~ith foil C011ftneanti lJartiJOnJ one Jertung otherand cuery ont rhemfeltlet in tht Jam~ lAbour ButnolP] intrudeintoJOilr llrtin whicb 411 pnry(anJ ftc hoper)thal q oJ ~iff giucyou a oJy aru profpetOI~S k_JoIIJfedge anJ t)en aJ orhtr eJ rtCS foal profPpoundrnder it Our gracious S tll7aigt7(Tour H~h11ei dear FatJcr) hath ar11trd atul conortedjomc great prOfifiolH areaJy~ fi~eh1ittleoneJ dJ this )oo e for itgtand heg il cfw OJ4 your p ri nccb nature promi[eth it J hich m4 es nv boJJnet bopefor p4r on ltJucbfiifc tne(mojl exctllcnt Pr1nce) )ourProte8ion Ph(f1flt)on41lowJall Qtbtrs rPill conrmtnd theircenfitrer n A it fobulluoflrlikjngthst ot~~rraquoJift1Pold Jifpift me bull EN en your n meJ the forefrTJntu ll charmifor ~~talttiOHl trmgtu ThAI praJtng thatyour Htghnt IIJ aDtaet h~ttte dtJ tttre t~be te alir bulllltuJijingulj1J ~tht _fo14tuJ of lTlCth l necl tftJOUr Higbnes feet
Your Highnes in all hom blc tl~~tJt AIIJ cruice
RoaampampT
lo N s
82
Figure 11
- ~ H c ldndc A pplauf~ vherevith I hau~ been~ revardcd in n1y former A yrcs hr fuch Gcndemen as can iudg~
~~~mJ Imiddotb middot Y the e bull are~ an not other 1n~ns Echo~s hath nov du s ~ middot durd t1me gmcn n1e heart fron1 then to hope for the
like in tbcfe V hich l hauc corn ofed cuen to hew n1y
graticude rovarcles them I lulO eucry Father is paniall ouer the i ue ofhis body)and hauing his iudge1nentcorrupced by Insaffecti- onis VOn[ rofpe~J e bis Chtldrens prayfesaccordingto hisovn de fires rather the i1 I he ir de f~r ts 1 t tna y bcJ h aue thuS oucrlookcd this iffue ofn~~ br3iue whereforel wiU onely comm~nd my pur_pofceto ntakc tlus lail my bdt expcchng to reade the rruchof my fdfe out of thy reporc AnJ becaufe ant notignorancenough)to b ~egroffely taxed by any of our cunningJvlaiJlers nor bigge enouamph to beflar te~ed or c n u yed 1 hope I 01a1J not be driuen toe nq utre out my en~ 1 middotes) co heare of n1y fa~cs nor to befpeake mylriendes~uour F or ho1rvloeuer l an1 fe t in an vndetfortune thac hath need ofampicndlhip y~cit n1y Vorl e~cannot 1ufiifie n1erny wordes Htalluotl bad rather dye a be g r 1tbcn Jiue a boaler what skilltimeand mycontinuall
radifehath biucnme)hcre I gladly impantocuery wel wiUert lat gr(tuntcs me buc acc~tanae for my paines And fa I comn1it my icfe to thy cenfuse1 F arevcJI middot
7ohertloner
( middot
83
Figure 12
A TABLE CONT AI-ning all the Songs in rhis
BooK E
1 ooenotO do not prize thy be11utie 2 middot 73ea utic fote bathing h y a j pri ng ~ CjoctobedfrJJcct6lvluzcgttak thyrcjl 4Shalil loaktampoenogriifc 5 ~Pbar1jJ fpcd1t1hert 1 leafl cxpeEled 6 Slpeetcijyoulik and lotte 1ne fliJ 7 SetifetrothledrhoughtJtofgh 8 Scinrhia~cene ojSeas and Lands 9 rB la111enot tn) chee 1 I l o There is a qardci1 in hc1 forc 11 S1reete Loue my oney Trcafr4re u ~hinkft thou 1_ate to put me doUJne I) Jfhen willtltfounraineojmy tea res bedrye J+ F lye ji-o11J tbe TParld 11 Happy he botofrraquo etebomc retirdc
-Thcfc following are for z Tr~blcs
l61Jiftlaine thntjoll amph Jilfne 7 middot o) et)erchangeandjjttre not
I8SirctiuftJijJAineh 1~to ri t
19 cuftler ry hands lo vh ue lgrt~ceintreatetl ~o Oft haut fmJe the cartfe to ftn e ll J(o hAuefleamd-mithmuch4doot~tfpjl
B
84
Figure 13
ORTHE FOVRTHBOOmiddotICEOF A Y R E s
The Firlt partisfor tbe Lute poundVO Voyce s and the Viole de G ambo The Second part it for tbe ~amptte ebe Viole and joure V oices to Sing The 7 bird paramp
is for one Voycealon~ ono ~he Lumiddote the llafTe Violeot to bach if you pleaf~ VYIrrtoj~ tAlo ut ltzlitn AJrtt middot
CompufcJ by R o bull l ~ T 1 a bull s
2f trfont (intIJ J1fJJmiddotil4 iMMJifl
L o P n w lrnplintedbyloHN WI~ D T andaretobcColdcbv StCO-rt w TElSO lol inPowlcs
ChMhmiddot]tlfd)bulltlhl SlJt j lit Cfll~middot l o 9bull gt
-----
I
--- 85
Figure 14
1
- ~~
TOTHERIGHT YV 0 RmiddotS HIP F V L L AN D VV 0 R--
thy Gcndcn1nn Sir I o H N ~ E v r N T u o u r pound Knigbc pcrptlll3ll liafpinrffe and [or~tcrlt
~~)1-lpound--- -- fmiddotts not vnkncvne =nco your wcl deft ruing fdfe 0 R igh~ V Vorfhipfull that not long fince 1 cooke n-1y
V~tiltttm )a[t vith a refoluing in my ldft lHter co
put llfh aoy VOdc~sof che f1mC Natllre and Fan ion VJlereupon) betooke n1e co the eafe of n1y PJIIov
middot where SompUI -auing taken poffehionofmyeyesand u 1orphttlf the charge of my feofes it happenrd
~~~~Mmiddot~~~bull rnee to fall into aM uftcal dreame wherein Jbulldl middot nc~d - to haue many opinions and extrauagant hun1ors Lf
di uers Natures and Condttionsfome of rnodet mt rth fame of a marc llS Louc ~nd orne of mofi diuine contemplacion all (hefe I hope 1 fl1all not gue any dtilafie to the eareror d nde to the mind eyther in their words or in their r~~ ueraUfoundsalchough it is not nec~ffarie co relate or diuulge all Drean1es or PhanrafiesthatOpinioo hegcrsin lleepcor happeneth to the n1indes apparbull[i onAnd continuing long in chis my dreaming humber I btgan to avake anJ vp n my eyes v ndofin~ l bethought n1 y fclte being full a Vak~d aJu itlng n my n1ind Vhom~ to dec1 and chute as a Patrone for the lan1~ l Vas eafily in -ued to n11J~e choice of yqur V orO~ip a3 one to V hom~ I necelfarily ou ht
both lou~ and duety l nJ howfocuer l m1ght feare that you Vil not adamp0
ledge it yec in thlt Nature ha th inricheJ you Yith more chen ord1nlrie know le oe in th ~ Art~ be~inga Vi ntsofthat Lo~t~ Vbich you haue ahvaycsl ffor
ded to Mufick gtI en1boldened my fel fe the rather ro pre(ent it vntu ycu Accept itthen(good Sir) as a T oken of vnfained Loueand a e be
worthily Jue ynto middotyou for your many fauours done to him [hat is
uft)middotour lforhiju conJmaund
----
86
figure 15
Thi~ Greetin ~middot bullbull
~~~~ HoulPhofo dare itcbeJ ltJith the VJrietie of opinion h~aring thinr oraquome otlJdtJf tJc ecchqc nuerbcrtJ~ ing otfJeTJ fubflt~nCC and lmprofit4hfr ~n it
middot jtlfefhclpt s to tbe IVorld comfJrtaJie liJc though to thy orvne ~Je bttle middot~~~~pleajurcLJ retjon of)lnch-umiddotirbl~ctn[ure I fpc zlte tot bee m ujirall Mo tuusthotljimiddotcm ruboft Jucctie IUimhcrr ~1 J rajiy pafeJJ drop1 foil in tbc jhonre Dt4l
)ithlrjfiprofiufcomprutmiddotthcetothqhlt nuy Jr4l tbatjlitr int0 11UJUCJCf and ltJill twt tbcncertJithout much troubli) or tbuu rn t JJ Jfper[el iulgemeiltgt not oneamp art afo jeniru tofecing kJonde~~c hut moj fo ttlty f ct o d jcruing i~Jdamptflr]fL~~gtg 1110zte r ctU of the 111oilpurt Bilfoaud Jmoothiu~ tbt~ plztncl Citttl ~ rvben on ely thine on~ne opt 11iltJ1J it more nJrinc~lcd and more vitiotH mit ~( then grcjJcr10Yle lo tbJt 11 a brujh 111
jcFlcdlPilhfithgttbott ralbcrjomiddotlcfl theti iiMI( pebullje( 41VWl) I ha~1e jlooJ atthi11c e lho1PJ andh~arJ tbcl prop~Jtne cur a 1 dlfit c1 bcfl J(ryu and 1tJith thy lntu~zde ref 1b Jot f~rde~J rfl gnoh iy l4J1l ltJJilre~ ~nil f f~ renot g~eaty_tJat tboul~iltlay to raquo1J ciJatg t 1 111 lD vtfu111C )Oll11 ~Cttrrag1tRf 6ecaufe fft011tied a r ~nuch but 1md~rflauJ me tbou-ns ~VIitll dojcanterdtriur Ji o 11 tba t JCrue fPlaineSong charit4bletJtlm hers)and tbotl (hale fnd harb Joicr I ttr~ ojtrtl t1 J0te ahoue pound redr1c el hJ tn~er
izulgtment n bicb 1 htrc4Uc tht of tJmiddotorPinrl by RJtler are as orr nelll cmne Lutf be~ -_ ing ofrJany ftri~I(CfIJOt((ffamp tJjJJlmlcflr ~~~ ~dllefittlreti1 praf1i(tput fon~4rd it1to
dcjerurng Dst4ijtaiJ rr hH nIJ aduerJI ure I r nomiddot rtccd but drtanze) and utJat art tlrcamei poundut aiJie fCtjcfi iotJgtandjcttrall ayrc s 6reathll)~ Jarmonio111 llilijperitJgt tbongh to thee difcordlmiddotet toolbcrs indffirent 1rvill not ttY cxcellel~(~ becHfe it is 4J
othen otflce 110ttni1u 6ru let tbcm6~ as thtY arto~lmiddotcn propuu tul my p~inct _(rt forth j ar pleafurcgt uot for pw1HJIc~l poJou Jiucfl itntrginatioiJIJO but aJ a fhorPrcjt~llitiJ i1 ~urcdfuil ft~fouJ~ 7 jJtUr m fmiddotlje atlrajlaJJd wrl(ay fo et4er bY au otbmiddotrj lPhofe IJ bourfhJI vfJ(t Alujt~udl uuulu~ztt -~ Jbe rmeiy rPiug fJ IrJe courage being tl1e mofl pltttfo~~ 1luice ~(11~ 1) nmiddothotjnmiddoteet~rc J t t11chcr h 1m to hcaiHIJ itfelf~ Jt ir Jjara if a thi r pztt1cs rcpt ntgood romm~ndJti~Jniand it lf t~ttr Ulrtlll out of 11 Flint itJ the toll ith l hou ntHer rl ink (I u ell of di1J 1 Jn ~rlJ bull(rt in tb) fjto v nri(Jifi1 encr aJ l lJ Tt~tor jranJ tbr I ~ Jllol middotrc fotdtlneuct Jnn rbcc 1~1~ it~ irune be 4J thott art a h1mp of Jc(onnity lllbm I Jjhonbrcldt i11 tbe Ufvdr ampi diAI~ir~e nd 6rontht forth b1 b~n~iulr l1emiddot g~r ~ t htftt r1 11idn fc to ~til t i nc m n rt f
j i umiddotme lc u todrplrt Jmiddotor ifnd J1Ntbout it J $111 gonec rtltfic o~ til)middot crnfitrillifi arf jJ~IIy p( ~(n 1dcd thuu ca1Jjl110t thiole tlrlnd tcrefurc art crufl tiJ thy [raJie 11 IHr pound0 1e btu (rttclltJntl being 6on1c wit b rce tb irJ tly bc11dbit eucryeuronJC D47111ele t jJ tbir orwbat rijeboncfl iudujlry~nxcr th) ~111 egosip trJo
fucwdl1f thou wilt in ~in~llclfeot hoi~ tlly fClfltfitgtm1inthcr cupmg
87
Figure 16
lee Caldi fopitmiddoti Samor nfltJ c t~t du119Uc
B
lO
l~
------
88
Figure 17
Or [he tift Bookeof Ayres onelyfor rhe Lure che Bafc vyoll J and the Voyce
[ompofedb) RoBs R T IoN E s
QEe profontjingula mdta ibullmant __ _ ___________________ __ middot~-middot -middot middot--- -
L 0 N DC
rrintcd hy tlbullc Afigur~ ol ~~
Jij0ilfm lJdr ley t 6 1 o
I 89
I Figure 18
TO THE TRVE HONOVRABLE AND ESTEEM ED VVOR THIE THE
1 f q H T If 0 7 S H I P F V L L r If E LAVY vv R 0 T ll
~~~~~~On Honoured Lady my ddcfl anJ firft iiTuc hautngthr(ud fo ~middotdl vnder the protec1ion of your Right Honourable Facher blame not this my yonshygell and h1tl Babe if it dcfiroul1y fecke ampnctit~ric
~ with your fdfe as being a mopound1 vonhy branch frotn fo Noble and renov1ned a flocke It is here uarie tc I
a - your whole houfc noton ly to be trudy Honoura7 bl~ i o your feluesh ut to be the fa u ou rers and fu rd1ercrs of all hone 0 and crtuous end~uourpound in others And [hJt n1akes n1e fo farr~ daringas ro prefunle to offer rhis o~dicadon to your fJire acceptlOCP- AnJ hovfoe uermy defeCts therein may happily (or rather v1happtl y) be n1any ~t an1 I moficonfiJent(and tl1atgrow~s fion1 tbe worthinefleofyourowne nature) that your 1-Ionourable minde middotviii he plea fed (fince it cg s c fc lfc moll humbly in your annes) to giue it villin~ eqtcnain~ment and to countenance it Vith the fairc Liuca ie of your nobl~ Name It may bee flighted in ref peel of its ovne valev bur your f1uourable acceptance
wil~ bot~ grace it andmy fdfe a~ a poore Table hung vp euen tn Pnnces G lJoncs ndt for lhe VVoo ~hut for the Ptdurc
And fo (Noble ~ad y) not d~ring to bee ir~Ious of your rlonourable entercaine
menc I rcll
-I our LaJyjhip Jellcted in all dutit
I
RonERT I o Npounds
-----
~
90
Figure 19
~ )~To the friendly Cenfurcrs
- Eart jriend1 for fi I ~sJIyou ~(you pltbulltJ(e to acctpt my 7ood lllttJning i prefented yot l~fl rraquouh a Vreame i1j
middot wbich 1 doubt not ttt Ottr jJJta(ies htJue receuud fame rcafota6e contentment and now f JO~t pleaje to lee 1l9afd ortt of that VreiJJne f jhaU for your rerre JIJOIJ 1nd rcfi pound(bing guide you to tbe_1v( v s ~ s G A u ~
~=-o~-o~~ o EN Pberrytu (halljindj~cbVttrittiemiddot of Jelighn tiJt quc-ihunltfeJmiddoton n ill wilitt~Jjcnd fome time in the vien
t rrtof 1 n )Ot~r 1jentr411Ce into -which Cjardtmiddotn) yotl jhJIJ mtett ~ith Lout 1 CJr r and li6tl6ht bHt L4Jur frt foortb at lt~rge i11 biJ colourrby JFay ofdecypht t in6 bim in hit 11 ~1turt_~ ln the midfl ofzt yat4 fbaU find Lcmt rciefleJ) vpon t~rLnfu~cie 1nd b1rd mtajuteoj-ingrt~titude T ruching them that ar~lourrt gtI cr1 tumiddot tl1em to tltiro1~ne Ctl~(ure in Lout I defcripttou eJrul nowfor tht end it tf )liJn~ble UJ anorbcr ~ tur)for tbedcligbt oftht ettrf tnjamptUJjit opbull~1io1 14111
nM ft lrogant loco 1mf1Jd mi1te onme gitt neither yet fo Jegtnerate IU to be-g )Uto tdl(rartvn fftbejt d hgbtroFloftl(rt) or)4r(tico[PruittY ruaymJ
)1 ~1~Yt J -t rle _rjtng WJOffr_(ut i 1 jla1 bl gitJd Othel TPije J raquoiiJ )O)) nelIICr to J~middot t_fot~gtPluu orgraft and my ittbourJ butcrflrtb jh111l rtaft to trou61e)middot~ott
iJ Jt41)middotilln retlr lniflil r ~-tren ot will f1etunty ourctnforesl and dcfi~ your malice if you drJfe iht 1 a111 rifolute 1
ijyou11[e me r~ith rtjfe(l 1 bidJou mojl bearti_v
R I
--I
91
Figure 20
THE ry A11 L E
~Ouelouc=
middot~ tpound1 Soft Cupid fofi middot~ Alec 1 the fiUy 6th begu1c 1middotmiddote lounuhtcs ~~noake o =okin~ hy ti~( Riocr ride 1 n nnot (n 1fc but liuc 1 (mile loy in lhy Imiddotmiddot ( S
How rn~uy New yccrcs luuc grow ~n nldc There vvas lt~~ ll lcptCoJrd bull hn d~d litH The Sea h~h 1nany tbo~L~nd llnd Omiddotlmiddote dimiddotJ tnt thoHgh 5-both cLbc bullnd Sow l ~m b t~rrt ftom piuyh g th rc h 1 2] lately in a d1 came There wu 2 wil y a ddt My f~thtt fampinc would hluc me uke Mv loue harh hcr trot L ue bctro11d All roy fenC~e thy tweeuncfl~ g2incd T middot t~ CC de1fe A fpc wnh dyna voice Ddwld her I d ct like wire~ ofemn Gold 1lhouwb d1lt 1iogs ufmy ddirc h( dipt _l~ht 1 rcdccun cnln cu on witu mtnc ryet
middot
92
I Figure 21
Robert Iones bull XIX CANTVS
-~----- middot_ - ---------~- htl_ _+--=--= =- middot __ - -middot ---=---- - middot- --- -==== ramp-1==+~- - middot -~------- middot-- ---- ---___-
kt her goc
rtmiddot-w
bull And 0019 lbc rwofa dit but hu Nzyny)l moRneoctdlyou An yri I will ltis fo ( 1
A5 tlaquobelt tahha ~hen loucn IIKGC
5trt ~oma~oo tk ~ ~ Tatdl you mateilis necdldft~ I nnnt md c u hew by middotthe 1ooe And tbcnlQll chis wu ooJ~
93
Figure 22 ------~--- ---
bullsAtlV
llil 11 ~ middotl llh1J 11111 lllll t ~ I l ~ ~ I II II II I ttJ S amp I a HIH lf lll It g I J ~ I L~ Ill~ lt lll
vi i i II t middot1 ~ ~ I I II I ll
r
I l I I
l I bull
l 0 middot bl
1J 1 bull i ] _ Q
middot a middotmiddott kl U I I I I
_____~_=~=-~JIlW~ wrong bdccue htr not it wu not fo I dJd but lilfc her I did b~ Lilfc bcr aac~
-__1---------- -middot- ------middotjmiddot------ ------------- - --- -~-- middotbull - ___~__-- ~
~ ~__ - ~--- middot --~--~
----- -------------middot--------------------===-================-=-=~--middot---------
4
Figure 23
Rob~ rt lonts Xlr CANTVS
~ F 1 r ~ l ~ - ~ ~ - P r lt1 J c r bull ~ ~ r t r- r n t b c- - c
- middot (~-middot~ ~ ( - ~)7-47-~- ~ ~ amp --_-_ ---_- ~sectC-~---_---~- -(--~- --~-- -- -~ -_- - _ E - -- middot- --- --~ -L-~L-middot = middot ( -- --~middot-- f -=---~~ -77-_-C_ - t _ c ( t2 - -= ---~---- -- middot-----------
middot~ middot
n_ tt=l= -iIt~_plusmnt_~~poundltr=t=~~~=middotumiddot==---= -_ ~t=-==t=-=xtptl--~=t---=-t-x~-E~=-------
go there be many mo I fcltC nor why then let her goe 1 care DO[
---middot-------
l
Far--cwt UfJrewdllincc d1ls 1 finde it llllt 1 will not fpCod more nme in wooing you
nul I iH cce d w htre lfl mivfindhctthcrc S1=-ll l bid hct goc Vh1~ and rll Jocf
Sh~lbid her go and fparc not tll oo oo no I date noc
J Ten Lhoufand imes f1rcwcll yet fl2y I hilt Swca kilfe me onceJ t t ltdfcs limcbcguic 1
l h~ue no pow ~r lo mouc
How oow 1lt2m 1 io laue W ilr d10u nec middotbe gone Go then all is one
Viit thou need be goncoh hi~ thee Nay 01y ~nd doc no lnoampe dcwcmec
Once moce flrewcll t ~lorn rodcrrwrct Bids oamp adcw to her due holdcs Ill bm
But fcdh~ r mnR kgtof~
7hy loucwbi h ldid chufc Go rhy waies for 111t_ smiddotncc irmay nOt k
Gothywaiesfor mehucwhithcr Go oh burwhcrcl may come lhitber
r Wh~cCh~D I doe~ my laue is novvdqnr d Shccinsramiddot~ -a -c iscrucUhart d
Shcc would nor be intrc-attd Wirh pnicrs oft ~~ -J neccomc no more Shall I die ther(forc
H tb~e come no mor what c~rc II Faithlctbcr go or c-owe oa
(
95
Figure 24
---middot -- _____-- ~ -- ~
I
- --__ -----~ -------__- ~-~~ _ _ ____ ___-__ -
- middot --~~--~ ______ ------------111middotmiddot-middot ~-_--------middot ----middot---___- ___ __ _______ _ ____ ~------~--~-- ~__~___ __ _
------ -~ _~-----~- -~-middot----------------
96
Figure 25
204 SONG
CoMIOS-U uv middotnoLn nT Jor-o Js
~ - I middot middotluoted by ShakbullHiU~are - ~~~~ homiddotm tht 1 Hnukpul1lliOI
middot~ h-51 Jggff==r middot r~ Fate- ~ wtdl (l~arl loe since thou wilt needs he gem~
-=-t middot g-one
luC 111inn~ thnn wile IHls lu ()UC
J J loftgt since thou rilt nteds middot lumiddot
1 Jp4 J =-amp=imiddot------middot -r~--t-11---+-middot r=~-r=----middotJ__tJJ middot Jnine ttcs tloe tth~w my life i almost done
--
fl-=t~ -
IPg I WlH y middot t
~fLSI==r=f=lplusmna min~ eie doe _ 11hew
r nbully middot lite middot is almost douc yetmiddot J wilt
rplusmnHmiddot ~ ~ff my lilc iJ ycmiddott I will
Imiddot r--d E4 m y life ia almost yet 1 will
( -~
~__~middot--==--==t~- ~~plusmn 1
ne Vtr die HO lni1J t I ran tpit 1lumiddotnmiddot l)l- trHlll)
~- Jl==q=T-=_==~-middot- ~T~ - 11~~----e= - =r=-=ct ~middot - r--==EF~----=I-~-===+=FL0 - middotFJ==Z=c~~middotmiddotmiddot- - -
n-=- wer dit~ lon~ as I taU 51lio tlu-nmiddot ltl ny nm
~MIEF F i t~sect E tr l I c=middotreg~-~~~~-D bull v~r dit bulln oug a~ CiR hllie thn c 1-tmiddot uuuy inu
a~ t==t~~ r _ q~~~-=-~ ~= lllt - tr tlic ~ ~0 long lUI I I can illh t1wr htmiddot Utmy UIU
97
Figure 26
LO)
J t W=- --~4-~ middot thoughtlmt 5heeclre gomiddot -there he rnan u1u I If~ -1110
I I b P c ~ -B - j- -k=tJ4--t==fi=4D_ I ~middotrt thouKb that Hbec llo e Jeo fhuc be nuny mo not
not 1 _why tlnm let laer gne 1
Eamp--e - ~ - 1 r
1
uot ~middotby th~n let her gne I
1 F~nbullwell fflttbullwl1 sintmiddot tlll i I rt11ltltt li truemiddot I will 110t 11p~ml rn~bulln~ time iu wouing- )Oil~
Unt I lt~ ill fttbull(bullk tmiddotl~ wlwnbull If I m~y fhnt l1r hlaquo~tt
Shall 1 hid hlr gnf hat litnl if I de~
Sha)) 1 bid lwr gne and middotpar~
0 no no tut no 1 dare nut not
l i
Ten thnmbulland bullimt-11 lart-wllII)Lbullt 11taymiddot Jwh ile Swevt kisse me onctlfmiddotWNt kis~d t ime b(J~middotuile
l hamiddote uo flPWer to mmmiddottbull lluw uow arn I iu I on Vilt tbon n~tgtd8 be gonemiddot
Go then) all i~ onbull Wilt thnn umiddotN)~ btgt gontbulloh hie the4l Ny ~tay oUHt lintbull 11U lnonbull thmiddotuhbull lll~middotmiddotmiddot
J L IJ_ -
0
cnr-r lOt
-~ 1-e lg
care not J
JJi I 11laquo1 ) ~ar-e not -
0 IIi
ca re nut
4- middot bull ~ Onc-e more fu~wbullmiddotll~ l 5ee )Qth to dlaquo part j middot
1
llid R ull bulldew ifl lwr that l1ohtfbullbull my b umiddoth Butmiddot ~~ting I nnut )O()In~
_Thy love whkh I did chuite
Go thy wRie Jbr me _ Shlfe itnu1y not he ~ middot
(4) Uy WHit~ for me~ lu1t whithfr~ bull 0 J - f
Go oh hut wlu~re 1 mRy come th~~lur
f bull bull lmiddot I It tihaH I doer my lo~ it now middot-middot~middotpart~middotd ~ Sheto is ttll fnirr asmiddot6hee ls cruel1 harted
Slu~middot would nnt h~ intr~ated
With pra irra oft repeated ~ _ ~ If slw~ f()rne nq more middot middot ~ ~
Shnll I middot11~ thtoreforf I
lrsh6e come no mor~ batwh9t cbullr middote I~~ -1 FHifh)rt htr gnor lomfor tarry
98
Figure 27
CANT VS vI I I rCDERT loNE~
== ttf=y-=-t-===~=~~plusmni+==---=middoti--=rr~ -t=-r~==t-=t= W sect~~= - =i middot =clt=cL =~-t=- -middotr ----=i_ --~ ~-- - -middot-- middot-- --middot--- ----middot-----l- --middot----middot- ---middot middot--- -middotmiddotmiddot-
Clut no I phinrly Cu how chou wouldftbinclc~ucauurc l ~a~ t c11rll not to gofatbullu a
1 r 1 l 1 l r l lmiddot r ~ r i r --- ~---n_plusmn ______ ~ ---J middot- ~ s L -d--r--gtlt---- J LL---- J ___ c_ -------j- ~-n1l ~1~( _ _ il_il_ t_ ~----nt_L- -----_[c______ -+~~ 1--L- p ___ -L- -~--Lpound ____ _ ~-____ j__ __ + ------ l -middot~-- ~~- l --1 __ j_ ______ (__ l ~10_ -~---- -- i - -- - - middot - middot -- - ----- - ___ _ I _ __ --middot ~-~ ----- - 4l_ __ ampJLt __ --------~----P-1---~middot 3 __ c__l_J _ _r__-ltJ ___ _ _ _____ L ------
- n
--~- -~--+--middot-1--~ 1 middotmiddot---middot--middot~---- middotmiddotmiddot- -----~~-middott- =--~--- ~~ - middot~---iL-i- -~-- -- -t- r middot-~- middot -l middotjmiddot -bullmiddot I- middot -t ~--~---- -t-~~-tmiddotmiddotH- - middot -----t-~T middot ---- -l -- ~ middot-07- middot- -middot-middot bull ~-Lmiddot- J bull---- ~--- middot-t- - -- - --f -middot-- - -fi-l-L- -+- --[middotmiddot -middot-~ middot--middot--middot--1 --middot-- - -- - bull - -f- ~- --I=_ --middotmiddot---- _I __ __ _ --~- middot- _ _ - _ ______ __L _-t _ middot~_- --_middot--r~ -~~~ Q-- -
fuct 1 wlscnrfiO Jic fi~ nofwtctt lhy amp 1 w 11i leU thee why noafuc 1 wu ace urn JJol bullto goc oat bull
t f t 1 ~ lmiddot t r 1 1 t i ----middot-l~a--__ _ __ St_tLi-3---- --~(~ l-~---1~-d- a aL _ __ _ ______ Jtl a_JAi~-11---~-middot(_---+7Jk~-- - [ A--- -----__ lgt __ ~-1 ----lmiddot l _ ____ i-----middotmiddot-----~--L-----6~ - -
S-( _ 1-h_kJ--middot ----middot ~- L-----Llt-S-L----L__L ------- _______ J_ ______ ---Aplusmn- ---__ _1 ____ -middot---bull ~ ---~-~---1 ~-----L---- 3- ~_t_~- - ____ [ _ __ ~-~- -A - --J
----middot-1---r--t---------t-t-middot-----1---middot ------11-I-t=-~ middot ----L-- - -middot -plusmn --- r-middot-~--- ------middot middot --~middot--- 1--~-middot _-middot- --- ~---------===middot ~-middot-b-1_ --middot- - --- - ----- -~---f- ---fmiddot~-- L- bull - ----- --- middot--- -1-- - ----- --~middot-------~- ---- -1middot-middot1middot-middot--t- --J- -middot- -- - -middot--middot----~-----shy--- middot----~-~ ---- - --middot------------- --~ -~middot ------~- ----------middot
firnrurc I wu l lturfi 0 fie fie oegt rwct lll) uu J will tell thee why no
t I t l t lmiddot~ 1 l -L--~- - - middot-tmiddot J _______ ncU ~A ---S-A-------tl- -11- middot~-- - - --------middotbull-- middotbull----t_ _ _~_ 1 ---middot-~ - ll -o-A--AJl ___ ------middot- t------k- Jt-- -~~ ~--middot- - - - -- -middot- -r~-~ 4- ------llmiddot - middot -
-_~------ _ --~-~---t- -~-----J-- -- A- ------~ _ ----- - bull 1 --middot- -L--middot -- ------------ ~- - c --~--------~----- --------middot ---______ z_j_ _______ __ ___~~ ~-L-------a-e middot- ----middot --
J Oncr m()tdrewdllincc fiJI l 1ord lh_ lpcak
1 uJ bull 1rl bu1 (mlIJrcwcll ubull larHIWout lbullrcalt( Bbull middott bullbullo middot ltn( 1 Joe linJ 1hy loumiddot~ 1lltkt 1he -middotioampl
Wl11 1 l olo-u I Tl llcl-1 cro die
Whlll foolc- lnll u aor Y t fq 1 at l (oulc J ~~lfc nor
)
Wocnne ai~Gc h) diJ lllt[ b_im soc~ 1 hdc be the ~middotutccs of uilc fiym nbull
Now tbu hec o dfproucluchow uullhc cuct loucroe Nay bu t n he gCncbull
lhcn I am bullndunc Nay lnn i1l1c ~oneO hodliD
fl(c-uy hing lU ~CCVD oJcihua
vi gt VI V)
lt a
99
Figure 28
1 tn 1 I I I II
ll 1 I l middotI I I ll l l l tl I I i Imiddot i I i II I 1111 ll I l n I It i i Ill l I d l t I I I ~
f Hif tt I I ~~ I if t
1+1 ~ a j
thll
ALl V S
I Tl Ill i II L I I I II I I
II II I I rL ll1 I t I I
l i I I I I I I I
Iii 1middot I t
IHL IIIli
I I II 1 II l I II 111 I I I I I bull I I I I I
I bull I I ll 1 I I J
L t I llmiddot II ~ I ~ middott
I I ~~ ~ 1
I 1 t I 1
111
t 1middot II I bull
I tJ It I q I I
~~ I I I I
r
I z-1 __ 1 __ =t=-~-----1- - middot -~--~- ~ -f=middot -t=--~--~- middot~-- -===-middot~~-1 N~tsect t-~--_ _ c ~middot _--- __ _ ~-- c -=-b-- _ ~ ~ =-=-=--Xl =plusmn=
- b--- ~--_ __ -- -----middot-middot --middot--- - ~ ___ - ------------~-
nl rJ iiOr-T 1 -
ArCwtll fond )OUt h iflhcu hbulldR llOt bccnc blinCl aut cf Dline emiddotcbull thcu mi~tu n ll)Ut read my mintl ~~ J411
t==+=i =middot -=+-middot---poundmiddot _Emiddot -~ i=j ~ -ti~- -Qt=~ middot=i==- -tl-~- --~ - -~shy~t ~-i ~----+=middot = --~~ - -= bull ~ _ +=a~C -c + -~-=-middot ~ ------ -----~ --- --- --middot -~ - ----------laquo= ---- --~- middot-~ middot--
but now I plaincly fcc how thou wouldll fainc luuc mc(orc lPII~S Uturflnot hJ I)OCIC firtlft~re lu atcurflO hamp
-=t~-----------r+--tmiddot --1-1-l middot 1middotmiddot-r~--- -- middot middotmiddot- --- ~------ - )middot~-----~----- at-middot_t-~--1= 11_ ~tc=l=~ Ei middotmiddot-r- --tI +middotl =0Etmiddot plusmn middot i irlttmiddot ~ - ~-~ middot ~ --plusmnt-~ - - ----middotmiddot-middot---middot--- -middot- -middot _[ - ---- middot- middot---J -- - 1--l-- - -- - - - - -- -~---middot------middot--- - ----middot-- ---- middot---middot---middot+middot--- -~-r-4- -- --middotmiddot fic6cao fwect Aay ~nd I will cell thee why t~ofurc I w~~ accudl not JO goc at firfll(urc 1 wu accudl ~0 fie no f wcct
100
Figure 29
I
CANTVS
lt ll-rllt 1r1t 1 lmiddottl 1 1 - t4---6 A-A~ d~Apound~-fi------ ~ middot ---~
bullmiddot te_- ~I i~~I~- ___ --=~rmiddot --t=Z=j- = --Lt-- -- - middot--- --middotmiddot -- -----middot - - A-- middot - -- _ _~__ __ J ___ _ J_ - - --- - -----~ n a- L r amp_-4--- - -A I - -
~ - - -bull -middot_[- _ - - - - middot - -middotmiddot - - - lt- ~ Ll bull middot- -- ---_ middot- --- ---l~-middotmiddot -~ middot -~gmiddotr ~iiftmiddot- middot--~11--j~-middot _t~middot ~-- plusmn~~ - _-- -- ~- _ J middotmiddot~ - middot J J -- - J~ ~ - bull - ~ -- - ----= ----middot~ --- ------middot -------- J __ ___ --f ___ ~ -~----- -----middot bull middot- - - middot--middot- -bull- middot --- -- middotmiddotbull--- -1-- - middot- - -- I - bull bull --~-
I
bull A Mble d~middot ~fc wH ~ obin Jhlod - V(c l ~t be cbullJultl J ccc 1uc Jumj
yet r- ~r r middot~middotin hh br ltlt H lmiddotllOJ
C u iJ~~I hbulll hrlll bcruuc h middotlll to gr u rn ductelbulltl-hidkn wJltr ~kinmiddot
then lnauty doft lylo~l~ddn womcnt C )CI
Htf i lly jobJh
4
J An Our-b lr as 1his Rollin I lood
H1i l-1fc free and vnruly Yu [O fitc M~bullri~n boull d h~nood
Atul louu debt payed hu duel y Who111 cur be of Ctnc lmllaiyen could nor hold ia
Louc t~ri th obe)middottd~s mJ a winLt could wiltnc Heyiolly Roh
NoW~ w(nd wt l1olll r ilou1 Robi ro HooJ Lc~uc wuhc woodl bchsnd vt
_our fl ho n1 muU nor be w~lhfiood but ~~nr whelt u fi lld ll
1 h t Ill hclIbull11J h)WUC 1 bullud fo ltltd h( I otm( w r icentW~HJdbull 1 1ootlollnwcd r
lhr ullzllt~~J
v~
gt Vl V)
lt
Jlftl
litH ~~rm ~ middot II
I Imiddot~
I
II tt-1 )~
101
Figure 30
I
102
Figure 31
CANTVS bull III
W=tRW=~~~~==--=-------=--=--=--== 0 lollc is but 3 bhu~1-fwtetmiddott I en r r middot r r
~tP ltm~~-~t----~-
Mu1enorvpon hCI fmili ng lookcs Thinke thtr they ~re bttt baitcd hooka
Audu fncy Loudufranzy~
middot e( not J toy Then breed chtc foch annoy1
bur kaue to coke vpponfuch fond booka
)
L(Jtnt ro fotgct fu ch idle royn Finer for youtbcs md youd1full boya
L~ o~ one fwccte frnilc Thy rrue loue igtegllile ~flOibulltiownc
r c-ur uft theedowne- Jlopund jllmiddot to bed iathcf~ioy~
I
bull
103
Figure 32
BASSVS
---------middot--- ----- ------- ---- -- ---------- ---- -~ ------------- - ----------- _ ___ - ~ _____-------~~~------------ - ----- - - ---
- -- -- --~-- - ___ __
CJ
I
-70-
If other sacred music by Robert Jones exists 1 it has not
come to light The Reformation did much to improve English
Church music However the combined effects of Civil war
supremacy of Puritanism suppressed church services disbanded
choirs and the destruction of organs and libraries by the B
soldiers of the Commonwealth resulted in irretrievable loss
The hatred of the Puritans for the English Church and its music
was so strong they seemed to consider it their duty to root out 9
and destroy every office-book they could find lmiddotluch music has
also been lost because of errors and omissions on the part of
scribes the use of old manuscripts as waste paper and in the
binding of new books and in the practice of sending manuscripts 10
to continental bookbinders The fact that any sacred rausic by
Jones exists may possibly be attributed to its inclusion in two
sources meant for secular use
What happened to Robert Jones after the theatre difficulties
remains a mystery Loss of records because of fire or
carelessness only allows speculation in this area Since the
English style of string playing was in fashion in Germany France
8 ~Talker p 56
9 F~ Landon Hunphries The Evolution of Church Music (New
York J J Little and company 1896) p 94~
10 William Joseph King The English Anthem from the Early
Tu ~or Period t roug_ the Restor_fltj gn Era diss Boston University Graduate ~chool 1962 vol I and II (Ann Arbor university Microfilms International 1982) p 12
-71-
and Italy he may have returned to the continent It is equally
possible that he died in any of the plagues which forced the
theatres in London to close so often That his music still
exists to be enjoyed may be epitaph enough
104
Blank
Appendix One
Sources of the Husic of Robert Jones
BookSong
The First Booke of Songs or Ayres
The Pirst and Second Boeke of Songes and Ayres
Ultimum Vale
First Set of Madrigals (inc)
A Husicall Dreame
The Muses Garden for Delights
Hhat if I seeke for love of thee
There is a garden in her face
Doe not o doe not prize Beautie sate bathing 11 Goe to bed sweet museu Shall I locke to ease
griefe 11
11Jhat if I speed Cease troubled thoughts Scinthia queene of seas
and landn Thinkst thou Kate to
put rre down 11
nt1hen will the fountaine of my teares
F1ie flie flie from the world 1
Fy fy 11 (inc)
Date
1600
1601
1605
1607
1609
1610
1600
1605
1605 1605 1605
1605 1605 1605
1605
1605
1605
1605 1601
-105-
Source
British Igtluseum Folger Shakes~eare Library
British 111luseum Central Library
Hanchester
Royal College of Music
Private ownership Furst Alexander
British Nuseurn Royal Library
Brussels
San Marino British 1middotlus eurn Euing Library
Glasgow
San Harino
British Library Add Ms 15117
The First Book of Songes or Ayres
British Library Egerton ~s 2971
Ultimum Vale
British Library Add Ms 24665
Giles Earles his book taken from Ultimum Vale
u
II
fl
fl
n
The First and Second Boeke of Songes and Ayres
-106-
The love of change hath changed the world 11
What shall I render to the 1614 Lord bullbull
Let thy salvation be ~Y joy
Lament lament my soul cry 0 cry
n Sing j oyfull ybull
Arise my thoughts
11 Dreams and imaginations
uFie what a coyle Now what is love
no date
1601
1601
1601 1601
Folio ms in Folger Library
British Museum Royal App 63
The Tears or Lame tations o f a Sorrowful Soul
RISM attributes 4 songs to Jones
Christ Church Music Mss 56-60
Christ Church Husic ~1ss 439
The Second Book of Songes and Ayres
lt
-107-
APPE IDIX THO
Contributors to Manuscripts nu~beren 56 through 60 in Christ Church Oxford
SEC~~ number CC lmiddot1SS Voice 334 Hus 56 c 335 Mus 57 Q 336 Mus 58 Sx 337 Mus 59 Ct 338 Mus 60 T
Bassus lacking ca 1620
a alternate sources published b transcribed c Psalm 81 in two versions
Amner John~ 1579 1641 B r-1 Oxford 1613
Consider all ye passers by (b) 3349835803378633896 verse
I am for peace inc) (with different verse section) 33463356337~6 3386 verse
Bennet John flca 1600-ca 1615
Great God of Gods 0 God of Gods (a) 334 113 33595 33710133811 verse
To the almighty Trinity (ptll of 0 God of Gods)
Bull John ca 1562-16287 B H Oxford 1586
Almighty God who by the leading (ab) 334110 33592 33798338 108 verse
How joyful ana how glad (inc) a) 33448335483374833748 verse
Byrd William ca 1542-1623
Save me 0 God for thy name bull s sake (I) 33410 33510 33710 338 10 fS
Sing joyfully unto God our strength and Blow the trumpet parts I and II and Sing we merrily and Blow up the trumpet parts I and II not in this source from Christ Church (c)
-108-
Corkine William1 fl 1610
Praise the Lord 0 my soul (inc) 33441 335413374133841 f5
Cranford William fl early 17th c
My sinful soul (inc) 33413833512033616337126338136 verse
Daman (Damon) William ca 1540-1591
0 heavel]nly God (b) 33451335513375133851 f5
East Michael ca 1580-16481 B M Oxford 1606
Blow up the trumpet Sing we merrily (Pt II Take the psalm PT III Blov1 up the trumpet) (ab) 33420933520233698337196338214 verse
Take the Psalm
Ferrabosco Alfonso Sr~ 1543-1588
0 remember not our old sins (a) 33414133512333619337129338139 f6
Ford Thomas ca 1580-1648
Miserere my maker (inc) 334151v33513533631337141338151 f6
Gibbons Orlando 1583-1625 Phd Mus Oxford 1622
See the Word is incarnate (ab) 33495335773378333893 verse
Hooper Edmund ca 1553-1621
Hearken ye nations (a) 334211335204336100337198338216 verse
Jeffreys Matthew fl ca 1590 B M Oxford 1593
If the Lor~ himself (a) 33414833513033626337136338146 verse
-109-
Lord rernerr~er David (a) 334142 335124336120337130338140 f6
My love is crucified (inc) 334100335823378833898 fS
Out of the deep (a) 33414633512833624337134338144 verse
Sing we merr-il y (II) (a) 33414433512633622337132338142 verse
Jones Robert fl ca 1600 BM Oxford 1597
Sing joyfully unto the Lord (inc) 33412335123371233812 f5
Lupo Thomas fl 1593-1628 or fl 1605-c1660
For I knowledge my faults Have mercy upOii me (pt IIFor I nowledge my faults) (inc) (ab) 33418335183371833818 f5
Out of the deep (c) 33420335203372033820 pound5
Mundy John d 1630 B M Oxford 1586 Phd Mus Oxford 1624
0 give thanks unto the Lord for he is gracious (a) 33416335163371633816 fS
Mundy William ca 1529-ca 1591
0 Lord I bow the knees (a) 33490335723377833888 f5
Parsons Robert (I) d 1570
Deliver me from mine enemies (ab) 3348335833783388 f5
Peerson Martin ca 1572-1650 B M Oxford 1613
0 Lord in thee is all my trust (inc) 33488 335703377633886 verse
-110-
Philips Peter d ca 1635
Bow down thine ear unto my crying (a) Adapted from the motet Cantai mentre 334217 335210336106337202 338220 f6
Portman Richard~ d ca 1655
Rejoice in the Lord 0 ye righteous (I) (a)334226 verse
Ravenscroft Thomas ca 1590-ca 1633
0 let me hear thy loving kindness (a) 3343133531337 3133731 verse
0 woeful ruins (a) pt II and pt III Those sacred walls and 0 how these graceful piles not in 334-338 33440335403374033840 f5
Simmes William fl ca 1600
Awake (Away (a)) fond thoughts 33415733514233638337148338158 verse 6
Rise 0 my soul (pt II and pt III And thou my soul To theee o Jesu) (a) 3342833528 3372833828 verse And thou my soul To thee o Jesu
Stubbs Simon fl ca 1600
Father of love (a) 3348633568 33774 33884 f5
Tye Christopher ca 1500-ca 1573 Phd Mus Oxford from Cambridge 1545
Christ is risen Christ is rising again (pt II Christ is risen) (inc) 334225335218336114337212338230 f6
I lift my heart to thee (ab) 33492335743378033890 f5
-111-
Ward John fl early 17th c
Down caittiff wretch (a) (pt II Prayer is an enciless chain) 33424 amp 2633524 amp 2633724 amp 2633824 amp 26 verse
How long wilt thou forget me (a) 33422335223372233822 f5
Let God arise (a) 33411633598337104338114 verse
Praise the LordO my soul a Lord my God (a) 334219335212336108337206338224 verse
This is a joyful day (a) 33413333552336523375233852 verse
~~larwick (Warrick Warrocke) Thomas d 1660
0 God of my salvation (a 3349 335933793389 pound5
Weelkes Thornas1 -1623 B M Oxford 1602
Alleluia I heard a voice (ab) 33414335143371433814 pound5
Gloria in excelsis Deo Sing my soul to God (ab) 33415533514033636 337142338156 pound6
Hosanna to the Son of David (ab) 334214335207336103337201338219 f6
Lord to thee I make my moan (ab) 3341023358433790338100 pound5
0 Johnathan woe is me (ab) 334151v33513433630337140v338150 f6
0 my son Absolom (I) (ab) When David heard that Absolom (ab) (~t II 0 my son Absalor1) 33415033513233628337138338148 pound6
-112-
Wilkinson William Thomas
Hear my prayer 0 Lord and with thine ears (a) 3341043358633793338103 verse
Preserve me o Lord (a) 33443354 33743384 verse
Put me not to rebuke (a) 3341063358833794338107 verse
Compiled from
Nan Cooke Carpenter Music in the Medieval and Renaissance Universities
Ralph T Daniel and Peter Le Huray compilers The Source of English Church Music 1549-1660 part I and II
C F Abdy Williams A Short Historical Account of the Degrees in Music at Oxford and Cambridge
-113-
Appendix Three
Graduates of Oxford
Doctors
Robert Fairfax John Gwyneth John Merbecke John Shepeard Robert Stevenson Orlando Gibbons Nathaniel Giles John Hunday Christopher Tye John Bull
Date
1511 1531 1550 1594 1596 1622 1622 1624 1548 1592
Tye and Bull were incorporated as Doctors of Music from Cambridge
Bachelors
tathaniel Giles John Bull John t-1unday Thomas Morley John Dowland Giles Farnaby Edward Gibbons George Waterhouse Arthur Cocke Francis Pilkington Robert Jones Thomas leelkes Thomas Tomkins Richard Deering
1585 15B6 1586 1588 1588 1596 1592 1592 1593 1595 1597 1602 1607 1612
Author
Robert Grossteste
Robert Kilwardly
Roger Bacon
Bartholomaeus Anglicus
Walter Odington
Simon Tunstede
John Hanboys
John Hothby
William Bathe
John Case (attr)
William Barley
Thomas Morley
-114-
Ap~endix Four
Oxford Treatises
Date Title
ca 1175-1253 De artibus liberalibus
d 127 9
ca
ca
ca
1351
ca
1584
1600
1586 1588
1596
1597
1214
1230
1330
1450
94
De ortu et divisione philosophiae
Opus majus and opus tertium
De probrietatibus rerum
De speculatione musice
Quatuor principalia musicae
Surnma super musicam continuam et discretam
Regulae super proportionem De cantu figurate Regulae super contrapuncturn Caliopea legale
A Briefe Introduction to the True Arte of Music
A Briefe Introduction to the Skill of Song
The Praise of Musicke Apoligia musices tam vocalis quam instrumentalis et mixtae
The Pathway
A Plaine and Easie Introduction to fvlusicke
-115-
Appendix Five
Baccalaureus in musica solvet
Imprimis pro cumulatione presentatis Pro comrnuniis Pro scriba universitatis Pro circuita Pro camera Pro curnulatione sex annorum Pro anno instante Pro horolog-io Pro deric[t]o universitatis Pro inferiore bedello artiurn
Si beneficiatus vel patrimoniatus fuerit solvet pro vino
Si non praebat convivia solvet betiellis facultatis suae pro prandio
vj s
i j s
xiij s
vij s
viij d vj d
xij d xij d
iiij d
xij d ij d ij d vj d
iiij d
iiij d
ix d
116
Appendix Six
Words set by Jones for Leighton
Let thy salvation be my joy
Let thy salvation be my joy Confirm me with the spirit of grace Let sadness not my soul annoy For pensive thoughts too much take place 0 let my comfort still reside In Christ who for my sin hath died
In setting the third line Jones uses sixteenth notes on the word spirit 11 to compensate for the extra syllable
What shall I render to the Lord
What shall I render to the Lord For all his blessings poured on me My heart and soul with one accord Shall laud and praise thy majesty All praises do from thee desend Blest be thy name world without end
Lament my soul cry cry o cry
Lament my soul cry cry o cry Swe et Jesus pity pity me Help help help help for sin I die Sweet Christ come ease my misery
BIBLIOGRAPHY
Primary Sources
The Bible That is the Holy Scriptures contained in the Old and Newe Testament London Deputies of Chrlstopher Barker Printer to the Queenes most excellent Maiestie 1596
Book o f Common Prayer and Administration o f the Sacraments and Other Rites and Ceremonies of the Churchof England WiSh the Psalter or Psalms of David Printed by Thomas and John Buch Printers to University of Canbridge 1629
Fellowes Edmund H ed The English Madrigalists val 35A Revised edition edited by Thurston Dart London Stainer and Bell 1960 The First Set of Mad_ri a_l s 1607 by Robert Jones
The English Madri al School val 32 London-stainer and Bell 1923 The Triumphs of Oriana to 5 and 6 voices Compose - y D1vers several Authors published by Thomas Mor ley 1601
Jergens Elise Bickford English Song 1 600-1 67 5 Part I British Library Manuscri ts London
Pu middot- 1sh1ng Inc 1986
Leighton Sir William Th e Teares or Lamentaciones o f a Sor rowful Soule London W2 1arn Stansby 1614
The Teares or Lamentations of a ----Sorrowful Soul Transcr1bed and edited by Cecil Hill Vol ll Early English Church Music London Stainer and Bell 1970
Morley Thomas A Plaine and Easie Introdction to Practical Music Edited by R Alec Harmon New York WW Norton and Co 1952
Smith John Stafford Musica Antigua London Preston 1812
Sternfie1d FW gen ed English Lute Songs 1597-1632 A Co l lect~on o Fac s imiDelRepr ints
ress t Vol 7 edited by David Greer The First Boeke of Songes or Ayres 1600 by Robert Jones The Second Booke of Songs and Ayres 1601 by Rober ones t1mum Vale 1605 by Robert Jones A Musicall Dreame 1609 by Robert Jones The Muses Gardln for Delights 1610 by Robert Jones
-118-
Books and Articles
Abraham Gerald ed New Oxford History of Nusic vol IV uThe Age of Humanism 1540-1630 11 London Oxford UP 1968 3rd impression 1974
Adams Joseph Quincy 11 A New Song by Robert Jones bullbull Modern Language Quarterly I (March 1940) 45-48
Adler Kurt The Art of Accompanying and Coaching Minshyneapolis The University of Minnesota Press 1965
ArkmiddotJright GE P Catalogue of Music in the Library of Christ Church Oxford London Oxford UP 1915 ed 1971
Bateson fW ed The Cambridge Bibliography of English Litshyerature 4 vols Cambridge University Press 1969
Bentley Gerald Eades The Jacobean and Caroline Stage Dramat~c Companies and Players 5 vols Oxford Clarendon Press 1941 reprinted 1949 bull
The Profession of Player in Shakespearebulls Time 1590-1642 Princeton Princeton UP 1984
Blom Eric ed Groves Dictionary of Music and Musicians vol IV New York St Martins Press Inc 5th ed 19B4
Boyd rbulllorrison Comegys Elizabethan Music and Musical Criticism 2nd ed Westport Greenwood Press Publishers 1962 reprinted 1975
Brown David nJones Robert in The New Grove Dictionary of llusic and Husicians vol 9 p 703 Edited by Stanley Sadie 1980
Carpenter Nan Cooke Music in the Medieval and Renaissance Universities Norman Okla University of Oklaho~a Press 1958 reprint eo New York Da Capo Press 1972
Chambers E K The Elizabethan Stage Vol I-IV Oxford Clarendon Press 1923 ed 1961
Crewsdon Henry Alastair Ferguson TD MA comp The Worshipful Company of ~t-lusicians Loncion Constable and Co Ltd 1950 new ed London Charles Knight and Company Ltd 1971
Cutts John P 11 Everie Woman in her Humor Renaissance Nevs 18 (Autunm 1965) 209-213
-119-
Daniel Ralph T and LeHuray Peter compilers The Sources of English Church Music 1549-1660 Part I and II London Starier and Bell 1972
Dart Thurston t-1A The Interpretation of Music 4th ed London Hutchinson University Library 1960
Dodd Gordon 11 A Summary of Nusic for Viols Early flusic 6 (April 1970) 262-267
Doran T s A Dr Annals of the English Stage from Thomas Better ton to Edmund Keen Vol 1 New York bullJ J ~1 iadle ton Publishers 1865 republished St Clair Shores Mich Scholarly Press no date
Doughtie Edward ed Lyrics from English Airs 1596-1622 Cambridge Harvard University Press 1970
Einstein Alfred Essays on Music London Faber and Faber 1956 rev eng ed 1958
Feldman Martha 11 In Defense of Campion A New Look at His Aryres and Observations The Journal of Musicology v
(Spring 1987) 226
Fellowes Edmund Horace CH Mvo MA Mus D English Cathedral l~sic Edited by J A Westrup Westport Greenwood Press Publishers 1981
_________ The English Madrigal Composers 2nd edition London Oxford University Press 1921 1948 reprinted 1967
bull The Text of the Song Books of Robert Jones Music --------middot and Letters VIII (Jan 1927) 25-37
__________ Tudor Church Music Appendix ~lus D New York Brouclex Brothers reprint 1963
Greenberg Noah music ed Auoen ~middotlH and Kallman Chester text ed An Anthology of Elizabethan Lute Songs Mad rigals an Rounds Pew York ~middot1 w Norton amp Co Inc 19 55
Greer David What if a Daybull - an Examination of the Words and r~usicbullt husic and Letters 43 (Oct 1962) 304-319
Gutmann Veronika Instrument oder Diminutionspraxis 11 Archiv fuer Husikrvissenschaft 35 (1978) 187-190
Heseltine Philip and Warlock Peter The English Ayre London Oxford University Press 1926 reprinted Westport The Greenwood Press 1970
-120-
Hesel tine Philip 11 Robert Jones and His Prefaces The rmiddotusical T ime s bull ( Feb -t-1a r 19 2 3 ) 9 9 -1 0 0 16 8 -17 1 bull
Humphreys Rev F Landon ~lus Doc STD The Evolution of Church Music New York J J Little and Co 1896
Jeffrey Brian ed Elizabethan Popular Music for the Lute London Oxford UP 1966
King William Joseph The Englsh Anthem from the Early Tudor Period through the Restora t ion Era PhD dissertation Boston University 1 962 Ann Arbor Mich University Microfilms I~ternational 1982
La Fontaine Henry Cart The Kings Musick New York Oa Capo Press 1973
Lewis c s English Literature in the 16th Century excluding Drama 11 in Oxford History of English Literature p 266 Edited by F P Wilson and B Dobree Oxford Clarendon Press 1954 reprinted 1962
r1ason Dorothy E Husic in Elizabethan England Washington Folger Shakespeare Library booklet 1958
rtaynard Winifred Elizabethan Lyric Poetry and its Music Oxford Clarendon Press 1986
McGrady Richard J The English Solo Song from William Byrd to Henry Lawes 11 PhD dissertation University of Manchester 1963 This dissertation arrived to late to notate McGradys theories on Italian Monady and Jones
Meyer Ernst H Early English Chamber ~iusic ed Diane Poulton London Lawrence and Wishart Ltd 1946 Boston Marion Boyars Inc 1982
Mies Otto Heinrich PrussJan Castle
Elizabethan t1usic Prints in an East rrusica Disciplina III (1949) 171-172
Naylor Edward Noodall Shakespeare and Husic rev ed New York De Capo Press 1931 lew York Benjamin Dlom Inc 1969
Pagallelli Serpoundio Jusical Instruments from the Renaissance to the 19th Century trans Anthony Rhodes Milan Fratelli Fabbrl Editori 1966 7 London Hamlyn Publishing Group 197 0
Pattison K An Analysis of the Ayres of Robert Jones MFA thesis University of Georgia 1965 (Request for this thesis has been submitted through the inter-library loan service but has not arrived)
Phillipps G A Charles 1 11
-121-
11 Crown r1us ical Patronage from Elizabeth to Music and Letters 58 (Jan 1977) 29-42
Phillips Peter 11 Performance Practice in 16th Century English Choral Music~ Early Music 6 (april 1978) 195-199
Prior Roger Jewish Musicians at the Tudor Court The ~~sical Quarterly LXIX (Spring 1983) 253-265
Poulton Diane Graces of play in Renaissance Lute Music 11
Early Music (april 1975) 107-109
Reese Gustave Music in the Renaissance revised ed New York W w Norton and Co Inc 1959
RIS~t Einzeldrucke vor 1800 Karlheinz Schlogervolume III Basel Barenreiter Kassel 1974
RISM Recueil s Imprimis XVIe-XVIIe siecles l-1unchen G -Henle Verlag 1972
Robertson Dora H Sarum Close London Jonathan Capt 1938 Bath Firciurt Publishing Limited 1969
Seng Peter J The vocal songs in the Plays of Shakespeare a Critical History Cambridge Harvard UP 1967
Shakespeare William William Shakespeare The Complete Works Edited by Alfred Harbage Baltimore Pen~middotuin Books rev ed 1969
Smith Irwin Shakespeares Dlackfriars Playhouse Its History and Its Des~gn New York New York University Press 1964
Spink Ian English Song Dowland to Purcell New York Charles Scribnerbulls Sons 1974
Sternfeld F w Music in Shakespearean Tragedy London Routledge and Kegan Paul 1963 rev ed 1967
Stevens Denis Tudor Church t-1us ic Nev York Merlin Press 1955 bull
A History of Song New York W W Norton and Co Inc 1960~ First American Edition 1961
Stevens John Music and Poetry in the Early Tudor Court reprint ed Cambridge Cambridge University Press 1979
Traficante Frank Anthony 11 The Mansell Lyra Viol Tablature parts I and II PhD dissertation University of Pennsylvania 1965
-122-
Walker Earnest A History of Music in England New York Da Capo Press 1978
Wells Robin Headlam John Dowland and Elizabethan Melancholy Early Music 13 (Nov 1985) 514-528
Wickham Glynne Early English Stages 1300 to 1660 2 vols London Routledge and Kegan Paul New York Columbia UP 1972
Williams C F Abcty A short Historical Account of the Degrees in 1usic at Oxford and Cambridge Lonaon lovello Eivers and Co 189 3
Woodfill Walter L Musicians in English Society from Elizabeth to Charles I New York Da Capo Press 1969
THE LIFE AND WORKS OF ROBERT JONES
by
Cathryn J Gaherty
A thesis
Presented to the Faculty
of the Department of Music
of Christopher Newport College
In partial fulfillment
of the Requirements for the Degree
Bachelor of Music
May 1988
Approved by
CtU w 15()(BKr----~ Dir ect or-VClyde W Brockett PhD
R Hines Ph 0
TABLE OF CONTENTS
ACKNOWLEDGMENTS
LIST OF ILLUSTRATIONS bull
LIST OF APPENDICES
I IDENTIFYING THE MAN
II EDUCATION AND SOCIETY
III ~vAITS MASQUES AND THE THEATRE bull
VI THE SECULAR MUSIC
V THE SACRED MUSIC
I LLUSrrRATIONS bull
APPENDICES
BIBLIOGRAPHY
iii
ll
iii
iv
l
11
21
29
39
72
105
117
ACKNOWLEDGMENTS
This paper cou l d never have been a t tempted without the
faith and assistance of many wonderful p eop l e I sincerely
pray that the results will repay your belief in me
Many thanks to Mr Richard Austin cura tor of St
Luke~s Shr ine i n Smithf i e ld Virginia It was through his
kindne ss that I was a b le to use the Bible of 1615 Mr
Richard Johnson of the New York Public Library Performing
Arts Research Cent er at Lincoln Center was of great
assistance to both my husband and myself I t is because of
the senerousity of Mr HJR Wing of Christ Church Oxford
that I am able to include the Oxford Anthem Mr Arthur
Searle Assistant Keeper The British Library was kind
enough to s e nd sources for the works of Rober t Jone s
I am especial ly thankf ul to and for t he librarians of
Christopher Newport College Mary Daniels Cathy Doyle
Maureen Humphries Trish Kearns Carol Lockwood( and Betty
Smith Their incredible support proves t here i s no place
like home
The following people can never be thanked enough Pat
Silvis for still being my friend Anne Catherine Braxton
for the most awful puns to make me laugh Dr B for his
guidance and support which stretched beyond belief Dr Bill
Stoney for supporting my dreams Dam who wil l get her mom
back soon Jimmy and most of al l my husband Steve the
ma n who killed chauvinism resurrected chivalry and who
loves me so much that he can l et me indulge my passion for
iv
an obscure Elizabethan Composer
I also wish to thank those faculty members who have
consented to read this paper Dr Elizabeth Jones Dr James
Hines and Dr Clyde Brockett May you enjoy Robert Jones
v
LIST OF ILLUSTRATIONS
Figures 1-4 The First Booke of Songes or Ayres bullbull 72 Title page Dedication Preface Table of Contents
Figures S-8 The Second Boeke of Songes or Ayres 76 Title page Dedication Preface Table of Cpontents
Figures 9-12 Ultimum Vale bull 80 Title page Dedication Preface Table of Contents
Figures 13-16 A Musicall Dreame bull 84 Title page Dedication Preface Table of Contents
Figures 17-20 The Muses Gardin for Delights 88 Title page Dedication Preface Table of Contents
Figure 21 92
Figure 22 11 Farewell dear love 94
Figure 23 Transcription from Musica Antigua 96
Figure 24 Farewell fond youth 98
Figure 25 11 In Sherwood liude stout Robin Hood 100
Figure 2 6 11 Goe to bed sweete muze 102
vi
LIST OF APPENDICES
Appendix One Sources of the Music of Robert Jones
Appendix Two Contributors to Manuscripts numbered 56 through 60 in Christ Church Oxford
Appendix Three Graduates of Oxford
Appendix Four Oxford Treatises
Appendix Five bull bull bull Baccalaureus in musica solvet
Appendix Six Word set by Jones for Leighton
vii
105
107
113
114
115
116
CHAPTER I
IDENTIFYING THE HAN
Robert Jones who flourished between 1597 and 1615 is
one of the lesser known Elizabethan composers He has been
claimed not without causing confusion to have taken to
himself a number of QUSical assignments One author asserts 1
that Jones was a composer for virginals Another calls 2
him a composer for viols He is referred to by one historian
as a prominent lutenist to be numbered with Dowland 3
Campion and Byrd He has been called song writer and
1 Kurt Adler The Art of Accompanying and Coaching
(Minneapolis The University of Minnesota Press 1965) p 12
2 Gordon Dodd A Summary of Music for Viols Early
Husic 6 2 (April 1978) 263
3 Elise Bickford Jergens ed British Library
Manuscripts Part I English Song 1600-1675 (New Yorkmiddot Garland Publishing Inc 1986) p 11
-1-
-2-
theatrical manager both controversialist and genial person
Yet some authors such as Edmund H Fellowes in English
Cathedral Music consider his accomplistooents in some areas 5
too meagre to merit mention
In extant records for the period from 1520 to 1620
there are numerous references to R Jones Richard Jones and
Robert Jones There are also references to a w Jones and
an s Jones in the same Stationers Register that lists an R 6
Jones seven times Another Jonest Luke is a
4
contributor of one of the poems in William Leighton bull s Literary
Introduction and Laudatory verses to Teares or Lamentaciones 7
of a Sorrowful Soule from approximately the same period
It is possible to reduce the Richard and Robert Jones
references to four people that is two Robert Joneses and
two Richard Joneses It is also within the realm of
possibility that these rnen were related Their paths
4 Philip Heseltine Robert Jones and His Prefaces The
Musical Times (February and March 1923) 99 171
5 Edmund H Fellowes English Cathedral Music from Edward
VI to Edward VII rev ed Edited by JA Westrup (Westport Greenwood Press Publishers 1981) Fellowes discusses Leightons Teares or Lamentaciones of a Sorrowful Soule yet never discusses Jones contribution of three anthems
6 EK Chambers The Elizabethan Stage 4 vols reprint ed
(Oxford Clarendon Press 1961) vol II pp 380-389
7 Sir William Leighton Teares or Lamentaciones of a
Sorrowful Soule Transcribed and edited by Cecil Hill (Lancon Stainer and Bell 1970) p xviii
-3-
crossed often enough and in at least one instance
scholars have confused them crediting one with the work of
the other Some historians have also preferred to gloss
over the obvious inconsistencies in dates and make no
distinction at all in their references to Jones
The first Robert Jones conceivably the grandfather of
the Elizabethan composer is said to have been a chorister in
Henry VIIs Royal Household Chapel In 1512 it is
claimed that he was a member of Henry VIII s Royal Household
Chapel This Jones furthermore is listed as a meniDer of
the Gentlemen of the Chapel at the Field of the Cloth of
Gold in 1520 Three of his compositions have survived 8
although they are incomplete Thomas Morley cites Jones 9
work in A Plain and Easy Introduction to Practical Music
8 The New Grove Dictionary of Music and Musicians 1980
ed sv Jones Robert (1) The three-part song Who shall have my fair lady is in an anthology XX Songes Gustave Reese Music in the Renaissance (New York ww Norton Co 1956) p 763 discusses this book in a footnote as one of the earlies middott examples of music printing in England which was formerly considered to be a product of the press of bullbullsynken de Warde Denis Stevens Tudor Church Music (New York Merlin Press 1955) p 50 mentions this Robert Jones Mass based on the plainchant cantus firmi Spes Nostra
9 Thomas Morley A Plain and Easy Introduction to
Practical Music R Alex Harman ec (New York ww Norton and Company Inc 1952) p 321 Robert Jones is noted here as a vJelshman active ca 1485-153 5
-4-
The dates for Richard Jones span a time period of
ninety years from 1532 to 1624 Even allowing for
extraordinary good health and ideal living conditions these
dates must at the very least be for two men The first
Richard Jones is listed as the High Master of the Grammer
School for the children of St Pauls from 1532 to 1549 He
followed John Ritwise who was said to have allowed the boys
of the grammar school to perform interludes at the court of
Henry VIII There is no indication that this practice was
continued under the headmastership of Richard Jones The
lack of reliable information in this case can be attributed
to the loss of archives in the Great Fire of 1666 and the 10
confused records of the choir school and the grammar school
It is also possible that this is the R Jones who
entered three plays in the Stationers Register from 1567 to
1569 which had been performed by the Children of the Chapel 11
The headmaster then was Richard Edwardes In 1561
Edwardes received his patent as Master fron1 Queen Elizabeth 12
and this patent was entered into the records by an R Jones
10 Chambers volII pp 8-12
11 Chambers volIV p 381
12 Chambers vol II pp 33-34
-5-
The next two Joneses Richard and Robert have caused
the most confusion They were active during the same time
period and were associated with the same group the Children
of the Revels In addition both men were musicians both
were connected with a theatre troup manager named Robert
Browne and both men travelled to Germany It is a very
real possibility that these men were brothers possibly sons
of the first Richard Jones discussed It may not even be
far-fetched to suggest that all three were related to
the Robert Jones connected with the courts of Henry VII and
Henry VIII
Richard Jones was associated with the acting companies
of the Earl of Worcester in 1583 the Lord Admiral in 1589
1594-1596 and 1597-1602 and the Earl of Pembrokesbulls Hen in
1597 He was in Germany in 1592-1593 1615 1620 and 13
1622-1624 In 1623 he was a musician to the Duke of
Wolgest At this tioe he petitioned the Duke to be allowed
to return to England In 1624 Richard Jones again
petitioned the Duke this time to be taken back into service
as a musician In 1630 he is connected with John Jones a 14
dramatist
13 Chambers vol II p 324
14 Gerald Eades Bentley The Jacobean and Caroline Stage
Dramatic Companies and Players 5 vols reprint ed (Oxford Clarendon Press 1949) val I and II pp 135 485
-6-
Richard Jones entered four plays in the Stationers 15
Register between 1578 and 1594 In 1580 he was the
enterer of the song A newe northern Dittye of ye Ladye
Green Slevesu Jones was granted a license in 1584 to print
a book really a collection of ballads printed in broadsheet
form entitled Very Pleasant Sonets and Stories in Meter by
Clement Robinson Robinson was an Elizabethan poet fl 1566-16
1584 This was in response to a popular interest in signing
to the lute This Jones was not above using the name or initials
of well-known writers to enhance the sale of his verse books
At least three of these books A Smale Handful of Fragrant
Flowers (1575) Brittons Bowre of Delights (1591) and the
The Arbor of Amorous Deuises (1594 and 1597) used the initials
of Nicholas Breton much to Bretonbulls anger These books included
poems by Breton and others used without their consent Other
collections printed by Richard Jones are A Handfull of pleasant 17
delites and A gorgious Gallery
It was this Jones erstwhile actor and printer who was
granted the patent by which the Children of Whitefriars were
once QOre entitled to call themselbulles the Children of the
Queens Revels This patent dated January 4 1610 was
15 Chambers vel IV pp 382-383
16 The Cambridge Bibliography of English Literature
ed F w Bateson 5 vols (1940 Cambridge University Press 1969) p 646
17 Winifred Maynard Elizabethan Lyric Poetry and Its
Music (Oxford Clarendon Press 1986) pp 16 14 48-50
-7-
given by James I It reads in part
Know ye that wee haue appoynted and authorised Robert Daborn Phillipp Rosseter Iohn Tarbuck Richard ones and Robert Browne from tyme to tyme to provide keep and bring vpp a convenient nomber of children and them to practice and exercise in the quality of playing by the name of Children of the Revells to the Queene within the white fryers l8
It is this patent which seems to be the source for
confusing Robert Jones and Richard Jones Several
authorities claim that the Elizabethan COQposer Robert Jones
was involved with the Children of the Revels of the Queene 19
in 1610 However he is not mentioned in their
history until five years later One historian even claims
that Robert Jones is the founder and manager in 1610 of the 20
Children of the Revels to the Queen within White Fryars
18 Chambers vol II p 56 Chambers and Bentley
Jacobean Stage discuss the various associations of Richard Jones and Robert Browne in greater detail than is within the scope of this thesis
19 Edmund H Fellowes The English t-1adrigalist 2nd ed
vol 35 A (London Stainer and Bell 1960) p 4 and Heseltine Prefaces p 171 It is interesting to note that both these works were originally published in 1923 and neither lists sources Chambers also originally published in 1923 clearly states his sources for these patents the original cocuments
20 Morrison Comegys Boyd Elizabethan Music and Musical
Criticism 2nd ed (Westport Greenwood Press Publishers 1973) p 199 Boyd has all references to Robert Jones under one index heading although be discusses the work of the Tudor composer as well as that of the Elizabethan composer No source books on Elizabethan or Jacobean Theatre are included in his bibliographies
-3-
Robert Jonesbull connection with the Children of the
Revels is clearly stated in a patent granted by James I on
June 3 1615 It gave authority for the erection of a new
theatre for the continued training of the Children of the
Revels This theatre would replace the expireci lease on
another house used by Rossiter
And whereas the said Phillipp Roset~r together with Phillipp Kingman Robert Iones and Ralphe Reeve to continue the said service for the keeping and bringing vppe of the children for the solace and pleasure of our said most deere wife bullbullbull by the name of children of the Revelles to the Queene have lately taken in lease and farme divers buildings Cellars sollers chambers and yardes for the building of a Playhouse therevpon bullbullbull All which premisses are scituate and being within the Precinct of the Blacke ffryers neere Puddlewharfe in the Suburbs of London called by the name of lady Saunders house or otherwise Porters hall and now in the occupation of the said Robert Jones Nowe knowe yee that wee of our especial grace bullbullbull doe give and graunte lycense and authoritie vnto the said Phillipp Rosseter Phillipp Kingman Robert ones and Ralphe Reeve at their proper costs and char~~~ to erect build and sett vppe in and vppon the said premisses bullbullbull one conve ient Playhouse for the said ctildren of the Revelles 21
It is interesting to note that Robert Jones is mentioned
three times in this patent
This patent and its various details are confirmed in
other sources of the period The Privy Council was
21 Chambers vol II p 473
-9-
approached by the inhabitants of the Blackfriars area They
maintained that another theatre in Puddle Wharfe would be
too close to the church of St Anne and that it would
disturb the congregation during services Because of a technical
flaw the work that was begun on the building was ordered
stopped in September of the same year (1615) Plays were
performed there as late as January 1617 The last mention of 22
Robert Jones in this instance was the Kings patent
Robert Jones had other connections with the theatre
although he is not called an actor In 1602 he was in
Germany at Frankfort where he was named as a fellow of
Robert Browne Browne was something of a theatre impresario
who specialized in bringing English actors to the continent
and was also included in the patent of 1610 with Richard 23
Jones This year was the start of a three year
publishing hiatus by Robert Jones Appendix One includes
the titles and dates of Jones work An interesting fact
which may or may not be connected with Jonesbull time in
Germany is that his third book Ultimum Vale is one of eight
22 Chambers val II pp 472-473 61 val IV pp 343-345
23 Chambers val II pp 273-282 p 56
-10-
Elizabethan Music books which used to be in the library of 24
the East-Prussian Castle of Schlobitten
This Robert Jones then is the Jones who is the subject of
this paper He was active in the latter years of
Elizabethbulls reign and the early years of the reign of James I
He may or may not have been an actor but he was
associated with actors and the Chilciren of the Revells He
was stable enough to own a house and to enter into a risky
theatre venture
24 Otto Heinrich Meis Elizabethan Music Prints in an
East-Prussian Castle Musica Disciplina III (1949) 171-172
CHAPTER II
EDUCATION A~ID SOCIETY
Robert Jones is known to have graduated from Oxford
University in 1597 It is also known that he was at St Edmund s 1
Hall and was for sixteen years a student His date of death
is unknown although a valid theory has been put forward for 2
his approximate year of birth to have been 1574 This would
have made him only twenty-three when he graduated slightly
younger than n1ost of his contemporaries A comparison may be
rMde by using Appendix Two an outline of works contained in
Christ Church rlusic Mss 56-60 Composers who graduated from
Oxford University are identified as well
Music both sacred and secular was an integral part of
university life Until the Reformation it was customary to
have Masses sung for the souls of the kings and founders of
the various colleges ~ The playing of secular music and
instruments had become so distracting that it was forbidden
at bullbullunseasonable times 11 unless after meals and there was a 3
fire in the fireplace of the hall or communal erea
1 c F Abdy Williams A Short Historical Account of the
Degrees in fiusic at Oxford and Cambridge (London 1893) p75
2 Hese1tine Prefaces p 99 Heseltine combines the fact of
Jonesbull years as a student and Jonesbull admission of practicing music since he practiced speaking to estimate the date of 1574
3 Nan Cooke Carpenter Music in the Medieval and Renaissance
Universities (1958 New York Da Capo Press 1972] p 169 81
-11-
-12-
Since the singing of Masses was required by statute some
means had to be provided for the training of choristers Many
colleges maintained choir schools These younger members of
the college community actually owed their positions at Oxford
to their musical talent and duties In 1547 the Act of
Dissolution under Edward VI closed many church schools but
not the collegiate foundations in the universities the
choirs of St George and Chapel at Windsor and the cathedral 4
schools
The young choristers were taught plainsong and pricksong
and when their voices changed they were preferred for vacancies
in the universitys scholarship lists Among these colleges
were the Schola flusicae of Queens New College Corpus Christi
College Cardinal College (later Henry VIII and nm1 Christ
Church) St Johns College and Magdalen College The statutes
of Magdalen College also provided for places for thirty indigent 5
student-- iemyes) to study plainsong
In the preface addressed to the reader in his First Booke
of Songes or Ayers Jones states that ever since he practiced 6
speaking he practiced singing By his own words it is likely
4 carpenter pp 167 88 388
5 Carpenter pp 267-171
6 F w Sternfield general editor English Lute Songs 1597-
1632 a Collections of Facsimile Reprints (Manston The Scholar Press Ltd 1971) 26 Robert Jones The First Boo~e of Songes or Ayers 1600 David Greer ed
-13-
that Jones was trained in one of these choir schools anG it is
not inconveivable that he was a recipient of a scholarship to the
university of Oxford Indeed Jones was probably at school at
Oxford rather than London and may even have been one of the
demyes of Magdalen College This is especially likely in view of
the fact that Jones had no steady patronage each of his song
books was dedicated to a different person and he was not 7
connected as household musician in the same way that John Wilbe B
and John Ward were involved at Hengrave Hall and with Sir Henry
Fanshawe
The power for presing choristers into service started in
1420 and this practice continued through Elizabeth bull s reign Im-
pressment of exceptional singers men and boys from all over 9
England into service in the Royal Chapel was commonplace
7 Sir w H Hadow English Music (London Longmans Green and
Co 1931) p 65
8 John Aplin Sir Henry Fanshawe and Two Sets of Early
Seventeenth Century Part-Books at Christ Church Oxford Music and Letters 57 (January 1976) 14
9 Carpenter p 341 Foster Watson The English Grammar
Schools to 1660 Their Curriculum and Practice Cambridge University Press 1908 Encyclopedia Britannica Library Resources Inc LEL 10880) pp 155 212 217 Watson mentions several grammar schools in London which incorporated music into their programs at this time They include the Merchant Taylors School St Paul School Thames School and Christ Church Hosshypital It was necessary to know the catechism in English or Latin read perfectly and write co~petently before acceptance at these schools Hulcaster headmaster at Nerchant Taylors claimed that extra subjects like music were studied privately by gentlemens children and that nusic itself was a part of the math curriculum
-14-
It is doubtful that Robert Jones was impressed into such service
He was both eloquent and voluble in the prefaces to his song
books and would certainly have alluded to this aspect of his
life had it been part of his own experiences
The awarding of baccalaureate and doctorate degrees in
music at Oxford was a tradition dating from the early fifteenth
century Music had been established as a separate faculty the
only liberal art so distinguished In fact the English
universities were the only ones to confer degrees in music
There is no indication that a prior arts degree was required for
the Bachelor of Music as was often the case in other fields
Many of England s most talented musicians became bachelors or 10
doctors of music at Oxford Appendix Three is a partial
listing of these musicians drawn fron information in Carpenters
and ~lilliams bull studies Furthermore the University of Oxford
was after the University of Paris the inspiration for more 11
treatises on music than any other medieval university
Appendix Four is a compilation of these treatises taken from the
work by Carpenter
The dichotomy of music that is musica practica versus
musica speculativa was reflected in the requirements placed
upon the degree seeker at Oxford It was as necessary to study
polyphonic music as to study theory Music classified within the
mathematics traditions and the text of Boethius De institutione
10 Carpenter pp 159 89 336 160
11 Carventer p 82
-15-
musica was required by statute since 1431 In 1549 after
Edward VI visited Oxford the candidates for the bachelor of
music degree were to concentrate on the disciplines of the
quadrivium Sixteen terms (four years) were to be spent in
grammar rhetoric dialectic and arithmetic and 11 in musica
Boetium Admission to the bachelor of music granted the right 12
to lecture in any of the music books of Boethius
Each student at Oxford was instructed by his own tutor until
he had obtained his first degree This meant that the musical
careers of some students were actually shaped by the methods of
their tutors Attendance was required at public lectures Aside
from the usual difficulties with student participation and indif-
ference or inability of some faculty these lectures were to be
given in Latin Dr John Bull not being proficient in Latin
was granted permission to read his lectures in English in 1597
Jones of course should have attended these lectures since John
Bull was incorporated as a Doctor of Music from Cambridge in
1592
In order to obtain a degree it was necessary to compose a
Mass song or canticum bull bull bull to be performed before the university bullbullbull 14
on the day of the Cornitia 11 This was not meant to determine
eligibility for a degree rather it was meant to add to the
12 Carpenter pp 89 77 153 159
13 Carpenter pp 154-156 163-164
14 Williams p 21
-16-
solemnity of the occasion This rule specifying a piece of music
to be performed in the university churcl1 at Act time remained un-15
changed from 1516 until 1608 when a hymn only was required
However there was a dispensation from this rule A
candidate could apply for a degree pro circuitah He would
request the Vice-chancellor and proctors to summon a Congrega-
tion On the afternoon before the Congregation the student
preceded by one or both of the bedells of his faculty and accompanied by the person who was to present him in congregation bullbullbull attired in academic dress but bareheaded went round to the schools and also called on the Vice-chancellor and both proctorsl6
Tradition always was an important part of university life
Oxford in the early sixteenth century was no exception Fre-
quently these traditions became codified in statutes Gloves
were an expensive luxury and early in Oxford 1 s history it became
obligatory for the degree seeker to give a pair to the Bedells
and other officials No man could dress above his station and
students fined for wearing silk were required to wear gowns 17
with loose sleeves and square caps in public Following is a
list of graduation fees established by statute at Oxford in 1601
taken from Carpenter Appendix Five is a copy of the original
version According to the custom Jones would have had to pay
some if not all of these fees
15 Williams p 27
16 Carpenter p 165 citing Clark in Register II p 46
17 Williams p 59
-17-
TABLE ONE
Graduation fees at Oxford in 1601
The baccalaureate in music will disburse
First for the total for gifts 6 s For the service of the room For the clerk of the university For possessions For the chamber For the six year total [tuition] 2 s For services during the present year For the clock For the right of the university For the lesser porter of Arts
Total 13 s
IE he has been subsidized by the church 7 s or by patronage he will disburse for wine
If not arranged in advance [] he will pay for the table servants to the porters of his faculty for meals
The greatest expense on this list is for wine [)
a d 6 d
12 d 12 d
4 d
12 d 2 d 2 d 6 d
4 d
4 d
9 d
-18-
It is not indicated in the available sources whether Robert
Jones composed a piece for graduation or used the pro circuitubull
option However a good case can be made for the former there
is an anthem in Christ Church Imiddot1usic Mss 56-6 0 Singe joyfully
which was composed by Jones The words are from Psalm 81 and
are identical with those in an Elizabethan Bible printed in 18
1595 This is two years before Jones graduated from Oxford
Furthermore the Christ Church lbulllus ic t-lss was compiled 11 wi th
most of the material at hand gathering together works which may 19
already have existed in worn or loose copies It was planned
as a memorial to Prince Henry and most of the composers repre-
sented were court-based friends of the composer John Ward who
was in the service of Sir Henry Fanshawe These part-books were
compiled at Fanshawes request and completed by his son before 20
1620 The Oxford anthem Singe joyfully will be discussed
further in the chapter on sacred music
As can be seen music was an important and necessary
part of the education of a gentleman and it was a necessary
18 The kindness of Mr Richard Austin of St Luke bulls Shrine
Smithfield is gratefully appreciated He allowed access to the Bibles there which proved that Jones used the Elizabethan transshylation and not the King James version of Psalm 81
19 Aplin p18
20 Aplin p 14
-19-
21 accomplisr~ent of the perfect courtier Even Morley begins
his book with a description of the embarassment caused by a lack 22
of ffiUsical knrn~ledge Furthermore a degree in music was an
invaluable asset to obtaining a post in the Chapel Royal
Neither Elizabeth nor James I gave honors such as peerages or
knighthoods to musicians rather they used offices in the
Royal Household the Chapel Royal and the Kings Musick as reward 23
for services In 1605 Jones dedicated his Ultimum Vale to
Prince Henry ~hether this earned a reward for Jones is not
known However it is likely that the Mr Jones listed as a 24
Gentleman of the Kings Chappell in 1612 is Robert Jones
It is possible that this position and not great reknown earned
a place for Jones in the Fanshawe part-books
As a Gentleman of the Chappell Jones would be expected to
be quite proficient in reading music and well-versed in plainsong
and pricksong That he could COQpose apart from performing 25
would have been the highest recommendation of all It is note-
21 Carpenter p 343
22 Morley p 9-10
23 G A Philipps Crown Musical Patronage from Elizabeth I
to Charles I Music and Letters 58 (January 1977) 29
24 Henry Cart de Lafontaine The Kingbulls Musick (New York
Da Capo Press 1973) pSO
25 John Stevens Music and Poetry in the Early Tudor Court
(1961) Cambridge Caniliridge University Press 1979) p 309-317
-20-
worthy that although Jones was actively composing in the latter
years of Elizabethbulls reign he was not associated with her court
Like many others he sought patronage elsewhere as can be seen
from the dedications of his song books His appointment as a
Gentleman of the Chappell may indeed have been a result of his
having dedicated his third song book to Prince Henry elder son
of James I Jones published no work after 1610 two years before
his name appears as a Gentleman of the Chappell It is possible
that Jones again travelled to Germany with theatre impresario
Robert Browne or he may well have decided not actively to
compose as he had implied in the prefaces of his last three song
books Records in these areas are incomplete although further
connections with the theatre will be discussed in the following
chapter
CHAPTER III
WAITS V~SQUES AID THE THEATRE
The waits were orisinally watchers at the gates and were
probably descended from the watchmen and sentinels for camps 1
castles and other fortified places In fact wait is the Saxon
word for watcher Eventually they were employed by the cities to
keep watch and guard during the night and to call out the time
and weather Their main purposes were protection order and
safety within the cities To carry out these duties the waits
were furnished with musical instruments These were used to
sound alarms and call for help when needed and were probably an
early type of shawrn or a horn made of metal In 1296 a statute
was enacted in London which required the servants who closed the
gates at night to have waits at their own expense Eventually
the term wait came to mean the man the instrument and the music 2
played on the instrument
The connection between Robert Jones and tte waits only
beco~es clear when the development of the waits and their
1 Walter L Woodfill Musicians in English Society from
Elizabeth to Charles I (New York Da Capo Press 1969) p 33
2 Henry Alastair Ferguson Crewsdon camp The
1-Jorshipful Company of -iusicians ( 19 50 London Charles Knight and Co bull Ltd bull bull 1 9 7 1 ) pp bull 16 2 -16 4 bull
-21~
-22-
place in Elizabethan and Jacobean society is discussed It was
not long after the first statute concerning the waits was passed
that they came to be considered musicians They are included
called by the nanle of wayghte and other variant spellings
among the musicians of Edward III (1327-1377 and are named in
records from Henry VI through Charles I From watchmen with
musical instruments to capable musicians is a logical development
of talent and time For a watchman with musical ability there
was time to acquire skill and thus gain employment publicly or 3
privately as a musician when not on duty
Many of the principal cities in England employed waits In
London the nunilier of groups varied from six to nine and the
number of masters and apprentices in each group was strictly con-
trolled Their places were so coveted that musicians good or
bad bargainea fought or sued for any vacancies Often a place
would pass fron1 father to son Their privileges included
monetary compensations and gifts distinctive livery status in
the city as freemen in the Company of ~usicians without charge
and the right to keep two apprentices at a time Their services
publicly and privately were much in demand by the lord mayor the
sheriffs and aldermen and the playhouses They were required
to meet regularly for rehearsals and only the 11 ancientist
3 Crewsdon pp 165-167
-23-
4 that is the eloest of their society could dispose order and
direct their music
Until 1525 the wait pipe (horn) and shawm were the only
instruments used by the waits The sackbut was added in 1526
In 1561 instrumentation was expanded with the addition of
viols and recorders and cornetts were added in 1568 and 1576
respectively In 1597 the curtal a bassoon-like instrument was
added Records indicate that portable organs keyboards and
harps were hired for special occasions In some waits the lute 5
and singing were included as early as 1555 The waits
provided the music for visiting dignitaries parades and court
masques and dancing The First Book of Consort Lessons by Thomas
Morley was meant as a guide for the groups of instruments used by 6
the waits Their music consisted of traditional wait tunes
(simple airs meant originally for wait pipes and shawms played
with cold fingers) music which may have existed only in
manuscript form written expressly for use in a masque or pageant
and music apt for viols or voyces u including madrigals
Ultimum Vale of Robert Jones contains music for colibination of 7
lute voices and viols Figures 1-20 are facsimiles of tbe
4 Woodfill pp 37-44
5 Woodfill pp 34-36
6 Wood f i 11 p bull 4 5
7 Woodfill pp 44-52 Waits and their history are more
fully discussed by both Woodfill and Crewseon A very brief outline only has been possible in this paper
-24-
title pages dedications and prefaces and tables of contents of
the song bool s of Robert Jones from Greer
Ultimum Vale is probably the book included by Gordon Doad in 8
his list of music for viols This song book is also the source
for ten of eleven songs by Jones included in the Giles Earles 9
book It is this custom of performing vocal and instrumental
music only instrumentally that forms part of the basis for early
chan~er music in England It was advocated by Thomas Morley in
his book and used not only by Jones but also by Sir William 10
Leighton in Teares or Lamentaciones of a Sorrowful Soule
It is possible that this evolutionary process in performance
practices and adaptations of popular pieces for other instruments
may be the basis for the idea that Jones composed for the
virginals Certainly no music specifically for the virginals or
instruments other than lutes has been found to have been
composed by him
When playing for the masques the waits probably performed
in a room or chamber near the pageant rather than on the street
or porch where the masque was being presented Robert Jones bull
8 Dodd p 263
9 Jergens p f 13V-f22V
10 Ernst H Meyer Early Englisn Chamber ~1usic ed Diana
Poulton (1946 Boston Marion Boyers 1982) p 135 149
-25-
11 naroe is not in the lists of appointments to the London Waits
But Jones did have so~e of his music included ill masques Everie
vloman in her Humor a masque by Maclin published in 16 09
includes two songs from The First Booke of songes or Ayres The
title My mistris was not used in notes for the masque rather
lines from the song were used thus hindering our identification
of Jones as its author Figures 21 and 22 are facsimiles of this
song This same song was used in Loves Charity by Shirley in 12
1631 and The Dutch Courtesan by John Marston The latter was
presented at Blackfriars in 1603 performed by the 11 Children of 13
her Maiesties Revels Christ Church Ms 439 which contains
four songs from The Second Boeke of Songs or Ayres is said to be 14
a compilation of songs used in masques
The dates of the songs discussed indicate that Jones was a
source for music used in masques rather than a co~poser of music
for masques This is admittedly a subtle difference but it is
a critical one since Jones is not credited with supplying tPis
music in tle published sources of the time such as the plays
themselves
11 Woodfill p 48 and Appendix A
12 John P Cutts Everie ~loman in her Humor Renaissance
News 18 (Autumn 1965) 210-212
13 Chambers vol III p 431
14 Cut t s p 212 bull
-26-
Songs used in masques were declamatory in vocal style with
rare word-repetitions except towards the end of a song The
lute accompaniment tended to be chordal with an harmonically
15 statis bass The aforementioned 11Ny mistriS 11 (see Figures
21 and 22) very clearly demonstrates this principle The masque
an offshoot of the main dramatic movement was musically con-16
nected with the great nass of songs with lute accompaniment
Robert Jones was a natural choice for the masque authors His
melodies tend to be rhythmically simple and singable By his ow~
admission in the preface to his First Booke of Songes or Ayres
Jones main concern was fitting the note to the word (See Fig-
ure 3)
Shakespeare also liked to use contemporary songs in his
works for the theatre and in the music of Jones Shakespeare
found songs to express the moods of his characters Perhaps the
best known instance of this reliance upon Jones is in the comedy
Twelfth Night The song 11 Farewell dear love bullbull is number twelve
in The First Booke of songes or Ayers
15 Ian Spink English Song Dowland to Purcell (New York
Charles Scribners Sons 1974) p ~0-41
16 Ernest Walker A His tory of Music in England (rJew York
Da Capo Press) p 153
-27-
In Twelfth Night II iii Sir Toby Belch and the clown
Peste sing a version of this song that telescopes the first and 17
second verses Malvolio warns Sir Toby and Feste that
Olivia will bid farewell to Sir Toby unless he reforms It is at
this point that these two characters alternate singing lines of 18
the song This song was set in 1600 and the date of Twelfth
Night is 1601 The obvious conclusion is that Farewell dear
heart was a popular favorite and would have been recognized no
matter how much it was condensed Another testimony to its
popularity is that the tune appears as a hymn setting in a Dutch
psalter The Dutch version is Heilgierig mensch and the 19
psalter was published at Amsterdam in 1713 That Jones himself
favored this song is shown by the fact that in his fourth book
nine years later Jones sets Farewell fond youth Its meter
is identical and its melody is similar to that of 11 Farewell dear 20
heart Farewell dear heart may be seen in Figures 23-26
and bullFarewell fond youth in Figures 27-28
17 John Stafford Smith Musica Antigua (London 1812) p 10
204
18 Peter J Seng The Vocal Songs in the Plays of
Shakespeare A Critical History (Cambridgemiddot Harvard University Press 1967) p106
19 William Shakespeare The Complete Works ed Alfred
Harbage (Baltimore Penguin Books 1969) pp 316-317
20 Edward Woodall Naylor Shakespeare and Music rev ed
(New York Da Capo Press and Benjamin Blom Inc 1969) p70
-28-
Shakespeare also turned to Jones for parts of the mad songs
for Ophelia in Hamlet IV V Although it is not a proven
fact the setting of In Sherwood liude stout Robin Hood see
Figures 29-30 from A Musicall Dreame bears close resemblance to 22
the words sung by Ophelia That it probably is this song is
due more to the nature of the scene and the impropriety of the
words words which would never have been sung by a sane Ophelia
and to the popularity of Jonesbull work rather than contemporary 21
documentation Frequently Shakespeare had his
characters sing snatches of songs or refrains and further
attributions to Jones are possible but not provable without a
shred of documentation Nor in general are Elizabethan
composers who often set the same words identifiable unless the
tune had been transcribed or the composer named in the
manuscript
21 Heseltine Prefaces p 168
22 F w Sternfield Music in Shakespearean Tragedy
rev ed (London Routledge and Kegan Paul 1967) p 57-58 71
CHAPTER IV
THE SECULAR t-1USIC
The secular works of Robert Jones consist of five books of
lute songs or ayres and one book of madrigals One or two copies
of each song book have all survived in excellent condition with
minor problems such as missing title pages The madrigals 1
however exist only in an incomplete state Possibly this is
due to the difference in publishing techniques of the two types
of song The song books include all voice parts printed on
opposite pages in such a way that tt-e performers can stand around
a table and use the same book The madrigals on the other hand
were printed in separate part books with the result that the
loss of one part book took away from the whole
Lute songs increased in popularity and availability
when the printer Peter Short acquired a font of lute tablature
This acquisition in 1597 greatly facilitated the publishing of 2
lute music William Barley had published a book The New
1 Fellowes Madrigalists p iv In the preface
Dr Fellowes describes in depth the location of various part bookst and which madrigals are complete because they were found in alternate sources
2 Spink p 15
-29-
-30-
Book of Tabliture in 1596 which contained the first solo song
with lute accompaniment published in England In the four years
between the publication of this book and the First Boeke of Songs
or Ayres by Robert Jones in 1600 books by Dowland Morley 3
Cavendish and Farnaby in this style were printed Peter
Short by the essence of Thomas Morley was the printer of the
first two song books of Jones and the first book of Dowland It
may thus only have been for practical reasons that the title
pages are virtually the same
Lute and vocal music were easily printed For the lute
tablature letters not notes were placed on a six line staff
Vocal music used about a dozen signs for clefs tempos and
accidentals and thirty individual signs for notes apportioned on
a staff of five lines each with a note on one of the lines or 4
spaces Obviously it is this setting of each individual note
with its staff which gives the music its slightly wavy
appearance
Each of Jones five song books includes twenty-one songs
although contemporaneous song books usually vary in the number of
songs Whether this really has any special significance for
Jones is impossible to know For all his loquacity he did not
3 Phillip Hes~ltine The English Ayre (1926 Westport The
Greenwood Press Publishers 1970) p 138
4 Boyd p 178 Keyboard music was not published until 1611
and tben it was engraved This was because of the difficulty of dividing the staff to print cords of two or more notes
-31-
refer to this in his prefaces All five prefaces are illustrated
as follows The First Booke of songes or Ayresw Figures 1-4
The Second Boeke of Songes or Ayres Figures 5-B Ultimun
Vale Figures 9-12 A Musicale Dreame Figures 13-16 and
A Musebulls Gardin for Delights Figures 17-20 However that it
was important to him could explain why he chose to include two
Italian songs in A Husicall Dreame They are for solo voice with
lute or bass viol accompaniment (or both) and come at the end of
a book of songs for three and four voices
The idea of performing vocal music instrumentally has
already been discussed with the performance practices of the
waits Another common practice of lute playing was to use
alternate tunings of the lute The more usual tuning is gd A 5
F C G Plternate tunings included the sixth or bass string
tunec to F not G or the tunings called the 11 leero fashion 6
These were d a f a F c This method was used by Jones in 7
The Second Book of Songs and A~res published in 1601 The
words 11 Set out to the Lute the base Viall the playne way or the
5 Edmund H Fellowes The English t-ladrigal Composers 2nd ed
(1921 London Oxford University Press 1967) pp 304-5
6 Veronika Gutmann Instrument oder Dininutionspraxis
Archiv fuer Husicwissenschaft 35 (November 1978) 189
7 Frank Anthony Traficante The Hansell Lyra Viol Tablature
Parts I and II diss University of Philadelphia 1965 pp 188-189
-32-
Base by tableture after the leero [lyra] fashion appear on the 8
title page There often was a seventh string added below the
bass string tunec to D To avoid confusion this note was not
annotated on the staff instead ledger lines were added to 9
indicate its implementation This may not have been a popular
practice Jones used it sparingly in Ultimum Vale his third
book However all songs but one in A Musical Dreame call for
the extra string That Jones was criticized for use of this
extra string in Ult1rnuro Vale can be inferred from the preface to
A Musicall Dreame This preface is not addressed to the reader
but rather to all Musicall Murmurers
Understand me thou vnskilfull descanter deriue from that Note of Plaine Song charitable numbers and thou shalt find harsh voices are often a Note aboue Ela reduced by truer iudgement which I bereaue thee of nowing thy Rules are as our new come Lutes being of many strings not easily used vnlesse in aduenture till practice put forward into deseruing Diuision
From this preface it appears that Jones was something of an
innovator often embracing ideas before their full acceptance
Jones also may have ornamented or used graces in his work
However we cannot know this because the art of ornamentation was
a live tradition passed from one player to another The second
reason is that printers of the time did not have the necessary
8 The title page of this book is misleading The correct
title appears to be The First and Second Boeke of Songs and Ayres It is usually referred to as The Second Boeke of Songs and Ayres See Figure 5
9 Fellowes Madrigal Composers p 304-305
-33-
10 signs for ornaments or graces in lute playing
The following chart of lute tablature is adapted from
Fellowes The strongs are labeled treble small mean great
mean countertenor tenor and bass All but the treble string 11
were doubled
Treble ( g I ) a b c d e f g h Small r-Iean (d ) a b c d e f g h Great Mean (A) a b c d e f g h Counter-tenor (F) a b c d e f g h Tenor (C) a b c d e f g h Bass (G) a b c d e f g h
The fingerboard of the lute has ivory frets When stopped
each fret raises the tone of a strong by a half step The small
letters bullbullabullbull bullbullbbullbull 11 C 11 and so forth indicate behind which fret the
fingers are placed to produce the desired tones The letter a
indicates an open string that is one which is not fretted or
stopped b shows to stop the string behind the first fret It
raises the string by a sernitone Each letter represents the
next semitone to be produced on a string
These signs irdicate the duration of the note 1 ~ ~ f ~ ~) and stand for semibreve minim crotchet quaver and semi-
quaver respectively The last sign used gives the duration of
10 Diana Poulton Graces of Playing Renaissance Lute Music
Early Music (April 1975) 108
11 Fellowes Madrigal Composers pp 304-305
-34-
following beats Dots of augmentation with their accepted mean-
ing are used when needed Barring follows the rhythm of the 12
music or the words and is not always indicated It must be
remembered that Jones did not always use this tuning for the lute
rather he indicated it by specific performing instructions on his
title pages
Lute songs have roots in the freemens songs Freemen bulls
could be a corruption of the Anglo-Saxon work 11 freibull meaning 13 14
fesitval or of the term three mens songs In either case
they were lively cheerful songs with the tune in the uppermost
voice the tenor They were the basis for the simple part songs
which were so popular in mid-sixteenth century England These
songs then evolved into the Elizabethan consort songs and finally 15
the lute songs
Lute songs ordinarily were published with only a word or two
of the first line printed in beneath the score The singer
12 Fellowes Madrigal Composers p 306
13 Smith p 10
14 Walker p 45 The book published by Wynken de Warde in
the early sixteenth century which contains the work of the first Robert Jones also includes freemenbulls songs~
15 Spink p 16
-35-
16 either knew the rest of the words by heart or vocalized 11
Jones however is one of the few composers whose words are
carefully and consistently placed beneath the notes in his song
books This note-to-the-word placing allowed him more control of 17
the rhythm in strophic settings of different stanzas of poetry
The lyrics of English lute songs and ayres consisted mostly
of typically short verses The sources for many of the lute
songs and ayres were the ~any Miscellanies published during
Elizabethbulls reign ~ong these The Phoenix llest and Englands
Helicon were the most popular However the collections of
Richard Jones were also used by some composers Richard Jones bull
not properly detailing the authorship of the poems in his
collections is the primary source of confusion in identifying the
authors of the poems set by composers Another problem in the
use of MiscellanieE is the resultant multiple settings of 18
favorite poetry Robert Jones set many poems of Francis
Davison Sir Philip Sidney and Thomas Campion What initially 19
may appear to be plagiarism is really an accepted practice
16 W a 1 ke r p bull 4 6 bull
17 Winifred Maynard Elizabethan Lyric Poetry in Its Music
(Oxford Clarendon Press 1986) p 71
18 Maynard pp 54-55
19 Heseltine pp 130-131
-36-
The main differences between lute songs and ayres tended to
be those of length and rhythm Ayres generally had simpler
settings were more strophic and shorter and usually were better 20
sung as a solo song with lute acconpanirnent The ayre is
normally considered a short lute song with the accompaniment
providing the clue to the difference~ Performances could vary
according to the abilities of the performers and the instru-
mentation they used Frequently this lead to harmonic 21
discrepancies in the vocal and instrumental part-settings
This perhaps is the basis for one claim which has been made
that Jones did not write these parts for what are really solo 22
songs in his last two books
The English Madrigal developed as a result of the
publication in 1588 by Nicholas Yonge of a collection of works
by Italian and Italianized Netherlands composers This book
Musica Transalpina contained fifty-five of the best Italian
madrigals translated into English and proved to be very po~ular
20 Maynard p 55
21 Walker pp 80-81
22 Edmund H Fellowes The text of the song books of Robert
Jones Music and Letters 8 (January 1927) 25-37
-37-
In 1598 ~iichael Cavendish wrote a madrigal with the nLong live
fair Oriana refrain This may have been based on a madrigal
published in Il Trionfo di Dori It was this refrain which may
have been the impetus for The Triumphs of Oriana published by
Thomas Harley in 1601 The Triumphs of Oriana contains twenty-
five madrigals by nearly all the most distinguished English 23
composers of the time 11 Robert Jones contributed Fair Oriana
seerring to wink at folly 11 to this collection
The First Set of Madrigals was published by Jones in 1607
Its being called the First Set is no proof that Jones intended to
publish more sets Rather this avpears to be a publishing
convention of the time Where this set is unique is its
containing madrigals of 3 4 5 6 7 and 8 parts tvhereas
most madrigal sets were in groups of one or two different numbers
of voices this book has six different voice groupings These
combinations alone would give rise to the idea that although
Jones experimented with the madrigal form he either was not
comfortable with it or was not proficient enough with it for
his own standards On the title page~ Jones claims that the
collection is for Viols and Voices or for voices alone~ or as
you please 11 Several of the texts included in this transcribed
edition are poews by Francis Davison and two are by Campion
23 Walker p 78
-38-
The English madrigal was something of a compromise in form
It combined the contrapuntal secular music of the Italian style 24
and the harmonies of such songs as the frottola It typically
was a single stanza of seven to eleven lines in length A line
maybe made up of seven or eleven syllables with short and long
lines in any order The rhymes were mostly feminine and in
random order For this the Italian verse setting was standard 25
but short verse ottara rima or sestina were also used
Perhaps the one concept about the secular work of Robert
Jones that should not be overlooked is that he intended his music
for pleasure He had no rigid rules about performance practices
and he was willing to experiment with new techniques He was not
tied to rules of harmony and counterpoint and he seems to have
been partial to the sounds of open fifths and false relations
He was clever and innovative in his use of rhythm and rests
formed an integral part of his control of rhythm It was an
unhappy man who composed the song Goe to bed sweet muze This
was in Ultimum Vale the book that Jones intended to be his last
He seems to be saying goodbye to his love of music and composi-
tion rather than to an unfaithful lover That music in his muse
can be found in his explanations for publishing again in the
prefaces to A Musical Dreame and A Muses Gardin for Delights
24 Walker p 77
25 Maynard p 55
CHAPTER V
THE SACRED NUSIC
In a fashion typical of the Elizabethan era one music
publication could contain ayres madrigals or religious motets
The Teares or Lamentaciones of a Sorrowfull Soule by 1
Sir William Leighton is one such book It contains eighteen
consort songs twelve songs for four voices and ten songs for
five voices The contributors of songs for this book include
Byrd Milton Bull Ferrabosco Jones Peerson Thopul
Coperario Dowland Ford Gibbons Giles Hooper Johnson
Kindersley Lupo Pilkington Ward Weelkes and vlilbye As can
be seen Jones is numbered among the finest composers of the era
Sir William Leighton was born into an influential family
He had social economic and educational advantages However
because of carelessness and misfortune in his finances he was
imprisoned In 1613 Leighton published a book of his own
poetry The Teares or Lamentaciones of a Sorrowfull Soule This
was followed the next year by a book with the same title cf
musical settings of these poems composed by himself and twenty
composers The purpose of these books was to show Leightons
1 Walker p 81 The consort in this case refers to the
accompaniment of the cantus voice with the treble viol and lute tablature The altus was accompanied by the flute and had tablature for cittern The tenor voice included tablature for the bandora and the bassus was paired with bass viol tablature This was in reality the broken consort
-39-
-40-
repentance But the laudatory verses composed by his friends
and included in the introduction of the book seem to negate
this These poems use word-plays and puns on Leightons name and
deal with his unjust imprisonment
The works in this book are on sacred themes and could be
considered appropriate for use in church However that Leighton
intended for then1 to be domestic fare is seen in the style of
printing used that is on a double folio in the same form as
that used for lute songs and in the performance practices he 2
recommended
Jones set three poems for this work The first two anthems
are included in the poems published as The Teares or
Lamentaciones of a Sorrowful Soule The third piece by Jones is 3
set to words not included in the 1613 edition and the poetry
differs in form from that of the others The words of the first
two anthems consist of six eight syllable lines rhyming ABABCC
The third anthem is a simple quatrain with an ABAB rhyme scheme
The first two anthems closely resemble the favorite form set from
The Phoenix Nest the difference being that the lines in the
2 Leighton p x
3 Leighton p xxv
-41-
4 miscellany are ten syllables long The poetry from these
anthems is included in Appendix Six
Robert Jones composed a fourth sacred work This piece
Sing Joyfully which will be referred to as the Oxford Anthem 5
is included in the Christ Church Mus Mss 56-60 The source
for this manuscript has already been discussed in Chapter II No
modern transcription exists for this anthem and may be attributed
to the fact that the bass part is missing and this anthem is one
of a few anthems in the Christ Church Mss not found in other
sources
The possibility that the Oxford anthem was the piece that
Jones composed to meet degree requirements at Oxford has been
presented in Chapter II To substantiate this claim further the
words of Psalm 81 from the Book of Common Prayer printed in 1619
and from The Bible of 1595 are included here This will
facilitate comparison with the Oxford Anthem facsimile from
Christ Church and its transcription and recreated Bass part
4 Edward Doughtie Lyrics from English Airs 1596-1622
(Cambridge Howard University Press 1970) p 25
5 This manuscript has not been recorded in RISM
-42-
6 The Book of Common Prayer 1619
Sing we merrily unto God our strength Make a cheerful noise unto the god of Jacob
Take the psalme bring hither the tabret The merrie harp with the lute
Blow up the trumpet in the new moon Even in the time appointed And on our solemne feast day
7 The Bible 1595
Sing joyfully unto God our strength Sing loud unto the God of Jaakob
Take the song and bring forth the timbrel The pleasant harpe with the viole
Blow the trumpet in the new moone Even in the time appointed At our feast day
6 The Book of Common Prayer and Administration of the
Sacraments and other Rites and Ceremonies of the Church of England with the Psalter or Psalmes of David Printed by Thomas and John Buch Printers to the University of Cambridge 1619
7 The Bible That is the Holy Scripture contained in the
Old and Newe Testament London Deputies of Christopher Barker printers to the Queenes most excellent Maiestie 1595
-43-
The bass was reconstructed after a study was made of the
style used by Jones in his two madrigals for five voices and the
one anthem for five voices in Leightonbulls work The madrigals
were used for this comparison because of the similarity of style
with the anthem
In general Jones uses the bass as a platform for the other
voices Large skips are used sparingly and the relationships of
thirds and sixths with the tenor voice is usually maintained
The frequent use of whole notes and rests and the rare use of
dotted rhythms and eighth notes emphasizes the stable voice
leading Jones rarely initiates word painting or new rhythmic
patterns in the bass However the bass is used to start an
upward scalar pattern carried through by the other voices in turn
It is hoped that the reconstructed bass for the Oxford
Anthem is in keeping with Jonesbull methods The transcription
would not have been possible without Dr Clyde Brockett It is
possible to include the anthem because of the assistance of Mr
H J R Wing of Christ Church Oxford
44
Cantus middot
( -11 ((
) L ~L I
middotmiddot~middot 0
I I
45
Cantus
------------------------------ ====~====================~ I
I ~
j-- ---====-=--=--=--=---=----=---=--=----~~----------===shy
l I
r
l t
I
~-
t ~
middot r I
(1 c I ( middoto
A ~ -1 bull T I bull 1-Jtc v I
bull
~iof~ictf ----middot-
t~L f ef a attf j az ~ E I cfft ~ fiipound wuamp J1 -------- --4----bull- - -- --
iS
l ----=-----------
47
I middot--- - -- - -- I
j It~middot~ ~~I ~CJ m bKpound fy nt-l a~ PJtttfd (Ul A ~
t Ybull T 0 A I I I
~ -t-I I I - bull I I l bull I I I bull bull J I 1 bull I I I
A - bull ~ I
1
-~-- -- ---middot-------------+
-------middot---middot~---------
1----- --------~---
48
middot- middot---- -- ------middot --~___middot---~- ~--middotmiddot ~
49
Contra tenor
middot -bullmiddota --~ilirtttwbullnbullmiddot d_rl_ mr
I ~
i-----------------------_)_
F------ --
______ _
-------middot--middot-----middot -~-- ----- middot-middot-middotmiddot --~----middot- ------- ------shy+----- ------------ -----r=-~----_____middot ~~~---~--~- ~~~-~~-~-----_ --I
I
(I
bull
middot~
I ii l
l
l Imiddot
-I
(
50
Tenor
------
fwaft qtmiddoto( tft~ tfttttt~l hF Ibull bull ~ l~~r---~-~- ~ - =13
t)tl) tfc G11 pound th (b ir th~ tf~~ v
~-f~~-~3 -----+ ~ ------middot =-==~-~-fi I 1Ppoundf ft t1 c If r 11 a h -middot qCo ~~ l-K~-
I I I
bull
51
Tenor
l ~
~ ~r--=t-~ ~ J middot~middot bull I I
13fon ~ lppt ~fie bmpt~H1 tfv1VC btpound lLi hum( Efl J A t I o bull
H-1----r~ni----=ll bull1 -----i - r~ n middot bull -~ t i ~ -J j) I l 1 bull 1 bull l
~ bull bull T _ obull bull -x I n _PI I I I T I I amp bull T 1 1 middot y tl- 1 L~t--I ----J-middot-middotmiddotmiddot1_--1-- _-~--~~--Jmiddot middotL__-1L --1-- -
- I 1 I _ 1___1 - -4-1-J - +--+1--ll- J ) 0 I 1 I I I I -~-- ----- ~ A bull bull I (I V =-
---- - --------- middot------
I he Oxford Anthem 52 Robert Jones
5 J J J ) J f r middot r I
Sing joy ful ly un to the Lord our I 1) I Js - I 0 I ) ) ]I ) 11 J bull v- l l
Sing JOY ful ly un I to the Lord Si ngl I I - _ f r
1 r t7 t r t l middot~ I I I ~ _l I I
I l I
Sing joy ful ly un to the Lord our i strength
1 6J
J I
i - ( J amp J
-plusmn=-
I Sing joy ful ly
-c un to the
r r2 c= f r F ( f z 0 r I l ~ 1
Sing joy ful - ly un to the Lord our
10 j J r
I I I l r I I 1 I f I
0 0 tJ bull middot I ~ I I I t _a l r
II I I strength Sing joy - ful -t ly un - to the ~middot Lord our I I I i
I
_I 1 I I I I l I
I ) I 0 I ~I I j l Ll I I
$ j I lfO J I - -~~ L7 t I -v - _
~ joy - ful - l y un - to the Lord our I I
~ ) _ IQoll I ~ 1 y middott I -
I I j I l r I I I -r r 1
I Sing joy - ful - ly un - 1o the I Lord our
I I I I I 1
0 0 I ~ Q - -~
- I - -~ - lord our l strength Sinmiddot] _
I I 1 - I I ) i j J middot __ ___ -- t -
strength Sing loud un-to the
I r I J () h fl e J j (~ I I II r- j 0 I v 0 i r c
53
I i
I - I - I - I r r r ( J I _J_ I 11 _l [
~ I I I
I
~
I strength Sing 1oud un-to the I
I I I I r r r J y r J - 1 v I I 1 l -l - I - -
I str ~ength Sing 1 oud un-to the j god of I la -
t I I J J l J r
11 - f~ t v I I I L y
r l I
I
strength Sing 1 oud un to the god of j I
I
- ~ ~
r r 1 r r t Igt I
J r I I I r - I
I - loud un to the god of I Jq -
I
v I () p 0 I I _ I ~
I I
god of Ja cob Ja
5
god of Ja cob
cob Sing I lou un to t e j I I
] l ~ ~ i
r - I r r r I v I I (7 I v I I I i
I t
Ja cob Sing loud to thf god of I~
- un I l
~ bull
I I L A 1 I I f- I 1 _J _I L l_ l I t I I ~ t r __ __
-fi I l I I
cob Sing loud un to the god
0 eO 0 __ =J
of j Ja cob i middot
----------~--------------------------~1---o----------~l ~ gt~ f middot
cob Sing
20
- I r j I 11
C I r
I
loud Sing un ~ - r 0
I
god of Ja
r 1 I t7 J _J
~
Ja cob -
1 -I J p 0
Ja cob
r c r f
(l
loud un to the god
I l I JI I
-1
0 l-
cob the god - y 0
I I I
the god
0
I
cob f
~ I I 1 I I J
I ~ t I J middot 0 t--1 J I
t to the g od
c9
god of
r I
to
-I
fvO
Ja
I I
l
Sing l
~~
of
I r I I
the
I
I -
---L--1 I
I J ~
54
y
god
L-
cob
I J
cob
_j
I 0
I amp
Ja
25
l 1
--of
- a I
of
Ja
0
i
I of l Ja
I 1
~ t 1 _ Q _ ~ middot
of
Ja
Ja
I I -J I I
- 0
of Ja -I -middot I
J l _ I I
rl 0 0 - -
I of Ja middot-
I j j I _ J I
~
~ (_ I ~
loud un
ampI _
j9
cob the
r
J I I -1 --11 2_ ~~~~
I
Ja - middotcob
i-1 I -f-1
I bulli cob
I
I
- j - w cob j
i l i
J I ------ I t-1 I I - I cob
cob
1n I
I I I J (7
c_ -
-Take I the
- bull- I I r 7 A_ f I r
0 I ---
j
Take the harp t the I
J ~middot
I bull I f~ [ I [ I
J -Take the harp the
1 1 -I I I _
( y
~
Take the
p f bull
Take the
35
f J J I
I 15 Z
) lt I
brell I
tym tym
I 0
CJ ) J forth the tym- 1 bre 11
I I l _ I I I 1 j I
omiddot i I I
harp and ~ bring forth the I I I
1 r
I I + and bring I
~)
r t harp and bring
55
_ -
harp
j fr
r - ti (J J ____ r
-
f ) I
v J
harp the
a
(2
harp the
f
brell
1__ J
and
0 I tl
-
)
harp
~
harp
I J
harp
harp
~ the
r bring
r [I
I I y
rJ I
11
and I bring
f I
and I
f
I ~
I
t take
___
I
I
r ta ke
J 1
tym bull
( r forth the
- _ --- r
tym - brell I j J
I I I J I r I i
_) middot forth the tym - bre 11 the
( t
f I r r-I I z
forth the tym brell the
I 1 1
amp
forth the
1 A ~
bring
I A
7
the
t )
the
I
~ I ~
I I
l
56
40 I I I I I
I t I 0 I _i I I i ~ ~ --middot
li 11 11 I -
- brell and bring forth the I tym - bre 11 tym - brel 1
I ~ - I 1 () 0 1 I r 1 - --- i
I
tym brell and brin9 forth the I - I
_ 17 - i 77 j
- r - T T _ I I J ~ I I I I
I I 1 ( bre 11 ) the tym - brell I the
i I I II
u I pound I A J ~ -1
I -
~
tym - brel l and bring I forth the tym -I
J amp Fyen tji
F l
tym brell tym brell
I I -- I I j I
I l
-J ~ I ~ ~
J
harp and the sweet the ~ I plea sant
middot - --f ) I i I e 61 0 J ( z
bull
tym - brell the tym brell ~ the ft ~middot c t r 19 ufJ f ( c t I
pleasant harp and the vi 0 ll the pleasant harp
j ) j middot99 J GJ or gt _ -5
brell bring forth the tym brel1 th ~e
9 l f~ ( __ r I ~~
-- -
Bring forth the tym brell
57
45 J
I I I [ f I C) A A I A I j l - -
-
~~ ( _
vi - I 011 t sweet vi - oll the I I
I -- 1 - l l 1 (7 I I I J 0 A I J bull
$ r - I brell I
themiddot 1 pleasant harp and the sweet i I
- p I I
r I I lt I_ c I I I r
I I and the vi - I 011
l vi - 011 I
I I I 0 I I
r I -J y v - I I I ~
p~~~~~nt harp and the sweet vi - 011
I
_ v - 0 I I r t I I II 1 I J I I
the plea sant harp and the sweet vi - oll
50 1 I I I I j tl I l bull I
I J L t- 0 J I
-
I ~
J I
pleasant harp and the sweet vi I ollll the I
~ -- _f I A middot bull 0 J i r 1 l I I
vi I oll the plea - sant p
r I i T 0 - 0 I I
I f I I - ------I I I I j
i
the ple~sant harp ~nd the vi - -
I
--- I _l I I I --1 0 I r l
C-
vmiddoti I - 011 the ~
pl ~ea sant harp - C) r 1-
~ r I I )
r ( I l r
I I t
and the sweet vi - all sweet vi ol1
58
I I I I L_ I J _l J f J
I I I
~ r
pleasant harp bull and the --_
t I I I -_j
harp and the sweet -l I
f middotv A I I I I
011 t the I plea - sant I I
I I
I I I i I J t7 Lc -I
and the sweet I
vi I -i - I -
- J
I c- -
oll and l i I
1 I J J J_ v A
I I
oll the I pleasant harp j _ k
-r= 0 I
t I
t
sweet I vi I I _I I
11 i I I I I I I 11 _j ~ C I J _lj bull
harp and th~e I J I ~
sweet vi - 011
J ~
t
the pleasant harp flnd
55 r J1
1 _r _I_
swe ~et vi - I I
- ~ I I A ~middot _t2_ I
I
vi oll I -
t I _l l
fL
harp and
t
al l
-
j_
A I I
th~ swee~ I
j_ 1 L1_
J _L _r I
I I
and the sweet l A
~
i t l I I
I
011
- I
r r the
the sweet vi
0
-0
vi 0
~
the
I t
the
-
60
0bull
vi
0
vi
-
J
pleasant
-
l I I
J bull
pleasant
-
-
amp l
I
l the
I
I
harp I
----1
59
I I
_ middot-I
- I - - __
I ---- oll I I
~~ - f r I f I J e_ I I _
011 I the plea sant harp and
0 - 11
r - - 1 v I I r l I I --~
J _L I l I
pleasant harp and th ~e sweet I vi --j 011 t I
I _I_ ) - I
_I r D I J I 0 I I
I and the sweet vi -- 011 and l the
J ~
-- -=- 7 r I
I T T r l I I 7 l I
pleasant harp and the sweet
65
- - r I
I I J I I J
I ~J ~ v I bull J cent ~
--
the pleasant harp and the sweet - _ r r ~if L) I I tJ - - I I l I I 0 -1 F _l T 0 j I J l I - -- the ~weet
vi - 0 ll t and the sweet vi -ll n middotmiddot-
I I ~middot r I - - t - f7 I I I l _ (7
j j --w
sweet vi - 011 sweet - vi -
I I I I T T - t i -- A t7 r 1 T 7 T i ~ i
_l J
I I I I
I sweet vi - 011 fhe I pleasant harp and the sweet j I I
u I l I J -1 1 0 I )
f I
vi 011 and the sweet
ou
70
-- - I I I I J
~ I I j ~ (1 77 -~
vi - oll the pleasant harp
I I - j I I I A I 410 7
-- L
- oll the plea - sant t --1
I L I I J 0
I I I I ~ ~ t r _fl_ 0 0 _ II I I
1 I - oll~ the pleasant harp and the swmiddoteet
~ I ~ ~
y JoiO c I- I l I r
I I
vi
I 011 sweet v+ 0 ll - -L
- l I I 0 J --- t 0
I
vi oll the sweet
75 I I
I I T J j I A ~
~
I - _() ] middot -- -- -- bull l I and the sweet vi - 0 ll
_l I 1 77 0 0 0 -I - 0 I y l ---- t ------ I I I
harp and the sweet I vi - 011 bull I I
0 0 C)
poundJ I - t (7
I middot-I
vi - oll sweet vi - 011
I I
~---0 J 1 I t J -middot
I _ _ bull I I 17 ~
I - -
I
f t he sweet vi - - 011 bull
- I CJ I
C if- I I
I I 0 T _ I I l I
vi oll vi
~ bull Scr-ibe error shc~AIJ b~
61
80 111
I I j t - - I - J I I y ( j r 1 bull
amplow the I
up I trum - pet I
~ - - j j I r A j J I t - 1
Blow up the trum - pet oiL - r
p r r Igt t r r r f- I I t J I I i middotp I I
I I J I I
Blow the I
i trum up trum - pet Blow up the l - pet
I I I middotr I
f r l J ~I I r- r _r j A I I I _
I i I I r I
Blow ~p the trum - pet Blow up the I trum - pet _ I bull_ _
0 ~ I I l I I I I I I
I
I I l I
Blow up the trum - middot pe~ the trum - pet
85
f 1 - I I I ~ I I I r ( J-middot I I r J J -1
I r l bull
I
trum pet the I trum pet the trum p ~et - -A - I p - - I t
~middot J I r _1 L I t
I I ~ I
the trum - p ~et 1 the I trum - pett
- i I i ~ _
-l f r r ll _r_ [ middotp t
t I I J l t I I I I l
~ I bull I bullmiddot
Blow the Bl~ ow the r bull
trum pet up trum - pet up -t I
- I t l j_ L _L A I
r r J r J I A J f ~
l I I - I bull I
bull I I
Blow up the trum pet Blm_r up the trum pet I - -I
tt) 7 - 0 _ I 0 i I I -I 7 I I I I I I l I
--J I I _J
Blow up the trum pet the trum pet
0pound
_I I I I - I I J I I I 0 -II I L J I J - j
- Jf o I J 0
ln] the new moont evn i n the time ap -
- -- I
- I t l v t -1 I I_ I l I J ~() -in the new moon the new
I I
~
[ 11 -~ - 0 J - I
I ~ l I I 1 I I
I
in the new moon in I
I I I I - I I j J l J _0 r r J p
I
gt in
I the in the new moon~ new
1 _ - r- r r r - I
I I J I I ~
1
in the new moon
A ~ I I I
r
r f cl - A I _f I I I I I
- _ 0
l I gt _ _ I
I poin - ted at our feast day at
-middot - _
-moon
I l I
_ I I J r ~middot I I J j - t 0 A A
I - r-- ~ ~
the new I moon evbulln [in) the time ap-
J I ~ 7 j I I I ~
r r T I I _I I
1 _ J J t J l - j ~
I I pol nted I sol moon I evn in the time ap at our - emn -
I I + -( _-f- i- ___ - ~middot
_ T I I I J 1 t l r 0 ~-
r I I 1 bull - I I r I I j_ I I I
r
evbulln at the time ap- poin- ted- at our feast day at
93 [ot] Ct =at II otl~ va middot
95 I I [ I l
17
J I
__ J r rJO
r---
our feast
- - I I
v_ ev 1n
0 f6 r I J l - -J I l I I I_ l J
pointed at ou~ast
1 L _ II I y _ r Cl
I r - I
feast day at our I I J
bull _) 0 [j A I _ I - t I
__- I I I
our feast
- - I I
C
evn I
- ~-
--_r r 0 ~ ~
J l I 1
our
u
day
I [ I
J _
in the ~
r I I I
poin - ted
roo -= ~5
q~
I
I r r feast dayt -oGr
- _ I
- _ I
evn I 1
I I I ~
r l l I I
~me~--I ~nted a_p_ I
J I I I I
at our fea~t day
c t ) o t h u o s [1 h) = a~ tr~J))~ribed from
altmne ~cill-ed o~~ ti
- _ _
day 1 I -I I I I
I I J r I I -J I J
in the time ap - poin-ted at
pound)- bull -J _ I j
day our I feast
- l 1 l I
~t _--tf 0 II ~ ( I
I
feast day~ ev 1 n
__ _ r I ~ r I I J
I I 1 -
day the time ap-
100 -Imiddot 6_ __ J J J I I I I J I r t _1 ) - I bull -
in the time ap- pointed at
0 _
feast day
- 0 _
r I _
bull I 1
bull jrlJ the time ap
I
~-
r T o I I I I l A _ J
a or feast day our - o---- r l - f I I I
i
1 _l 1 _ I
at our feast day
Ct VOIC~
b4
105
r r f 6J dmiddot 0 I~ j A our feast day our feast day evn I
- - ~
J I
-
l evn in the time ap- pointed at __
A 0 ~ )
y 0 J I I
poin - ted at our sol - emn
- -0 dl ~ ~- - A middotmiddotmiddotmiddot-
feast day i at our feast at L
LJ
I
- 0 - - _A
v
our feast day sol emn
l -1 I- _pound_
I -_
in the time t
ap- pointed at our feast day evn l
_ 0 1 J l ~
-- - ~ J I 1 1 - I
our feast day evn in the time ap- pointed
0 ~ _ middot- A
feast day evn
- - -d A (
at ourmiddot -f- at our ~ ~ -- 0 - ( I I
feast day evn in the time ap- poin - ted feast
I
110
J omiddot u --1 -I
lt---
in the time ap -I
poin - ted at our
0 - ---1- -I-- I
at our feast day 0middot
I - --
l
(i nJ the time ap- pointed_ at feast day
I our
l Omiddot (_) y l
I feast day
0 ap- poin - ted at o~r I
~ 7 ~bull
I v
day at our feast day in the time
115 I I -middot
I-
-- 0 bull ~ -
middotfeast day evn I in the time ap- poin ted -
I I - - 11 (7 ~ 0 -at our feast day
bull 1- t -
- A ~
I evbull n [in) the time ap-
-middot y
I
~--c CJ
feast day evn in the time pointed at
r 7- ---ap-
J ~
y -ap- pointed at our sol emn feast
iblihing Mil 414 A bullbullbullbullbull
120 -
~ y r tFU
L j _L_ y -
at our feast day at our
- - - _ (7 _ - __ -
at our feast ~ L)
a_ 1 _L r I y r1
pointed at our
feast day middotI evn UnJ th time ap -
0 1 - --I -
A middotbull -
our feast day evn r 0 0 I -- Q_
-
day our feast day feast day evn
11 - -_y 11
_V -J
- __l -
feast day at our - 1 I _L_
_Ql_ A (7 I r-i 0
daymiddot ap - poin - ted at our 0
v I y ---d I
poi n - ted at our feast day at our
____
I I - -1 v J 1
FJ Cl bO L
I I ( t-I in the time pointed at ap - our
_)_ 1 ~ ~
Ll f
_r I
in the time ap - poin -ted at our
11ishing MP 454 A bullbullbullbullbull
67
A ~ ~
Ai 0 -- C-
-feast day
I
c- _- I - -
feast day
I I --
- _ _
-- -bull
I
I
feast I
day
u -I
feast I
day
I - I
~
middot~ lt-
feast day
130 f A -J I 0 A
-7 bull - -
A - men ~
~ v j middotmiddot r I I I _ l _
A - - - - - - _ -- -- -
- j -A men
_t - - -1
0 --
I - - - - -A
I I 7
A I ~
A
i
I -I I t- 7 -t I -~
A - -
~ I I - l I
t-- 0 I A
I I
- A men I M - I
- r ~I r v t I 1 I I _t J I I T I
A - - - ~ - men
c-~ I
- -I -
mmiddoten A I I I
--- 1 I I I J
I I T J _t A - I -
men A
135 l
I I I I _I -1 I ~~I I I 1 0 -l - I I I J rj~
- _
r --- ___ A -~ - - - - -01en -
I 11 - ~ - I t _ r p
r I J I I v I l J I
- - men A - -I I - I I -p - v_
v C7 I I -- __ I
-A men A
~ J I I I
I l I J I A _ - L7 JJ J ~
~ v p
- - - - - --
I I I J y __ I T r I I
~ I I I 0 ~~ - V
men A
lblishint MP 414 A bull
I I
I --- -~
- - tf a ~ - - _ - -- - men
0 ___
- men - A _ - ~ I --- -
I - men
- i _
- -- ---men
--
~--
_
men
tblishin9 MP 414 A 7
----
l I
72 ___________ ____ Ff gure 1
I I I
middot-
i
l I I r I 1 I
I r
IH pound
FIRST BOOK E I I ofSo11ge or q_fyftlJ of iRetiiu~
rourf parn ilh TJ 1
binsr~l tb( lbullU
paru togethcror ~lther of middot dle1Jlfhur2llynliay be toils it _ l 11l~U~~~r
to dte Lutebull Orpbad~l
or Viol de gllllbo Compoftdby Robct~ ltJ~Xto
f
----
1
l
I ~
1
I I
73
Figure 2
TO THE HO middotNORABJJE Ai~O VETt T OVS GENTLEMAN SIR ROBERT SlDNEY KNlCH -c
Gouernour nder her Mai~fi~e of the tOne f VltlbitJ1
and the CaAJe of the Jldlraquotftns In the low C oumnes and of tJtjorll ojtltf411Jt AJtntLrrpuh thtJbullrr-ifonthenmiddot
In plilctdMTftU D b~ifi~jiUitt
~~~ii~5fil Our great loue and famor Honorable Syreuer rhanifellcd toal OrthyScier ces hath ltnbdened me to offer vppe t
y~ut ~ordfiups Shrnc thefe the vr I wortht~middot labours of my uulicall trau~~middot And though in refpect or their Veake nes they ln~y perhaps leenu vntin1ely
bull=-o=====~ broughtfor[hand theremiddotbre the vnlikelrshyerlo pr~fpermiddot yet doubt I rt~t butj~ renderd by you they fl1all happclbulle find gentle cherdh~ng w h tel~ n1ar be a mea ne to make them more tlronger or elfe mtfcarrytog to etcour~ge my en~ ~ deuours to beget a better for as no arts vinclf at fever errors than muficke fo none greater enimies to thcirDvoe profeffion then Mu 1cians whowhdn in their-own ~tlguaritietheycon demne euery mans ~rkes raquo as fome wate ~duty they are cbe caufe dm an istbcmiddotldfcentc~emcJ ian~ they thuitfelues feEuted as fclfc-com e1enders tnd men man fan[aLlicll Vhcrfore if chis one cen~uringinfirm itie were remoued thefe nty ayres (free l dare fay from groffe crraurs) wauldfitde euery where mort gratious entcrtainement bull Butfince euei thofe who are betlfecneirtthis art cannacvaunt themfelueJ free from fuch de tra~ours~ ~ lhe~ leffc rega ~d irbting_fo w~ accompanie Howfaeu~r tfheretn I may gatne yout Honor~goodallOwance fuaU thinke I haae attained co the better en de of my labours (vbicb with my fdfeandthebell of my Ctruite) rcfies eaer more at your Lordihips in1ploimenc
Your LorJjh1ps lmotetl in ~tO dutifiiJfirmce
aobett lonebull
----
middotmiddot
74
Figure 3
ro THpound READER
~ gtltmiddot bull bullbull bull bull bull middot~ EntlettztnJfincem1dtireu)ourtllrtsfoulde middot ~~-- ~imiddots benlindijferentiudgtrfclllnot thin41t nt
-~~i ~ ~rflary to filalt nv trautil or nu hringing -vp ~ tbull middot 01 argtttJmts to plr[Jllade you that f haue a ~Ofd
~ op11110n of 111) feft~ only tht~ much lwzl~tJte 1n~ ~ I ot ihatJmttypretttnttherifhudgnlentsoJ[uch
bull _~~~ ~ t- ) u now n1c not E11er jinre I praflftJ fe4-- middot bull ~ kng I hat~e praRifid inging lbullauin hail not
itr qualitie tobitJder mefro1nmiddot the pifefimiddotI(TIOTPfedgt o(th~]aculu I rtue ~~~n incortngtil kr tbl lParranmiddott oj Jiucts good iugmentr that my
pt~ints herein foal 11tihe eafl proct~re_gooJii~ng if riot delight ~hich Jttfor ntineownetJtitl muflueeder Jeare 111 much 111 defi~e ~efpmiddotecialy
lien I conidtr tb Nptnes ofthu induflriousagtlhtrtillaU mtn tndeshyrwurto nol~t all Ninges I ronfefo I 1as not --nTiiUing to emhract the conctitr of fuch ge1tlemen uraquorere ear til to h11 ue me AfpbullreU thtfo ~~~ tits for them ~hihthough they intendet or their pmiddot_iuate rmeation 11eUcr meaning thfJhoultcomeintothe~tght~tre 1elf(I1Jten~ )pon inshytrtiiJ ~o ma~ thtoncouragementr of tq1s ~ jrfl di~tr~tllre 1Pkere11p~ PO f lilas ~lmrfl ~~to m4~e tnJ flfaJ ftiJt~ne lJJtbtU~OTJ pr~-shymtn~ thAt if lY ctfimiddotnnrfoilttltn( ~ M_~HJI ~~H fllghl P_eakt for theme~ts ~boTPfoeiltr 1~plt4ftth tbtm middottodlaquonunl bl~tt of thest ihen oftbeft1 0 f purp_ofo ( M -ltfiOiddfiemt)tom~t4 mehJ1eut I hm do (omething 1111 onb hope i1 thai fo~ing ntither J cold AJres A nor fheir idedties ( u thgDi[ntedtl hau t cAUthtin) hAue hithn-to Jeene foc~ttd in Ut tdrtJ of rnanie thg maierh~nttlflil)dt f~Kh enshytertllinmentJ llJ conmonlit nn~e1 aoth in tht bullorJ ~thith if I J he fo
middot ~appie~(o he11re lTtiUnoefaie my next jh11H Itt ampttirr1hut I ~a promift tO tfl~middotIJfOft f4intmiddotsroJmJ lliOt fOintsof mfiampJtwbich noJJt coufJ not JohectJuft YlitJtffcllrerPu (ofttlht (Jf~mtk~Jor~ ~~~~hen muflhe-ullJe~ connntDith e11ch IIJantlll))foU cenfurtU IjhJbe giAJ of fomt mtns vndeftrueJ fouourl
-J
--
IJ
Figure 4
~~ ~ A Table of aU the Songs contained in thir7JooJc ~~~Ul
middotImiddot AWordans LookecS middot Fertd Wlnto~ youdu ~~= Sheewhorematd)Jet1ebcaury f+- ~ Qncre did I laue ~~~ L~d ~r~Atongdcfuc l Ltc dOwne poorc bean J ~ bull n Wl I _ ~ -b _nere rngrrnguare
1 - i1 Hcroatenotchougb ~ z- middot ~ Wbcnleucandumo bull ~~ Swee(te come awa t bull -a Wmiddotomenmiddotbullhataicrtbey
EarcweHdccrc louc ~ middot gt ~ ~ 0 my paorc eiu r~ ~ a If fathers knew
bull ~e i Life is a PoeampJ phablo ~~~ Sweere Pbilomdl fi ~- ~ 9 That heart 1 ~
1 VVbit ifl feckc MymiRris
middot~ M ~ Petplcxed _ 1 ~ Can lllodca pbine dctir
I
middot 11 - 1 ~ ~ middotr_ ~ r fl~ - I
l j It I I
~ ~
-I i I
lj middot J ~t ir- I
bull Ill - -middotmiddot - B
L lL m IUL v VL vu VUL IX X XL xn
xm X1Dl-xv XVI xvn
I t
I r-middot
r --- ~ I r- ~ J
I
Figure 5
--------------~- ____ __ t
lf~ flfl TJE
B 0 0 K E 0 F S 0 N G S AND AYRES
Set out to the Lute lhe bafe Violl the pr-ynt Wdl etr tbr 84ft by
tablcturc afitr lhc lctlo ~114
CftftJJ Kobert Iones bull ~middotihl~ by Pr flaquo Afbs by bullbe
~Jm ~f11HtfNI Al~rl)l J tbull6t Cold bulll bullhe Inner l(mplc
u bullr bull 1-ot
_ +- - middot tmiddot bull
~
II
Figure 6
------middot--~ middot-------
T 0 T I-1 E It l G I-I T V E R T V 0 V S A~ D V oR T II Y K ~I G H T S 1 R
H F N It Y L f 0 N i D -middotrmiddot t ~ ~ ---middot~middot 0 R T H) Sir mJ my_ Honourablc fiicnd I giue you thi~ ~~ ~~~1 bull CIJIIJl pr~u~ gtou hnng at vp bccaufc I ttm o1 ~orc mn ami t ~ middot ~ _ can nor maanrunc bull t 1t bulluy ~ulfcc muchaducrfi u~ ~~~ my nam c
middot middot your For~u~c mnc aJ~cr llJS rtJrrcs 1_nd make h1m hJppac bull f ~ I fhopghllllbtherbe ahmiddot oe l ulltec~Uhoun Orpbanrlorpm rc
mens CbddrlfJ -are Orplano borne and more to be piuiCd d~cn they liJJt hJ11c changed thcidltl cr) lor their ltuJ ~ fud1 mlc bullai(e themfduc~hl due time we h0111C oo wJ ic to l lciglncnour being bm by lbulllothcr pomiddotNcr As Gcntlcwo- mtn pecce lhcmfdbullcs with Tij es and Co ronctsto t p flC trt mor~ per fcmablc ~nd t~ll o UltJfi woaJdc VntO OUl )ulctlCS if wew11 not De (corned iardwarfcs) rhccroYlC of Acnllc pC1fons mgtre cmincnt and hi~h Our (Lnurcs ~rc nor fct aboue d3nshygcr i WCcJuJowc hdor CUCflC footetO trcadc vpOtr OUt place IS he cround there icnodnng balc-~trwsandycr dcuil~ion _m pun n lower if wee h~uenotgood ~(reds Th~ y wiH fin_J _me~nc~ lfl digg c and In v s down~ irnu the cllth ~ nd burie yenS
bcfotc ourume Th1s 1s the nufc of pttroua~ct nnd thli ts rho p(rlecutton o( ahem tlpt wouldingroffc ~11 Gloric imo the~r owne hmds But t~cdJt UJl~ o~ rhtfe mcn they bite the truhe~ thcmfdues 01ould fee de vpon Vcrtuc would llrlng fonh mmie h1idrtfl but 1hey hold them an the wombe that lhcy due not come hut As the coshyucrolls maf~~ fi~gcth aU the hind about h1m wath fi3tuus 6ncsand b~nds i1 nd othc r (uch Iike~iumiddot 1 warre (o doth the ambitious intrap the Jinle pori ion of ante commenshydations cha m~ ic fie II bcfidcdilm And like the mercalcff- Souldicn lhe Cafilcs they cmnot t~ kc they blow vp They uc a~ f(nring of cucr ie CmUlrcJun~flc of crcdifbull ~s iflt were I aide vp in oonnnon-bmke and the more were giuco a wile the IelTe would ~orne to tl1cic nbullarcs Theya1 c mafcra~lc men) _f roill onlf br~md (htm wi1h this m rk~ and let dttmgoe Thty were Eaglci tftheyd1d not rJtch Hycsas lheY ate thcy-bullro grculhings)muchldfcthcnnoamphing For my parc)l willnotcorucoa wiJhchcm ( aeiire JlO appf~u(c or commcndadons lei ch~m haue the flmc of Ecchocs and (oundf and let me be a Bird in your C~ge fin~ to Y fclfc ~nd yo-1 Tl)is is uiy coment and this is my llmbition~ if 1 haucthis Jfiile nm in mtcxpclhton il more for rour akcth~t is my ashbntagct andl will owe you duciie for it in the m~anc time lrcfL
fl 0 Jt I ll T 1 0 H R ~
A 2
10
Figure 7
f
TO THE READER
rSI~~---11~~~ E AD E R 1 btt11t atrl moruuuttiWtJ to At~ IIgtJ oujlU rtPhul~r J b411t 6o1ft WU r no td~n( tlull
--=middot ~m~laquoh ft~inen~ rltoife thrt e~tU th4t jwiUf-1 fortify j - ~ry inrtnl toJll~rJdbtt lllll JJ 1tt btctufo
z kow tlwcwot r middot41d I IU jtlllrl ftDf gr~flJ(t D
comftlirltfto Wilrrant J tnJtutJMrs lll-bullfl o~U met~ ~ J bull JqJ it 110 fJ1J1111t tJ ()~~ Vfri~btrztQt ~~~ thttiJJkJt 1 ~~
J tntlfflt IUJtl~ AUfljt my Jrlfrof~lliJtnltt yluggbullJ ~~a~ ~~~~ iby fat~olll ~ whrrtin l t~sft rt~tiJti tJ itftritk rkJt ~D11bull
II~~~~~-~~ llllldllllorlt 1 then PJ my ownt bullfi 1 to frt 9 l4hD~ifl ~Ill (o Jbulllr The llNIIb b lllthlugh l wbull nbulll fo nilt
Jllltll J rptnpofol l~rt cA7rn t~Jt J J4n1Jt~t jl11d c tbrbbull~r~ of t~rirt~~min~tion Ttt Jwould bt ~it~J( if 1t ~IJtbi) thfl~tlt J1nJI7 tpptabat~tm mtJbtgtlltll1t mcouragtmtntto foutJJm t1Jan4rfoltJumfltt JrtlltfJJJJ rlmu t4ttJ hertJttr bull Jftb( Dtt~itr aiftk dJrlmiddot 1
1ll mjiullt- th~tt lJU fo e~DlJ til flbfffll 1J_
pri~su rt~nttnrntu(JilltrJ Gnt(tmt~ith~ut tbti~tonj~IUJ lhh ( lmiddotbPfl J nor 4middot gbullmJltbdr tltls RPtrtm if t~oN ftrJJ afllltiJmg to rnrtttfllltbmiddotrlq Jefiri rblt~k m~ jtlr th] rtltre ~uwr mr~nt tiNt~ J (nmiddotow nDJ l11w 11 ttiiIbullrt~ttmt Q(lr~IJt bullMtillllb~n~l tkrt p~NJ btn~ GtJ~thmbulln ( btn H 1tJ4j ~middot1 fo mfcb pbullrnufor fo hulltMJ) tbl wbullD n ~911middot cl11~1ht c~n 4~ ItA k bull~ loiftr bi Imiddot~~~middot 1l~~JtMjrlrJIJ g_olll bullJtiK tlritil bullfhu tNnmng JifJbulltlltmtbulltJJ tblttll) bt(t11TiflfllJ ~~JUJhlllfJ nolliIYIIJ hu tiJN)t rl1tfo Jrtlo dtjilehim Cif ht-6middott nt~~zruiiPbullP bulllirbnmiddotz ii) tb41hfmaj(J 4ctrp1tbt N6inrri DnDfiiiJ Nt1111t M 11 f~cirnl Tiflsmonit th~t J ttm wat bAiflrJ oinflrt~DJ~Il Jflhtrtifl Iter 1 iraquo94fftt~r rt~hbullffibullNJ7rll ~ ~ J~fiijitJIIjon ~so~middotrbrr~fl tb~l1fDMJj~inc in formt llltil tbtY ktofMttlhm~ Jytbur gmzt411Jtjl~ ~INtrltlbltlg J IJ n1t j11 rnbullch 41 tltfirtthtm o 6elftbulltbull ltARJf11ould hfrrbl teacluhmr At lr~tp bow tbl) IJII~ bt ttmt je F r 1hl 1Jc)Dl 1 will foit 1n1J t hHJ mMch tbtrt blllh not bttnl u~tPttt of tbil fojhitm wampicblf tha jh11l1 pron~gturt to bt blWirtbmiddottb btAtHitJ rtfl fJfifjitJ) if tlbJtit~tor Pbullrewell~
Leaftanie ntan fi1ouldfeen1e to acctlfc tneoflingularitit for expref~ fing thetimeo( myfong~s by prlcke fong Neres neuer b~reto fore vfemiddotd Ihaueforhis ~euer innruction hcr~un~o indeuoored to fatiffie him
amp t r f A Scmlbrcofe Minnum~ ChrocberQampIItr
-----
~ qA~ ~- ~ 1b [G~ ir~1
~~J ~ v 1
~ ~~ c a
c ~ ~79 - =-m
IC~~
~ p _l
9t ~ ~
ll4 ~ l
-- 79
Figure 8
-
A Table of all the Songs contain~d in thitltBook
I loue wing middotd my hopes I I Jly louc bound m~ with ~ kiffe
1 I f bull 0 how my thoughts doe be~ t me II [ Ore ames ~nd I magi Oitiom V Nfcc thought thi~other night V l IVho fo is tidmiddot= 1 II fie fie V Ill e~~utic (bndc further I X Now what is loUI X loues God it a boy X I Ouerthcfebrookcs X I ( Whither 1Unnc1h my fw cct hart X II I Once did lloue X II I 1 F1ire womtn X V D~mtic d~rling
X V l My Jouc is neither yoong nor otd X VI I Loue is a b~blo X V I I I A rife XIX Did cuerman
middot XX To lighandtohefad X X I Come fa tro-w con1e
0
I l Jl
iir 01 11 -~
~~~ ~~ ~
t~ ~1
~P J
~~8 L e
( _] middot~- - ~
v lft -amp A
l -
I
~u
Figure 9
-----------------------------~
VLTMfiM fl IILE virh a triplicity ofMuficke
W HEREOF lbt firfl p~trt ir (or t~t Llltt J tbt Voyc~ and the Vbullolc Deg1mbo The Jcflt lbt Lbulltt tfH Yllt 2J IMrt
p1ne1 to fine The third part is foe twoTtcbl~t to 1fint ~it hc 10
lbtAr n- rhll 1~ bullr t-
bull bf ~ Compofed byR obull bull T lo bullbullmiddot
fl fr1fbull1JibullJ~ ~ 4111 Priorcd It london br r~ i JIIiWd
~re robcfoJd l)yS pfn (lw J bt sJ-laquo
ttfiN C01bull1 I 6 G l bull
81
Figure 10
r~IW~- ~~~middot middot~- middot ~middot bull bull
TO THE GREAT lOY AND HOPpound OF PCZ(ESB~Tuf ~Jgt rUTUfF
Times H E N R ~ E P ri nee of lf a cr Duke Cl~r41wt1 ElJieoflhc CIJjtJirfbullibulltifttfchtjltr Knight ~fthdiDIN ribkoJenf
dl G4rUr Hcyu App rant 10 tht Rcllmcs of Elrjuntl Scotbnd France and JrdoJnd
Ojl Exrelknt Prince T Jr flrengtb of our d rt (] houJ aythrrPuaf(ncsgt) cannot endure tbc force of Soueraigne
erltlCpoundOf1tcncarcitwemay tU ncarc u to you your poundarcJ TPillyet_ be arc to deale wuhfottndes tbougb nor to
dwcU there yet to pajfe by tbcm1nd by teJiJ to learn to tune Jenjcs lJ a nper a~c c-A lmo all attr k[JlPicdge ir drallme through the ftnfirtbey arc the Saulctntclligencfrf -wbcrciy (he paffith into tbc -world a11J theTPorld into bcrttnd tJntangl ali ~(than )there is none fo learned__ a1 the tare~ none hatbobtainedfa cxccllrnt tJJJ ufrtJjodelicate1[a ablrufe fo p_irituaJ thAt itCIJtChftb rup TPifde fo undet in tbe Jitt and brin~~J tk Under tJ goucrtJC1fttnt ntJt to he expreffi1gtbut donegt and done by no sQll buf it otPn~ Thereu Mufic-k in all thinretbttt ettery tnan cannotfinde i t Ot4t)
iltampAJJjeofbilo~neurri11ghee MJlft baue 4 harmo1J_J in hiinftl[e)hat hold goe-about it and then bt u in~ good way 111 be that ht~th a gwti ~artJ in d
oudfot1llardtUJ to our focultit [ onceitc u but aTPtll tundejat~ry done in tinu ~ pLsce ~~~ ex(ellezt fintencril hut a TPell lHn~e rea(vn Dell nit ltgethtr P ollte or the fubt efl therof a [omit 1on IJ1ellltbu6utll lite I tuul middot e
Song T~htr~-allr41ltl Joettgrec ana lnccte together~ith foil C011ftneanti lJartiJOnJ one Jertung otherand cuery ont rhemfeltlet in tht Jam~ lAbour ButnolP] intrudeintoJOilr llrtin whicb 411 pnry(anJ ftc hoper)thal q oJ ~iff giucyou a oJy aru profpetOI~S k_JoIIJfedge anJ t)en aJ orhtr eJ rtCS foal profPpoundrnder it Our gracious S tll7aigt7(Tour H~h11ei dear FatJcr) hath ar11trd atul conortedjomc great prOfifiolH areaJy~ fi~eh1ittleoneJ dJ this )oo e for itgtand heg il cfw OJ4 your p ri nccb nature promi[eth it J hich m4 es nv boJJnet bopefor p4r on ltJucbfiifc tne(mojl exctllcnt Pr1nce) )ourProte8ion Ph(f1flt)on41lowJall Qtbtrs rPill conrmtnd theircenfitrer n A it fobulluoflrlikjngthst ot~~rraquoJift1Pold Jifpift me bull EN en your n meJ the forefrTJntu ll charmifor ~~talttiOHl trmgtu ThAI praJtng thatyour Htghnt IIJ aDtaet h~ttte dtJ tttre t~be te alir bulllltuJijingulj1J ~tht _fo14tuJ of lTlCth l necl tftJOUr Higbnes feet
Your Highnes in all hom blc tl~~tJt AIIJ cruice
RoaampampT
lo N s
82
Figure 11
- ~ H c ldndc A pplauf~ vherevith I hau~ been~ revardcd in n1y former A yrcs hr fuch Gcndemen as can iudg~
~~~mJ Imiddotb middot Y the e bull are~ an not other 1n~ns Echo~s hath nov du s ~ middot durd t1me gmcn n1e heart fron1 then to hope for the
like in tbcfe V hich l hauc corn ofed cuen to hew n1y
graticude rovarcles them I lulO eucry Father is paniall ouer the i ue ofhis body)and hauing his iudge1nentcorrupced by Insaffecti- onis VOn[ rofpe~J e bis Chtldrens prayfesaccordingto hisovn de fires rather the i1 I he ir de f~r ts 1 t tna y bcJ h aue thuS oucrlookcd this iffue ofn~~ br3iue whereforel wiU onely comm~nd my pur_pofceto ntakc tlus lail my bdt expcchng to reade the rruchof my fdfe out of thy reporc AnJ becaufe ant notignorancenough)to b ~egroffely taxed by any of our cunningJvlaiJlers nor bigge enouamph to beflar te~ed or c n u yed 1 hope I 01a1J not be driuen toe nq utre out my en~ 1 middotes) co heare of n1y fa~cs nor to befpeake mylriendes~uour F or ho1rvloeuer l an1 fe t in an vndetfortune thac hath need ofampicndlhip y~cit n1y Vorl e~cannot 1ufiifie n1erny wordes Htalluotl bad rather dye a be g r 1tbcn Jiue a boaler what skilltimeand mycontinuall
radifehath biucnme)hcre I gladly impantocuery wel wiUert lat gr(tuntcs me buc acc~tanae for my paines And fa I comn1it my icfe to thy cenfuse1 F arevcJI middot
7ohertloner
( middot
83
Figure 12
A TABLE CONT AI-ning all the Songs in rhis
BooK E
1 ooenotO do not prize thy be11utie 2 middot 73ea utic fote bathing h y a j pri ng ~ CjoctobedfrJJcct6lvluzcgttak thyrcjl 4Shalil loaktampoenogriifc 5 ~Pbar1jJ fpcd1t1hert 1 leafl cxpeEled 6 Slpeetcijyoulik and lotte 1ne fliJ 7 SetifetrothledrhoughtJtofgh 8 Scinrhia~cene ojSeas and Lands 9 rB la111enot tn) chee 1 I l o There is a qardci1 in hc1 forc 11 S1reete Loue my oney Trcafr4re u ~hinkft thou 1_ate to put me doUJne I) Jfhen willtltfounraineojmy tea res bedrye J+ F lye ji-o11J tbe TParld 11 Happy he botofrraquo etebomc retirdc
-Thcfc following are for z Tr~blcs
l61Jiftlaine thntjoll amph Jilfne 7 middot o) et)erchangeandjjttre not
I8SirctiuftJijJAineh 1~to ri t
19 cuftler ry hands lo vh ue lgrt~ceintreatetl ~o Oft haut fmJe the cartfe to ftn e ll J(o hAuefleamd-mithmuch4doot~tfpjl
B
84
Figure 13
ORTHE FOVRTHBOOmiddotICEOF A Y R E s
The Firlt partisfor tbe Lute poundVO Voyce s and the Viole de G ambo The Second part it for tbe ~amptte ebe Viole and joure V oices to Sing The 7 bird paramp
is for one Voycealon~ ono ~he Lumiddote the llafTe Violeot to bach if you pleaf~ VYIrrtoj~ tAlo ut ltzlitn AJrtt middot
CompufcJ by R o bull l ~ T 1 a bull s
2f trfont (intIJ J1fJJmiddotil4 iMMJifl
L o P n w lrnplintedbyloHN WI~ D T andaretobcColdcbv StCO-rt w TElSO lol inPowlcs
ChMhmiddot]tlfd)bulltlhl SlJt j lit Cfll~middot l o 9bull gt
-----
I
--- 85
Figure 14
1
- ~~
TOTHERIGHT YV 0 RmiddotS HIP F V L L AN D VV 0 R--
thy Gcndcn1nn Sir I o H N ~ E v r N T u o u r pound Knigbc pcrptlll3ll liafpinrffe and [or~tcrlt
~~)1-lpound--- -- fmiddotts not vnkncvne =nco your wcl deft ruing fdfe 0 R igh~ V Vorfhipfull that not long fince 1 cooke n-1y
V~tiltttm )a[t vith a refoluing in my ldft lHter co
put llfh aoy VOdc~sof che f1mC Natllre and Fan ion VJlereupon) betooke n1e co the eafe of n1y PJIIov
middot where SompUI -auing taken poffehionofmyeyesand u 1orphttlf the charge of my feofes it happenrd
~~~~Mmiddot~~~bull rnee to fall into aM uftcal dreame wherein Jbulldl middot nc~d - to haue many opinions and extrauagant hun1ors Lf
di uers Natures and Condttionsfome of rnodet mt rth fame of a marc llS Louc ~nd orne of mofi diuine contemplacion all (hefe I hope 1 fl1all not gue any dtilafie to the eareror d nde to the mind eyther in their words or in their r~~ ueraUfoundsalchough it is not nec~ffarie co relate or diuulge all Drean1es or PhanrafiesthatOpinioo hegcrsin lleepcor happeneth to the n1indes apparbull[i onAnd continuing long in chis my dreaming humber I btgan to avake anJ vp n my eyes v ndofin~ l bethought n1 y fclte being full a Vak~d aJu itlng n my n1ind Vhom~ to dec1 and chute as a Patrone for the lan1~ l Vas eafily in -ued to n11J~e choice of yqur V orO~ip a3 one to V hom~ I necelfarily ou ht
both lou~ and duety l nJ howfocuer l m1ght feare that you Vil not adamp0
ledge it yec in thlt Nature ha th inricheJ you Yith more chen ord1nlrie know le oe in th ~ Art~ be~inga Vi ntsofthat Lo~t~ Vbich you haue ahvaycsl ffor
ded to Mufick gtI en1boldened my fel fe the rather ro pre(ent it vntu ycu Accept itthen(good Sir) as a T oken of vnfained Loueand a e be
worthily Jue ynto middotyou for your many fauours done to him [hat is
uft)middotour lforhiju conJmaund
----
86
figure 15
Thi~ Greetin ~middot bullbull
~~~~ HoulPhofo dare itcbeJ ltJith the VJrietie of opinion h~aring thinr oraquome otlJdtJf tJc ecchqc nuerbcrtJ~ ing otfJeTJ fubflt~nCC and lmprofit4hfr ~n it
middot jtlfefhclpt s to tbe IVorld comfJrtaJie liJc though to thy orvne ~Je bttle middot~~~~pleajurcLJ retjon of)lnch-umiddotirbl~ctn[ure I fpc zlte tot bee m ujirall Mo tuusthotljimiddotcm ruboft Jucctie IUimhcrr ~1 J rajiy pafeJJ drop1 foil in tbc jhonre Dt4l
)ithlrjfiprofiufcomprutmiddotthcetothqhlt nuy Jr4l tbatjlitr int0 11UJUCJCf and ltJill twt tbcncertJithout much troubli) or tbuu rn t JJ Jfper[el iulgemeiltgt not oneamp art afo jeniru tofecing kJonde~~c hut moj fo ttlty f ct o d jcruing i~Jdamptflr]fL~~gtg 1110zte r ctU of the 111oilpurt Bilfoaud Jmoothiu~ tbt~ plztncl Citttl ~ rvben on ely thine on~ne opt 11iltJ1J it more nJrinc~lcd and more vitiotH mit ~( then grcjJcr10Yle lo tbJt 11 a brujh 111
jcFlcdlPilhfithgttbott ralbcrjomiddotlcfl theti iiMI( pebullje( 41VWl) I ha~1e jlooJ atthi11c e lho1PJ andh~arJ tbcl prop~Jtne cur a 1 dlfit c1 bcfl J(ryu and 1tJith thy lntu~zde ref 1b Jot f~rde~J rfl gnoh iy l4J1l ltJJilre~ ~nil f f~ renot g~eaty_tJat tboul~iltlay to raquo1J ciJatg t 1 111 lD vtfu111C )Oll11 ~Cttrrag1tRf 6ecaufe fft011tied a r ~nuch but 1md~rflauJ me tbou-ns ~VIitll dojcanterdtriur Ji o 11 tba t JCrue fPlaineSong charit4bletJtlm hers)and tbotl (hale fnd harb Joicr I ttr~ ojtrtl t1 J0te ahoue pound redr1c el hJ tn~er
izulgtment n bicb 1 htrc4Uc tht of tJmiddotorPinrl by RJtler are as orr nelll cmne Lutf be~ -_ ing ofrJany ftri~I(CfIJOt((ffamp tJjJJlmlcflr ~~~ ~dllefittlreti1 praf1i(tput fon~4rd it1to
dcjerurng Dst4ijtaiJ rr hH nIJ aduerJI ure I r nomiddot rtccd but drtanze) and utJat art tlrcamei poundut aiJie fCtjcfi iotJgtandjcttrall ayrc s 6reathll)~ Jarmonio111 llilijperitJgt tbongh to thee difcordlmiddotet toolbcrs indffirent 1rvill not ttY cxcellel~(~ becHfe it is 4J
othen otflce 110ttni1u 6ru let tbcm6~ as thtY arto~lmiddotcn propuu tul my p~inct _(rt forth j ar pleafurcgt uot for pw1HJIc~l poJou Jiucfl itntrginatioiJIJO but aJ a fhorPrcjt~llitiJ i1 ~urcdfuil ft~fouJ~ 7 jJtUr m fmiddotlje atlrajlaJJd wrl(ay fo et4er bY au otbmiddotrj lPhofe IJ bourfhJI vfJ(t Alujt~udl uuulu~ztt -~ Jbe rmeiy rPiug fJ IrJe courage being tl1e mofl pltttfo~~ 1luice ~(11~ 1) nmiddothotjnmiddoteet~rc J t t11chcr h 1m to hcaiHIJ itfelf~ Jt ir Jjara if a thi r pztt1cs rcpt ntgood romm~ndJti~Jniand it lf t~ttr Ulrtlll out of 11 Flint itJ the toll ith l hou ntHer rl ink (I u ell of di1J 1 Jn ~rlJ bull(rt in tb) fjto v nri(Jifi1 encr aJ l lJ Tt~tor jranJ tbr I ~ Jllol middotrc fotdtlneuct Jnn rbcc 1~1~ it~ irune be 4J thott art a h1mp of Jc(onnity lllbm I Jjhonbrcldt i11 tbe Ufvdr ampi diAI~ir~e nd 6rontht forth b1 b~n~iulr l1emiddot g~r ~ t htftt r1 11idn fc to ~til t i nc m n rt f
j i umiddotme lc u todrplrt Jmiddotor ifnd J1Ntbout it J $111 gonec rtltfic o~ til)middot crnfitrillifi arf jJ~IIy p( ~(n 1dcd thuu ca1Jjl110t thiole tlrlnd tcrefurc art crufl tiJ thy [raJie 11 IHr pound0 1e btu (rttclltJntl being 6on1c wit b rce tb irJ tly bc11dbit eucryeuronJC D47111ele t jJ tbir orwbat rijeboncfl iudujlry~nxcr th) ~111 egosip trJo
fucwdl1f thou wilt in ~in~llclfeot hoi~ tlly fClfltfitgtm1inthcr cupmg
87
Figure 16
lee Caldi fopitmiddoti Samor nfltJ c t~t du119Uc
B
lO
l~
------
88
Figure 17
Or [he tift Bookeof Ayres onelyfor rhe Lure che Bafc vyoll J and the Voyce
[ompofedb) RoBs R T IoN E s
QEe profontjingula mdta ibullmant __ _ ___________________ __ middot~-middot -middot middot--- -
L 0 N DC
rrintcd hy tlbullc Afigur~ ol ~~
Jij0ilfm lJdr ley t 6 1 o
I 89
I Figure 18
TO THE TRVE HONOVRABLE AND ESTEEM ED VVOR THIE THE
1 f q H T If 0 7 S H I P F V L L r If E LAVY vv R 0 T ll
~~~~~~On Honoured Lady my ddcfl anJ firft iiTuc hautngthr(ud fo ~middotdl vnder the protec1ion of your Right Honourable Facher blame not this my yonshygell and h1tl Babe if it dcfiroul1y fecke ampnctit~ric
~ with your fdfe as being a mopound1 vonhy branch frotn fo Noble and renov1ned a flocke It is here uarie tc I
a - your whole houfc noton ly to be trudy Honoura7 bl~ i o your feluesh ut to be the fa u ou rers and fu rd1ercrs of all hone 0 and crtuous end~uourpound in others And [hJt n1akes n1e fo farr~ daringas ro prefunle to offer rhis o~dicadon to your fJire acceptlOCP- AnJ hovfoe uermy defeCts therein may happily (or rather v1happtl y) be n1any ~t an1 I moficonfiJent(and tl1atgrow~s fion1 tbe worthinefleofyourowne nature) that your 1-Ionourable minde middotviii he plea fed (fince it cg s c fc lfc moll humbly in your annes) to giue it villin~ eqtcnain~ment and to countenance it Vith the fairc Liuca ie of your nobl~ Name It may bee flighted in ref peel of its ovne valev bur your f1uourable acceptance
wil~ bot~ grace it andmy fdfe a~ a poore Table hung vp euen tn Pnnces G lJoncs ndt for lhe VVoo ~hut for the Ptdurc
And fo (Noble ~ad y) not d~ring to bee ir~Ious of your rlonourable entercaine
menc I rcll
-I our LaJyjhip Jellcted in all dutit
I
RonERT I o Npounds
-----
~
90
Figure 19
~ )~To the friendly Cenfurcrs
- Eart jriend1 for fi I ~sJIyou ~(you pltbulltJ(e to acctpt my 7ood lllttJning i prefented yot l~fl rraquouh a Vreame i1j
middot wbich 1 doubt not ttt Ottr jJJta(ies htJue receuud fame rcafota6e contentment and now f JO~t pleaje to lee 1l9afd ortt of that VreiJJne f jhaU for your rerre JIJOIJ 1nd rcfi pound(bing guide you to tbe_1v( v s ~ s G A u ~
~=-o~-o~~ o EN Pberrytu (halljindj~cbVttrittiemiddot of Jelighn tiJt quc-ihunltfeJmiddoton n ill wilitt~Jjcnd fome time in the vien
t rrtof 1 n )Ot~r 1jentr411Ce into -which Cjardtmiddotn) yotl jhJIJ mtett ~ith Lout 1 CJr r and li6tl6ht bHt L4Jur frt foortb at lt~rge i11 biJ colourrby JFay ofdecypht t in6 bim in hit 11 ~1turt_~ ln the midfl ofzt yat4 fbaU find Lcmt rciefleJ) vpon t~rLnfu~cie 1nd b1rd mtajuteoj-ingrt~titude T ruching them that ar~lourrt gtI cr1 tumiddot tl1em to tltiro1~ne Ctl~(ure in Lout I defcripttou eJrul nowfor tht end it tf )liJn~ble UJ anorbcr ~ tur)for tbedcligbt oftht ettrf tnjamptUJjit opbull~1io1 14111
nM ft lrogant loco 1mf1Jd mi1te onme gitt neither yet fo Jegtnerate IU to be-g )Uto tdl(rartvn fftbejt d hgbtroFloftl(rt) or)4r(tico[PruittY ruaymJ
)1 ~1~Yt J -t rle _rjtng WJOffr_(ut i 1 jla1 bl gitJd Othel TPije J raquoiiJ )O)) nelIICr to J~middot t_fot~gtPluu orgraft and my ittbourJ butcrflrtb jh111l rtaft to trou61e)middot~ott
iJ Jt41)middotilln retlr lniflil r ~-tren ot will f1etunty ourctnforesl and dcfi~ your malice if you drJfe iht 1 a111 rifolute 1
ijyou11[e me r~ith rtjfe(l 1 bidJou mojl bearti_v
R I
--I
91
Figure 20
THE ry A11 L E
~Ouelouc=
middot~ tpound1 Soft Cupid fofi middot~ Alec 1 the fiUy 6th begu1c 1middotmiddote lounuhtcs ~~noake o =okin~ hy ti~( Riocr ride 1 n nnot (n 1fc but liuc 1 (mile loy in lhy Imiddotmiddot ( S
How rn~uy New yccrcs luuc grow ~n nldc There vvas lt~~ ll lcptCoJrd bull hn d~d litH The Sea h~h 1nany tbo~L~nd llnd Omiddotlmiddote dimiddotJ tnt thoHgh 5-both cLbc bullnd Sow l ~m b t~rrt ftom piuyh g th rc h 1 2] lately in a d1 came There wu 2 wil y a ddt My f~thtt fampinc would hluc me uke Mv loue harh hcr trot L ue bctro11d All roy fenC~e thy tweeuncfl~ g2incd T middot t~ CC de1fe A fpc wnh dyna voice Ddwld her I d ct like wire~ ofemn Gold 1lhouwb d1lt 1iogs ufmy ddirc h( dipt _l~ht 1 rcdccun cnln cu on witu mtnc ryet
middot
92
I Figure 21
Robert Iones bull XIX CANTVS
-~----- middot_ - ---------~- htl_ _+--=--= =- middot __ - -middot ---=---- - middot- --- -==== ramp-1==+~- - middot -~------- middot-- ---- ---___-
kt her goc
rtmiddot-w
bull And 0019 lbc rwofa dit but hu Nzyny)l moRneoctdlyou An yri I will ltis fo ( 1
A5 tlaquobelt tahha ~hen loucn IIKGC
5trt ~oma~oo tk ~ ~ Tatdl you mateilis necdldft~ I nnnt md c u hew by middotthe 1ooe And tbcnlQll chis wu ooJ~
93
Figure 22 ------~--- ---
bullsAtlV
llil 11 ~ middotl llh1J 11111 lllll t ~ I l ~ ~ I II II II I ttJ S amp I a HIH lf lll It g I J ~ I L~ Ill~ lt lll
vi i i II t middot1 ~ ~ I I II I ll
r
I l I I
l I bull
l 0 middot bl
1J 1 bull i ] _ Q
middot a middotmiddott kl U I I I I
_____~_=~=-~JIlW~ wrong bdccue htr not it wu not fo I dJd but lilfc her I did b~ Lilfc bcr aac~
-__1---------- -middot- ------middotjmiddot------ ------------- - --- -~-- middotbull - ___~__-- ~
~ ~__ - ~--- middot --~--~
----- -------------middot--------------------===-================-=-=~--middot---------
4
Figure 23
Rob~ rt lonts Xlr CANTVS
~ F 1 r ~ l ~ - ~ ~ - P r lt1 J c r bull ~ ~ r t r- r n t b c- - c
- middot (~-middot~ ~ ( - ~)7-47-~- ~ ~ amp --_-_ ---_- ~sectC-~---_---~- -(--~- --~-- -- -~ -_- - _ E - -- middot- --- --~ -L-~L-middot = middot ( -- --~middot-- f -=---~~ -77-_-C_ - t _ c ( t2 - -= ---~---- -- middot-----------
middot~ middot
n_ tt=l= -iIt~_plusmnt_~~poundltr=t=~~~=middotumiddot==---= -_ ~t=-==t=-=xtptl--~=t---=-t-x~-E~=-------
go there be many mo I fcltC nor why then let her goe 1 care DO[
---middot-------
l
Far--cwt UfJrewdllincc d1ls 1 finde it llllt 1 will not fpCod more nme in wooing you
nul I iH cce d w htre lfl mivfindhctthcrc S1=-ll l bid hct goc Vh1~ and rll Jocf
Sh~lbid her go and fparc not tll oo oo no I date noc
J Ten Lhoufand imes f1rcwcll yet fl2y I hilt Swca kilfe me onceJ t t ltdfcs limcbcguic 1
l h~ue no pow ~r lo mouc
How oow 1lt2m 1 io laue W ilr d10u nec middotbe gone Go then all is one
Viit thou need be goncoh hi~ thee Nay 01y ~nd doc no lnoampe dcwcmec
Once moce flrewcll t ~lorn rodcrrwrct Bids oamp adcw to her due holdcs Ill bm
But fcdh~ r mnR kgtof~
7hy loucwbi h ldid chufc Go rhy waies for 111t_ smiddotncc irmay nOt k
Gothywaiesfor mehucwhithcr Go oh burwhcrcl may come lhitber
r Wh~cCh~D I doe~ my laue is novvdqnr d Shccinsramiddot~ -a -c iscrucUhart d
Shcc would nor be intrc-attd Wirh pnicrs oft ~~ -J neccomc no more Shall I die ther(forc
H tb~e come no mor what c~rc II Faithlctbcr go or c-owe oa
(
95
Figure 24
---middot -- _____-- ~ -- ~
I
- --__ -----~ -------__- ~-~~ _ _ ____ ___-__ -
- middot --~~--~ ______ ------------111middotmiddot-middot ~-_--------middot ----middot---___- ___ __ _______ _ ____ ~------~--~-- ~__~___ __ _
------ -~ _~-----~- -~-middot----------------
96
Figure 25
204 SONG
CoMIOS-U uv middotnoLn nT Jor-o Js
~ - I middot middotluoted by ShakbullHiU~are - ~~~~ homiddotm tht 1 Hnukpul1lliOI
middot~ h-51 Jggff==r middot r~ Fate- ~ wtdl (l~arl loe since thou wilt needs he gem~
-=-t middot g-one
luC 111inn~ thnn wile IHls lu ()UC
J J loftgt since thou rilt nteds middot lumiddot
1 Jp4 J =-amp=imiddot------middot -r~--t-11---+-middot r=~-r=----middotJ__tJJ middot Jnine ttcs tloe tth~w my life i almost done
--
fl-=t~ -
IPg I WlH y middot t
~fLSI==r=f=lplusmna min~ eie doe _ 11hew
r nbully middot lite middot is almost douc yetmiddot J wilt
rplusmnHmiddot ~ ~ff my lilc iJ ycmiddott I will
Imiddot r--d E4 m y life ia almost yet 1 will
( -~
~__~middot--==--==t~- ~~plusmn 1
ne Vtr die HO lni1J t I ran tpit 1lumiddotnmiddot l)l- trHlll)
~- Jl==q=T-=_==~-middot- ~T~ - 11~~----e= - =r=-=ct ~middot - r--==EF~----=I-~-===+=FL0 - middotFJ==Z=c~~middotmiddotmiddot- - -
n-=- wer dit~ lon~ as I taU 51lio tlu-nmiddot ltl ny nm
~MIEF F i t~sect E tr l I c=middotreg~-~~~~-D bull v~r dit bulln oug a~ CiR hllie thn c 1-tmiddot uuuy inu
a~ t==t~~ r _ q~~~-=-~ ~= lllt - tr tlic ~ ~0 long lUI I I can illh t1wr htmiddot Utmy UIU
97
Figure 26
LO)
J t W=- --~4-~ middot thoughtlmt 5heeclre gomiddot -there he rnan u1u I If~ -1110
I I b P c ~ -B - j- -k=tJ4--t==fi=4D_ I ~middotrt thouKb that Hbec llo e Jeo fhuc be nuny mo not
not 1 _why tlnm let laer gne 1
Eamp--e - ~ - 1 r
1
uot ~middotby th~n let her gne I
1 F~nbullwell fflttbullwl1 sintmiddot tlll i I rt11ltltt li truemiddot I will 110t 11p~ml rn~bulln~ time iu wouing- )Oil~
Unt I lt~ ill fttbull(bullk tmiddotl~ wlwnbull If I m~y fhnt l1r hlaquo~tt
Shall 1 hid hlr gnf hat litnl if I de~
Sha)) 1 bid lwr gne and middotpar~
0 no no tut no 1 dare nut not
l i
Ten thnmbulland bullimt-11 lart-wllII)Lbullt 11taymiddot Jwh ile Swevt kisse me onctlfmiddotWNt kis~d t ime b(J~middotuile
l hamiddote uo flPWer to mmmiddottbull lluw uow arn I iu I on Vilt tbon n~tgtd8 be gonemiddot
Go then) all i~ onbull Wilt thnn umiddotN)~ btgt gontbulloh hie the4l Ny ~tay oUHt lintbull 11U lnonbull thmiddotuhbull lll~middotmiddotmiddot
J L IJ_ -
0
cnr-r lOt
-~ 1-e lg
care not J
JJi I 11laquo1 ) ~ar-e not -
0 IIi
ca re nut
4- middot bull ~ Onc-e more fu~wbullmiddotll~ l 5ee )Qth to dlaquo part j middot
1
llid R ull bulldew ifl lwr that l1ohtfbullbull my b umiddoth Butmiddot ~~ting I nnut )O()In~
_Thy love whkh I did chuite
Go thy wRie Jbr me _ Shlfe itnu1y not he ~ middot
(4) Uy WHit~ for me~ lu1t whithfr~ bull 0 J - f
Go oh hut wlu~re 1 mRy come th~~lur
f bull bull lmiddot I It tihaH I doer my lo~ it now middot-middot~middotpart~middotd ~ Sheto is ttll fnirr asmiddot6hee ls cruel1 harted
Slu~middot would nnt h~ intr~ated
With pra irra oft repeated ~ _ ~ If slw~ f()rne nq more middot middot ~ ~
Shnll I middot11~ thtoreforf I
lrsh6e come no mor~ batwh9t cbullr middote I~~ -1 FHifh)rt htr gnor lomfor tarry
98
Figure 27
CANT VS vI I I rCDERT loNE~
== ttf=y-=-t-===~=~~plusmni+==---=middoti--=rr~ -t=-r~==t-=t= W sect~~= - =i middot =clt=cL =~-t=- -middotr ----=i_ --~ ~-- - -middot-- middot-- --middot--- ----middot-----l- --middot----middot- ---middot middot--- -middotmiddotmiddot-
Clut no I phinrly Cu how chou wouldftbinclc~ucauurc l ~a~ t c11rll not to gofatbullu a
1 r 1 l 1 l r l lmiddot r ~ r i r --- ~---n_plusmn ______ ~ ---J middot- ~ s L -d--r--gtlt---- J LL---- J ___ c_ -------j- ~-n1l ~1~( _ _ il_il_ t_ ~----nt_L- -----_[c______ -+~~ 1--L- p ___ -L- -~--Lpound ____ _ ~-____ j__ __ + ------ l -middot~-- ~~- l --1 __ j_ ______ (__ l ~10_ -~---- -- i - -- - - middot - middot -- - ----- - ___ _ I _ __ --middot ~-~ ----- - 4l_ __ ampJLt __ --------~----P-1---~middot 3 __ c__l_J _ _r__-ltJ ___ _ _ _____ L ------
- n
--~- -~--+--middot-1--~ 1 middotmiddot---middot--middot~---- middotmiddotmiddot- -----~~-middott- =--~--- ~~ - middot~---iL-i- -~-- -- -t- r middot-~- middot -l middotjmiddot -bullmiddot I- middot -t ~--~---- -t-~~-tmiddotmiddotH- - middot -----t-~T middot ---- -l -- ~ middot-07- middot- -middot-middot bull ~-Lmiddot- J bull---- ~--- middot-t- - -- - --f -middot-- - -fi-l-L- -+- --[middotmiddot -middot-~ middot--middot--middot--1 --middot-- - -- - bull - -f- ~- --I=_ --middotmiddot---- _I __ __ _ --~- middot- _ _ - _ ______ __L _-t _ middot~_- --_middot--r~ -~~~ Q-- -
fuct 1 wlscnrfiO Jic fi~ nofwtctt lhy amp 1 w 11i leU thee why noafuc 1 wu ace urn JJol bullto goc oat bull
t f t 1 ~ lmiddot t r 1 1 t i ----middot-l~a--__ _ __ St_tLi-3---- --~(~ l-~---1~-d- a aL _ __ _ ______ Jtl a_JAi~-11---~-middot(_---+7Jk~-- - [ A--- -----__ lgt __ ~-1 ----lmiddot l _ ____ i-----middotmiddot-----~--L-----6~ - -
S-( _ 1-h_kJ--middot ----middot ~- L-----Llt-S-L----L__L ------- _______ J_ ______ ---Aplusmn- ---__ _1 ____ -middot---bull ~ ---~-~---1 ~-----L---- 3- ~_t_~- - ____ [ _ __ ~-~- -A - --J
----middot-1---r--t---------t-t-middot-----1---middot ------11-I-t=-~ middot ----L-- - -middot -plusmn --- r-middot-~--- ------middot middot --~middot--- 1--~-middot _-middot- --- ~---------===middot ~-middot-b-1_ --middot- - --- - ----- -~---f- ---fmiddot~-- L- bull - ----- --- middot--- -1-- - ----- --~middot-------~- ---- -1middot-middot1middot-middot--t- --J- -middot- -- - -middot--middot----~-----shy--- middot----~-~ ---- - --middot------------- --~ -~middot ------~- ----------middot
firnrurc I wu l lturfi 0 fie fie oegt rwct lll) uu J will tell thee why no
t I t l t lmiddot~ 1 l -L--~- - - middot-tmiddot J _______ ncU ~A ---S-A-------tl- -11- middot~-- - - --------middotbull-- middotbull----t_ _ _~_ 1 ---middot-~ - ll -o-A--AJl ___ ------middot- t------k- Jt-- -~~ ~--middot- - - - -- -middot- -r~-~ 4- ------llmiddot - middot -
-_~------ _ --~-~---t- -~-----J-- -- A- ------~ _ ----- - bull 1 --middot- -L--middot -- ------------ ~- - c --~--------~----- --------middot ---______ z_j_ _______ __ ___~~ ~-L-------a-e middot- ----middot --
J Oncr m()tdrewdllincc fiJI l 1ord lh_ lpcak
1 uJ bull 1rl bu1 (mlIJrcwcll ubull larHIWout lbullrcalt( Bbull middott bullbullo middot ltn( 1 Joe linJ 1hy loumiddot~ 1lltkt 1he -middotioampl
Wl11 1 l olo-u I Tl llcl-1 cro die
Whlll foolc- lnll u aor Y t fq 1 at l (oulc J ~~lfc nor
)
Wocnne ai~Gc h) diJ lllt[ b_im soc~ 1 hdc be the ~middotutccs of uilc fiym nbull
Now tbu hec o dfproucluchow uullhc cuct loucroe Nay bu t n he gCncbull
lhcn I am bullndunc Nay lnn i1l1c ~oneO hodliD
fl(c-uy hing lU ~CCVD oJcihua
vi gt VI V)
lt a
99
Figure 28
1 tn 1 I I I II
ll 1 I l middotI I I ll l l l tl I I i Imiddot i I i II I 1111 ll I l n I It i i Ill l I d l t I I I ~
f Hif tt I I ~~ I if t
1+1 ~ a j
thll
ALl V S
I Tl Ill i II L I I I II I I
II II I I rL ll1 I t I I
l i I I I I I I I
Iii 1middot I t
IHL IIIli
I I II 1 II l I II 111 I I I I I bull I I I I I
I bull I I ll 1 I I J
L t I llmiddot II ~ I ~ middott
I I ~~ ~ 1
I 1 t I 1
111
t 1middot II I bull
I tJ It I q I I
~~ I I I I
r
I z-1 __ 1 __ =t=-~-----1- - middot -~--~- ~ -f=middot -t=--~--~- middot~-- -===-middot~~-1 N~tsect t-~--_ _ c ~middot _--- __ _ ~-- c -=-b-- _ ~ ~ =-=-=--Xl =plusmn=
- b--- ~--_ __ -- -----middot-middot --middot--- - ~ ___ - ------------~-
nl rJ iiOr-T 1 -
ArCwtll fond )OUt h iflhcu hbulldR llOt bccnc blinCl aut cf Dline emiddotcbull thcu mi~tu n ll)Ut read my mintl ~~ J411
t==+=i =middot -=+-middot---poundmiddot _Emiddot -~ i=j ~ -ti~- -Qt=~ middot=i==- -tl-~- --~ - -~shy~t ~-i ~----+=middot = --~~ - -= bull ~ _ +=a~C -c + -~-=-middot ~ ------ -----~ --- --- --middot -~ - ----------laquo= ---- --~- middot-~ middot--
but now I plaincly fcc how thou wouldll fainc luuc mc(orc lPII~S Uturflnot hJ I)OCIC firtlft~re lu atcurflO hamp
-=t~-----------r+--tmiddot --1-1-l middot 1middotmiddot-r~--- -- middot middotmiddot- --- ~------ - )middot~-----~----- at-middot_t-~--1= 11_ ~tc=l=~ Ei middotmiddot-r- --tI +middotl =0Etmiddot plusmn middot i irlttmiddot ~ - ~-~ middot ~ --plusmnt-~ - - ----middotmiddot-middot---middot--- -middot- -middot _[ - ---- middot- middot---J -- - 1--l-- - -- - - - - -- -~---middot------middot--- - ----middot-- ---- middot---middot---middot+middot--- -~-r-4- -- --middotmiddot fic6cao fwect Aay ~nd I will cell thee why t~ofurc I w~~ accudl not JO goc at firfll(urc 1 wu accudl ~0 fie no f wcct
100
Figure 29
I
CANTVS
lt ll-rllt 1r1t 1 lmiddottl 1 1 - t4---6 A-A~ d~Apound~-fi------ ~ middot ---~
bullmiddot te_- ~I i~~I~- ___ --=~rmiddot --t=Z=j- = --Lt-- -- - middot--- --middotmiddot -- -----middot - - A-- middot - -- _ _~__ __ J ___ _ J_ - - --- - -----~ n a- L r amp_-4--- - -A I - -
~ - - -bull -middot_[- _ - - - - middot - -middotmiddot - - - lt- ~ Ll bull middot- -- ---_ middot- --- ---l~-middotmiddot -~ middot -~gmiddotr ~iiftmiddot- middot--~11--j~-middot _t~middot ~-- plusmn~~ - _-- -- ~- _ J middotmiddot~ - middot J J -- - J~ ~ - bull - ~ -- - ----= ----middot~ --- ------middot -------- J __ ___ --f ___ ~ -~----- -----middot bull middot- - - middot--middot- -bull- middot --- -- middotmiddotbull--- -1-- - middot- - -- I - bull bull --~-
I
bull A Mble d~middot ~fc wH ~ obin Jhlod - V(c l ~t be cbullJultl J ccc 1uc Jumj
yet r- ~r r middot~middotin hh br ltlt H lmiddotllOJ
C u iJ~~I hbulll hrlll bcruuc h middotlll to gr u rn ductelbulltl-hidkn wJltr ~kinmiddot
then lnauty doft lylo~l~ddn womcnt C )CI
Htf i lly jobJh
4
J An Our-b lr as 1his Rollin I lood
H1i l-1fc free and vnruly Yu [O fitc M~bullri~n boull d h~nood
Atul louu debt payed hu duel y Who111 cur be of Ctnc lmllaiyen could nor hold ia
Louc t~ri th obe)middottd~s mJ a winLt could wiltnc Heyiolly Roh
NoW~ w(nd wt l1olll r ilou1 Robi ro HooJ Lc~uc wuhc woodl bchsnd vt
_our fl ho n1 muU nor be w~lhfiood but ~~nr whelt u fi lld ll
1 h t Ill hclIbull11J h)WUC 1 bullud fo ltltd h( I otm( w r icentW~HJdbull 1 1ootlollnwcd r
lhr ullzllt~~J
v~
gt Vl V)
lt
Jlftl
litH ~~rm ~ middot II
I Imiddot~
I
II tt-1 )~
101
Figure 30
I
102
Figure 31
CANTVS bull III
W=tRW=~~~~==--=-------=--=--=--== 0 lollc is but 3 bhu~1-fwtetmiddott I en r r middot r r
~tP ltm~~-~t----~-
Mu1enorvpon hCI fmili ng lookcs Thinke thtr they ~re bttt baitcd hooka
Audu fncy Loudufranzy~
middot e( not J toy Then breed chtc foch annoy1
bur kaue to coke vpponfuch fond booka
)
L(Jtnt ro fotgct fu ch idle royn Finer for youtbcs md youd1full boya
L~ o~ one fwccte frnilc Thy rrue loue igtegllile ~flOibulltiownc
r c-ur uft theedowne- Jlopund jllmiddot to bed iathcf~ioy~
I
bull
103
Figure 32
BASSVS
---------middot--- ----- ------- ---- -- ---------- ---- -~ ------------- - ----------- _ ___ - ~ _____-------~~~------------ - ----- - - ---
- -- -- --~-- - ___ __
CJ
I
-70-
If other sacred music by Robert Jones exists 1 it has not
come to light The Reformation did much to improve English
Church music However the combined effects of Civil war
supremacy of Puritanism suppressed church services disbanded
choirs and the destruction of organs and libraries by the B
soldiers of the Commonwealth resulted in irretrievable loss
The hatred of the Puritans for the English Church and its music
was so strong they seemed to consider it their duty to root out 9
and destroy every office-book they could find lmiddotluch music has
also been lost because of errors and omissions on the part of
scribes the use of old manuscripts as waste paper and in the
binding of new books and in the practice of sending manuscripts 10
to continental bookbinders The fact that any sacred rausic by
Jones exists may possibly be attributed to its inclusion in two
sources meant for secular use
What happened to Robert Jones after the theatre difficulties
remains a mystery Loss of records because of fire or
carelessness only allows speculation in this area Since the
English style of string playing was in fashion in Germany France
8 ~Talker p 56
9 F~ Landon Hunphries The Evolution of Church Music (New
York J J Little and company 1896) p 94~
10 William Joseph King The English Anthem from the Early
Tu ~or Period t roug_ the Restor_fltj gn Era diss Boston University Graduate ~chool 1962 vol I and II (Ann Arbor university Microfilms International 1982) p 12
-71-
and Italy he may have returned to the continent It is equally
possible that he died in any of the plagues which forced the
theatres in London to close so often That his music still
exists to be enjoyed may be epitaph enough
104
Blank
Appendix One
Sources of the Husic of Robert Jones
BookSong
The First Booke of Songs or Ayres
The Pirst and Second Boeke of Songes and Ayres
Ultimum Vale
First Set of Madrigals (inc)
A Husicall Dreame
The Muses Garden for Delights
Hhat if I seeke for love of thee
There is a garden in her face
Doe not o doe not prize Beautie sate bathing 11 Goe to bed sweet museu Shall I locke to ease
griefe 11
11Jhat if I speed Cease troubled thoughts Scinthia queene of seas
and landn Thinkst thou Kate to
put rre down 11
nt1hen will the fountaine of my teares
F1ie flie flie from the world 1
Fy fy 11 (inc)
Date
1600
1601
1605
1607
1609
1610
1600
1605
1605 1605 1605
1605 1605 1605
1605
1605
1605
1605 1601
-105-
Source
British Igtluseum Folger Shakes~eare Library
British 111luseum Central Library
Hanchester
Royal College of Music
Private ownership Furst Alexander
British Nuseurn Royal Library
Brussels
San Marino British 1middotlus eurn Euing Library
Glasgow
San Harino
British Library Add Ms 15117
The First Book of Songes or Ayres
British Library Egerton ~s 2971
Ultimum Vale
British Library Add Ms 24665
Giles Earles his book taken from Ultimum Vale
u
II
fl
fl
n
The First and Second Boeke of Songes and Ayres
-106-
The love of change hath changed the world 11
What shall I render to the 1614 Lord bullbull
Let thy salvation be ~Y joy
Lament lament my soul cry 0 cry
n Sing j oyfull ybull
Arise my thoughts
11 Dreams and imaginations
uFie what a coyle Now what is love
no date
1601
1601
1601 1601
Folio ms in Folger Library
British Museum Royal App 63
The Tears or Lame tations o f a Sorrowful Soul
RISM attributes 4 songs to Jones
Christ Church Music Mss 56-60
Christ Church Husic ~1ss 439
The Second Book of Songes and Ayres
lt
-107-
APPE IDIX THO
Contributors to Manuscripts nu~beren 56 through 60 in Christ Church Oxford
SEC~~ number CC lmiddot1SS Voice 334 Hus 56 c 335 Mus 57 Q 336 Mus 58 Sx 337 Mus 59 Ct 338 Mus 60 T
Bassus lacking ca 1620
a alternate sources published b transcribed c Psalm 81 in two versions
Amner John~ 1579 1641 B r-1 Oxford 1613
Consider all ye passers by (b) 3349835803378633896 verse
I am for peace inc) (with different verse section) 33463356337~6 3386 verse
Bennet John flca 1600-ca 1615
Great God of Gods 0 God of Gods (a) 334 113 33595 33710133811 verse
To the almighty Trinity (ptll of 0 God of Gods)
Bull John ca 1562-16287 B H Oxford 1586
Almighty God who by the leading (ab) 334110 33592 33798338 108 verse
How joyful ana how glad (inc) a) 33448335483374833748 verse
Byrd William ca 1542-1623
Save me 0 God for thy name bull s sake (I) 33410 33510 33710 338 10 fS
Sing joyfully unto God our strength and Blow the trumpet parts I and II and Sing we merrily and Blow up the trumpet parts I and II not in this source from Christ Church (c)
-108-
Corkine William1 fl 1610
Praise the Lord 0 my soul (inc) 33441 335413374133841 f5
Cranford William fl early 17th c
My sinful soul (inc) 33413833512033616337126338136 verse
Daman (Damon) William ca 1540-1591
0 heavel]nly God (b) 33451335513375133851 f5
East Michael ca 1580-16481 B M Oxford 1606
Blow up the trumpet Sing we merrily (Pt II Take the psalm PT III Blov1 up the trumpet) (ab) 33420933520233698337196338214 verse
Take the Psalm
Ferrabosco Alfonso Sr~ 1543-1588
0 remember not our old sins (a) 33414133512333619337129338139 f6
Ford Thomas ca 1580-1648
Miserere my maker (inc) 334151v33513533631337141338151 f6
Gibbons Orlando 1583-1625 Phd Mus Oxford 1622
See the Word is incarnate (ab) 33495335773378333893 verse
Hooper Edmund ca 1553-1621
Hearken ye nations (a) 334211335204336100337198338216 verse
Jeffreys Matthew fl ca 1590 B M Oxford 1593
If the Lor~ himself (a) 33414833513033626337136338146 verse
-109-
Lord rernerr~er David (a) 334142 335124336120337130338140 f6
My love is crucified (inc) 334100335823378833898 fS
Out of the deep (a) 33414633512833624337134338144 verse
Sing we merr-il y (II) (a) 33414433512633622337132338142 verse
Jones Robert fl ca 1600 BM Oxford 1597
Sing joyfully unto the Lord (inc) 33412335123371233812 f5
Lupo Thomas fl 1593-1628 or fl 1605-c1660
For I knowledge my faults Have mercy upOii me (pt IIFor I nowledge my faults) (inc) (ab) 33418335183371833818 f5
Out of the deep (c) 33420335203372033820 pound5
Mundy John d 1630 B M Oxford 1586 Phd Mus Oxford 1624
0 give thanks unto the Lord for he is gracious (a) 33416335163371633816 fS
Mundy William ca 1529-ca 1591
0 Lord I bow the knees (a) 33490335723377833888 f5
Parsons Robert (I) d 1570
Deliver me from mine enemies (ab) 3348335833783388 f5
Peerson Martin ca 1572-1650 B M Oxford 1613
0 Lord in thee is all my trust (inc) 33488 335703377633886 verse
-110-
Philips Peter d ca 1635
Bow down thine ear unto my crying (a) Adapted from the motet Cantai mentre 334217 335210336106337202 338220 f6
Portman Richard~ d ca 1655
Rejoice in the Lord 0 ye righteous (I) (a)334226 verse
Ravenscroft Thomas ca 1590-ca 1633
0 let me hear thy loving kindness (a) 3343133531337 3133731 verse
0 woeful ruins (a) pt II and pt III Those sacred walls and 0 how these graceful piles not in 334-338 33440335403374033840 f5
Simmes William fl ca 1600
Awake (Away (a)) fond thoughts 33415733514233638337148338158 verse 6
Rise 0 my soul (pt II and pt III And thou my soul To theee o Jesu) (a) 3342833528 3372833828 verse And thou my soul To thee o Jesu
Stubbs Simon fl ca 1600
Father of love (a) 3348633568 33774 33884 f5
Tye Christopher ca 1500-ca 1573 Phd Mus Oxford from Cambridge 1545
Christ is risen Christ is rising again (pt II Christ is risen) (inc) 334225335218336114337212338230 f6
I lift my heart to thee (ab) 33492335743378033890 f5
-111-
Ward John fl early 17th c
Down caittiff wretch (a) (pt II Prayer is an enciless chain) 33424 amp 2633524 amp 2633724 amp 2633824 amp 26 verse
How long wilt thou forget me (a) 33422335223372233822 f5
Let God arise (a) 33411633598337104338114 verse
Praise the LordO my soul a Lord my God (a) 334219335212336108337206338224 verse
This is a joyful day (a) 33413333552336523375233852 verse
~~larwick (Warrick Warrocke) Thomas d 1660
0 God of my salvation (a 3349 335933793389 pound5
Weelkes Thornas1 -1623 B M Oxford 1602
Alleluia I heard a voice (ab) 33414335143371433814 pound5
Gloria in excelsis Deo Sing my soul to God (ab) 33415533514033636 337142338156 pound6
Hosanna to the Son of David (ab) 334214335207336103337201338219 f6
Lord to thee I make my moan (ab) 3341023358433790338100 pound5
0 Johnathan woe is me (ab) 334151v33513433630337140v338150 f6
0 my son Absolom (I) (ab) When David heard that Absolom (ab) (~t II 0 my son Absalor1) 33415033513233628337138338148 pound6
-112-
Wilkinson William Thomas
Hear my prayer 0 Lord and with thine ears (a) 3341043358633793338103 verse
Preserve me o Lord (a) 33443354 33743384 verse
Put me not to rebuke (a) 3341063358833794338107 verse
Compiled from
Nan Cooke Carpenter Music in the Medieval and Renaissance Universities
Ralph T Daniel and Peter Le Huray compilers The Source of English Church Music 1549-1660 part I and II
C F Abdy Williams A Short Historical Account of the Degrees in Music at Oxford and Cambridge
-113-
Appendix Three
Graduates of Oxford
Doctors
Robert Fairfax John Gwyneth John Merbecke John Shepeard Robert Stevenson Orlando Gibbons Nathaniel Giles John Hunday Christopher Tye John Bull
Date
1511 1531 1550 1594 1596 1622 1622 1624 1548 1592
Tye and Bull were incorporated as Doctors of Music from Cambridge
Bachelors
tathaniel Giles John Bull John t-1unday Thomas Morley John Dowland Giles Farnaby Edward Gibbons George Waterhouse Arthur Cocke Francis Pilkington Robert Jones Thomas leelkes Thomas Tomkins Richard Deering
1585 15B6 1586 1588 1588 1596 1592 1592 1593 1595 1597 1602 1607 1612
Author
Robert Grossteste
Robert Kilwardly
Roger Bacon
Bartholomaeus Anglicus
Walter Odington
Simon Tunstede
John Hanboys
John Hothby
William Bathe
John Case (attr)
William Barley
Thomas Morley
-114-
Ap~endix Four
Oxford Treatises
Date Title
ca 1175-1253 De artibus liberalibus
d 127 9
ca
ca
ca
1351
ca
1584
1600
1586 1588
1596
1597
1214
1230
1330
1450
94
De ortu et divisione philosophiae
Opus majus and opus tertium
De probrietatibus rerum
De speculatione musice
Quatuor principalia musicae
Surnma super musicam continuam et discretam
Regulae super proportionem De cantu figurate Regulae super contrapuncturn Caliopea legale
A Briefe Introduction to the True Arte of Music
A Briefe Introduction to the Skill of Song
The Praise of Musicke Apoligia musices tam vocalis quam instrumentalis et mixtae
The Pathway
A Plaine and Easie Introduction to fvlusicke
-115-
Appendix Five
Baccalaureus in musica solvet
Imprimis pro cumulatione presentatis Pro comrnuniis Pro scriba universitatis Pro circuita Pro camera Pro curnulatione sex annorum Pro anno instante Pro horolog-io Pro deric[t]o universitatis Pro inferiore bedello artiurn
Si beneficiatus vel patrimoniatus fuerit solvet pro vino
Si non praebat convivia solvet betiellis facultatis suae pro prandio
vj s
i j s
xiij s
vij s
viij d vj d
xij d xij d
iiij d
xij d ij d ij d vj d
iiij d
iiij d
ix d
116
Appendix Six
Words set by Jones for Leighton
Let thy salvation be my joy
Let thy salvation be my joy Confirm me with the spirit of grace Let sadness not my soul annoy For pensive thoughts too much take place 0 let my comfort still reside In Christ who for my sin hath died
In setting the third line Jones uses sixteenth notes on the word spirit 11 to compensate for the extra syllable
What shall I render to the Lord
What shall I render to the Lord For all his blessings poured on me My heart and soul with one accord Shall laud and praise thy majesty All praises do from thee desend Blest be thy name world without end
Lament my soul cry cry o cry
Lament my soul cry cry o cry Swe et Jesus pity pity me Help help help help for sin I die Sweet Christ come ease my misery
BIBLIOGRAPHY
Primary Sources
The Bible That is the Holy Scriptures contained in the Old and Newe Testament London Deputies of Chrlstopher Barker Printer to the Queenes most excellent Maiestie 1596
Book o f Common Prayer and Administration o f the Sacraments and Other Rites and Ceremonies of the Churchof England WiSh the Psalter or Psalms of David Printed by Thomas and John Buch Printers to University of Canbridge 1629
Fellowes Edmund H ed The English Madrigalists val 35A Revised edition edited by Thurston Dart London Stainer and Bell 1960 The First Set of Mad_ri a_l s 1607 by Robert Jones
The English Madri al School val 32 London-stainer and Bell 1923 The Triumphs of Oriana to 5 and 6 voices Compose - y D1vers several Authors published by Thomas Mor ley 1601
Jergens Elise Bickford English Song 1 600-1 67 5 Part I British Library Manuscri ts London
Pu middot- 1sh1ng Inc 1986
Leighton Sir William Th e Teares or Lamentaciones o f a Sor rowful Soule London W2 1arn Stansby 1614
The Teares or Lamentations of a ----Sorrowful Soul Transcr1bed and edited by Cecil Hill Vol ll Early English Church Music London Stainer and Bell 1970
Morley Thomas A Plaine and Easie Introdction to Practical Music Edited by R Alec Harmon New York WW Norton and Co 1952
Smith John Stafford Musica Antigua London Preston 1812
Sternfie1d FW gen ed English Lute Songs 1597-1632 A Co l lect~on o Fac s imiDelRepr ints
ress t Vol 7 edited by David Greer The First Boeke of Songes or Ayres 1600 by Robert Jones The Second Booke of Songs and Ayres 1601 by Rober ones t1mum Vale 1605 by Robert Jones A Musicall Dreame 1609 by Robert Jones The Muses Gardln for Delights 1610 by Robert Jones
-118-
Books and Articles
Abraham Gerald ed New Oxford History of Nusic vol IV uThe Age of Humanism 1540-1630 11 London Oxford UP 1968 3rd impression 1974
Adams Joseph Quincy 11 A New Song by Robert Jones bullbull Modern Language Quarterly I (March 1940) 45-48
Adler Kurt The Art of Accompanying and Coaching Minshyneapolis The University of Minnesota Press 1965
ArkmiddotJright GE P Catalogue of Music in the Library of Christ Church Oxford London Oxford UP 1915 ed 1971
Bateson fW ed The Cambridge Bibliography of English Litshyerature 4 vols Cambridge University Press 1969
Bentley Gerald Eades The Jacobean and Caroline Stage Dramat~c Companies and Players 5 vols Oxford Clarendon Press 1941 reprinted 1949 bull
The Profession of Player in Shakespearebulls Time 1590-1642 Princeton Princeton UP 1984
Blom Eric ed Groves Dictionary of Music and Musicians vol IV New York St Martins Press Inc 5th ed 19B4
Boyd rbulllorrison Comegys Elizabethan Music and Musical Criticism 2nd ed Westport Greenwood Press Publishers 1962 reprinted 1975
Brown David nJones Robert in The New Grove Dictionary of llusic and Husicians vol 9 p 703 Edited by Stanley Sadie 1980
Carpenter Nan Cooke Music in the Medieval and Renaissance Universities Norman Okla University of Oklaho~a Press 1958 reprint eo New York Da Capo Press 1972
Chambers E K The Elizabethan Stage Vol I-IV Oxford Clarendon Press 1923 ed 1961
Crewsdon Henry Alastair Ferguson TD MA comp The Worshipful Company of ~t-lusicians Loncion Constable and Co Ltd 1950 new ed London Charles Knight and Company Ltd 1971
Cutts John P 11 Everie Woman in her Humor Renaissance Nevs 18 (Autunm 1965) 209-213
-119-
Daniel Ralph T and LeHuray Peter compilers The Sources of English Church Music 1549-1660 Part I and II London Starier and Bell 1972
Dart Thurston t-1A The Interpretation of Music 4th ed London Hutchinson University Library 1960
Dodd Gordon 11 A Summary of Nusic for Viols Early flusic 6 (April 1970) 262-267
Doran T s A Dr Annals of the English Stage from Thomas Better ton to Edmund Keen Vol 1 New York bullJ J ~1 iadle ton Publishers 1865 republished St Clair Shores Mich Scholarly Press no date
Doughtie Edward ed Lyrics from English Airs 1596-1622 Cambridge Harvard University Press 1970
Einstein Alfred Essays on Music London Faber and Faber 1956 rev eng ed 1958
Feldman Martha 11 In Defense of Campion A New Look at His Aryres and Observations The Journal of Musicology v
(Spring 1987) 226
Fellowes Edmund Horace CH Mvo MA Mus D English Cathedral l~sic Edited by J A Westrup Westport Greenwood Press Publishers 1981
_________ The English Madrigal Composers 2nd edition London Oxford University Press 1921 1948 reprinted 1967
bull The Text of the Song Books of Robert Jones Music --------middot and Letters VIII (Jan 1927) 25-37
__________ Tudor Church Music Appendix ~lus D New York Brouclex Brothers reprint 1963
Greenberg Noah music ed Auoen ~middotlH and Kallman Chester text ed An Anthology of Elizabethan Lute Songs Mad rigals an Rounds Pew York ~middot1 w Norton amp Co Inc 19 55
Greer David What if a Daybull - an Examination of the Words and r~usicbullt husic and Letters 43 (Oct 1962) 304-319
Gutmann Veronika Instrument oder Diminutionspraxis 11 Archiv fuer Husikrvissenschaft 35 (1978) 187-190
Heseltine Philip and Warlock Peter The English Ayre London Oxford University Press 1926 reprinted Westport The Greenwood Press 1970
-120-
Hesel tine Philip 11 Robert Jones and His Prefaces The rmiddotusical T ime s bull ( Feb -t-1a r 19 2 3 ) 9 9 -1 0 0 16 8 -17 1 bull
Humphreys Rev F Landon ~lus Doc STD The Evolution of Church Music New York J J Little and Co 1896
Jeffrey Brian ed Elizabethan Popular Music for the Lute London Oxford UP 1966
King William Joseph The Englsh Anthem from the Early Tudor Period through the Restora t ion Era PhD dissertation Boston University 1 962 Ann Arbor Mich University Microfilms I~ternational 1982
La Fontaine Henry Cart The Kings Musick New York Oa Capo Press 1973
Lewis c s English Literature in the 16th Century excluding Drama 11 in Oxford History of English Literature p 266 Edited by F P Wilson and B Dobree Oxford Clarendon Press 1954 reprinted 1962
r1ason Dorothy E Husic in Elizabethan England Washington Folger Shakespeare Library booklet 1958
rtaynard Winifred Elizabethan Lyric Poetry and its Music Oxford Clarendon Press 1986
McGrady Richard J The English Solo Song from William Byrd to Henry Lawes 11 PhD dissertation University of Manchester 1963 This dissertation arrived to late to notate McGradys theories on Italian Monady and Jones
Meyer Ernst H Early English Chamber ~iusic ed Diane Poulton London Lawrence and Wishart Ltd 1946 Boston Marion Boyars Inc 1982
Mies Otto Heinrich PrussJan Castle
Elizabethan t1usic Prints in an East rrusica Disciplina III (1949) 171-172
Naylor Edward Noodall Shakespeare and Husic rev ed New York De Capo Press 1931 lew York Benjamin Dlom Inc 1969
Pagallelli Serpoundio Jusical Instruments from the Renaissance to the 19th Century trans Anthony Rhodes Milan Fratelli Fabbrl Editori 1966 7 London Hamlyn Publishing Group 197 0
Pattison K An Analysis of the Ayres of Robert Jones MFA thesis University of Georgia 1965 (Request for this thesis has been submitted through the inter-library loan service but has not arrived)
Phillipps G A Charles 1 11
-121-
11 Crown r1us ical Patronage from Elizabeth to Music and Letters 58 (Jan 1977) 29-42
Phillips Peter 11 Performance Practice in 16th Century English Choral Music~ Early Music 6 (april 1978) 195-199
Prior Roger Jewish Musicians at the Tudor Court The ~~sical Quarterly LXIX (Spring 1983) 253-265
Poulton Diane Graces of play in Renaissance Lute Music 11
Early Music (april 1975) 107-109
Reese Gustave Music in the Renaissance revised ed New York W w Norton and Co Inc 1959
RIS~t Einzeldrucke vor 1800 Karlheinz Schlogervolume III Basel Barenreiter Kassel 1974
RISM Recueil s Imprimis XVIe-XVIIe siecles l-1unchen G -Henle Verlag 1972
Robertson Dora H Sarum Close London Jonathan Capt 1938 Bath Firciurt Publishing Limited 1969
Seng Peter J The vocal songs in the Plays of Shakespeare a Critical History Cambridge Harvard UP 1967
Shakespeare William William Shakespeare The Complete Works Edited by Alfred Harbage Baltimore Pen~middotuin Books rev ed 1969
Smith Irwin Shakespeares Dlackfriars Playhouse Its History and Its Des~gn New York New York University Press 1964
Spink Ian English Song Dowland to Purcell New York Charles Scribnerbulls Sons 1974
Sternfeld F w Music in Shakespearean Tragedy London Routledge and Kegan Paul 1963 rev ed 1967
Stevens Denis Tudor Church t-1us ic Nev York Merlin Press 1955 bull
A History of Song New York W W Norton and Co Inc 1960~ First American Edition 1961
Stevens John Music and Poetry in the Early Tudor Court reprint ed Cambridge Cambridge University Press 1979
Traficante Frank Anthony 11 The Mansell Lyra Viol Tablature parts I and II PhD dissertation University of Pennsylvania 1965
-122-
Walker Earnest A History of Music in England New York Da Capo Press 1978
Wells Robin Headlam John Dowland and Elizabethan Melancholy Early Music 13 (Nov 1985) 514-528
Wickham Glynne Early English Stages 1300 to 1660 2 vols London Routledge and Kegan Paul New York Columbia UP 1972
Williams C F Abcty A short Historical Account of the Degrees in 1usic at Oxford and Cambridge Lonaon lovello Eivers and Co 189 3
Woodfill Walter L Musicians in English Society from Elizabeth to Charles I New York Da Capo Press 1969
Approved by
CtU w 15()(BKr----~ Dir ect or-VClyde W Brockett PhD
R Hines Ph 0
TABLE OF CONTENTS
ACKNOWLEDGMENTS
LIST OF ILLUSTRATIONS bull
LIST OF APPENDICES
I IDENTIFYING THE MAN
II EDUCATION AND SOCIETY
III ~vAITS MASQUES AND THE THEATRE bull
VI THE SECULAR MUSIC
V THE SACRED MUSIC
I LLUSrrRATIONS bull
APPENDICES
BIBLIOGRAPHY
iii
ll
iii
iv
l
11
21
29
39
72
105
117
ACKNOWLEDGMENTS
This paper cou l d never have been a t tempted without the
faith and assistance of many wonderful p eop l e I sincerely
pray that the results will repay your belief in me
Many thanks to Mr Richard Austin cura tor of St
Luke~s Shr ine i n Smithf i e ld Virginia It was through his
kindne ss that I was a b le to use the Bible of 1615 Mr
Richard Johnson of the New York Public Library Performing
Arts Research Cent er at Lincoln Center was of great
assistance to both my husband and myself I t is because of
the senerousity of Mr HJR Wing of Christ Church Oxford
that I am able to include the Oxford Anthem Mr Arthur
Searle Assistant Keeper The British Library was kind
enough to s e nd sources for the works of Rober t Jone s
I am especial ly thankf ul to and for t he librarians of
Christopher Newport College Mary Daniels Cathy Doyle
Maureen Humphries Trish Kearns Carol Lockwood( and Betty
Smith Their incredible support proves t here i s no place
like home
The following people can never be thanked enough Pat
Silvis for still being my friend Anne Catherine Braxton
for the most awful puns to make me laugh Dr B for his
guidance and support which stretched beyond belief Dr Bill
Stoney for supporting my dreams Dam who wil l get her mom
back soon Jimmy and most of al l my husband Steve the
ma n who killed chauvinism resurrected chivalry and who
loves me so much that he can l et me indulge my passion for
iv
an obscure Elizabethan Composer
I also wish to thank those faculty members who have
consented to read this paper Dr Elizabeth Jones Dr James
Hines and Dr Clyde Brockett May you enjoy Robert Jones
v
LIST OF ILLUSTRATIONS
Figures 1-4 The First Booke of Songes or Ayres bullbull 72 Title page Dedication Preface Table of Contents
Figures S-8 The Second Boeke of Songes or Ayres 76 Title page Dedication Preface Table of Cpontents
Figures 9-12 Ultimum Vale bull 80 Title page Dedication Preface Table of Contents
Figures 13-16 A Musicall Dreame bull 84 Title page Dedication Preface Table of Contents
Figures 17-20 The Muses Gardin for Delights 88 Title page Dedication Preface Table of Contents
Figure 21 92
Figure 22 11 Farewell dear love 94
Figure 23 Transcription from Musica Antigua 96
Figure 24 Farewell fond youth 98
Figure 25 11 In Sherwood liude stout Robin Hood 100
Figure 2 6 11 Goe to bed sweete muze 102
vi
LIST OF APPENDICES
Appendix One Sources of the Music of Robert Jones
Appendix Two Contributors to Manuscripts numbered 56 through 60 in Christ Church Oxford
Appendix Three Graduates of Oxford
Appendix Four Oxford Treatises
Appendix Five bull bull bull Baccalaureus in musica solvet
Appendix Six Word set by Jones for Leighton
vii
105
107
113
114
115
116
CHAPTER I
IDENTIFYING THE HAN
Robert Jones who flourished between 1597 and 1615 is
one of the lesser known Elizabethan composers He has been
claimed not without causing confusion to have taken to
himself a number of QUSical assignments One author asserts 1
that Jones was a composer for virginals Another calls 2
him a composer for viols He is referred to by one historian
as a prominent lutenist to be numbered with Dowland 3
Campion and Byrd He has been called song writer and
1 Kurt Adler The Art of Accompanying and Coaching
(Minneapolis The University of Minnesota Press 1965) p 12
2 Gordon Dodd A Summary of Music for Viols Early
Husic 6 2 (April 1978) 263
3 Elise Bickford Jergens ed British Library
Manuscripts Part I English Song 1600-1675 (New Yorkmiddot Garland Publishing Inc 1986) p 11
-1-
-2-
theatrical manager both controversialist and genial person
Yet some authors such as Edmund H Fellowes in English
Cathedral Music consider his accomplistooents in some areas 5
too meagre to merit mention
In extant records for the period from 1520 to 1620
there are numerous references to R Jones Richard Jones and
Robert Jones There are also references to a w Jones and
an s Jones in the same Stationers Register that lists an R 6
Jones seven times Another Jonest Luke is a
4
contributor of one of the poems in William Leighton bull s Literary
Introduction and Laudatory verses to Teares or Lamentaciones 7
of a Sorrowful Soule from approximately the same period
It is possible to reduce the Richard and Robert Jones
references to four people that is two Robert Joneses and
two Richard Joneses It is also within the realm of
possibility that these rnen were related Their paths
4 Philip Heseltine Robert Jones and His Prefaces The
Musical Times (February and March 1923) 99 171
5 Edmund H Fellowes English Cathedral Music from Edward
VI to Edward VII rev ed Edited by JA Westrup (Westport Greenwood Press Publishers 1981) Fellowes discusses Leightons Teares or Lamentaciones of a Sorrowful Soule yet never discusses Jones contribution of three anthems
6 EK Chambers The Elizabethan Stage 4 vols reprint ed
(Oxford Clarendon Press 1961) vol II pp 380-389
7 Sir William Leighton Teares or Lamentaciones of a
Sorrowful Soule Transcribed and edited by Cecil Hill (Lancon Stainer and Bell 1970) p xviii
-3-
crossed often enough and in at least one instance
scholars have confused them crediting one with the work of
the other Some historians have also preferred to gloss
over the obvious inconsistencies in dates and make no
distinction at all in their references to Jones
The first Robert Jones conceivably the grandfather of
the Elizabethan composer is said to have been a chorister in
Henry VIIs Royal Household Chapel In 1512 it is
claimed that he was a member of Henry VIII s Royal Household
Chapel This Jones furthermore is listed as a meniDer of
the Gentlemen of the Chapel at the Field of the Cloth of
Gold in 1520 Three of his compositions have survived 8
although they are incomplete Thomas Morley cites Jones 9
work in A Plain and Easy Introduction to Practical Music
8 The New Grove Dictionary of Music and Musicians 1980
ed sv Jones Robert (1) The three-part song Who shall have my fair lady is in an anthology XX Songes Gustave Reese Music in the Renaissance (New York ww Norton Co 1956) p 763 discusses this book in a footnote as one of the earlies middott examples of music printing in England which was formerly considered to be a product of the press of bullbullsynken de Warde Denis Stevens Tudor Church Music (New York Merlin Press 1955) p 50 mentions this Robert Jones Mass based on the plainchant cantus firmi Spes Nostra
9 Thomas Morley A Plain and Easy Introduction to
Practical Music R Alex Harman ec (New York ww Norton and Company Inc 1952) p 321 Robert Jones is noted here as a vJelshman active ca 1485-153 5
-4-
The dates for Richard Jones span a time period of
ninety years from 1532 to 1624 Even allowing for
extraordinary good health and ideal living conditions these
dates must at the very least be for two men The first
Richard Jones is listed as the High Master of the Grammer
School for the children of St Pauls from 1532 to 1549 He
followed John Ritwise who was said to have allowed the boys
of the grammar school to perform interludes at the court of
Henry VIII There is no indication that this practice was
continued under the headmastership of Richard Jones The
lack of reliable information in this case can be attributed
to the loss of archives in the Great Fire of 1666 and the 10
confused records of the choir school and the grammar school
It is also possible that this is the R Jones who
entered three plays in the Stationers Register from 1567 to
1569 which had been performed by the Children of the Chapel 11
The headmaster then was Richard Edwardes In 1561
Edwardes received his patent as Master fron1 Queen Elizabeth 12
and this patent was entered into the records by an R Jones
10 Chambers volII pp 8-12
11 Chambers volIV p 381
12 Chambers vol II pp 33-34
-5-
The next two Joneses Richard and Robert have caused
the most confusion They were active during the same time
period and were associated with the same group the Children
of the Revels In addition both men were musicians both
were connected with a theatre troup manager named Robert
Browne and both men travelled to Germany It is a very
real possibility that these men were brothers possibly sons
of the first Richard Jones discussed It may not even be
far-fetched to suggest that all three were related to
the Robert Jones connected with the courts of Henry VII and
Henry VIII
Richard Jones was associated with the acting companies
of the Earl of Worcester in 1583 the Lord Admiral in 1589
1594-1596 and 1597-1602 and the Earl of Pembrokesbulls Hen in
1597 He was in Germany in 1592-1593 1615 1620 and 13
1622-1624 In 1623 he was a musician to the Duke of
Wolgest At this tioe he petitioned the Duke to be allowed
to return to England In 1624 Richard Jones again
petitioned the Duke this time to be taken back into service
as a musician In 1630 he is connected with John Jones a 14
dramatist
13 Chambers vol II p 324
14 Gerald Eades Bentley The Jacobean and Caroline Stage
Dramatic Companies and Players 5 vols reprint ed (Oxford Clarendon Press 1949) val I and II pp 135 485
-6-
Richard Jones entered four plays in the Stationers 15
Register between 1578 and 1594 In 1580 he was the
enterer of the song A newe northern Dittye of ye Ladye
Green Slevesu Jones was granted a license in 1584 to print
a book really a collection of ballads printed in broadsheet
form entitled Very Pleasant Sonets and Stories in Meter by
Clement Robinson Robinson was an Elizabethan poet fl 1566-16
1584 This was in response to a popular interest in signing
to the lute This Jones was not above using the name or initials
of well-known writers to enhance the sale of his verse books
At least three of these books A Smale Handful of Fragrant
Flowers (1575) Brittons Bowre of Delights (1591) and the
The Arbor of Amorous Deuises (1594 and 1597) used the initials
of Nicholas Breton much to Bretonbulls anger These books included
poems by Breton and others used without their consent Other
collections printed by Richard Jones are A Handfull of pleasant 17
delites and A gorgious Gallery
It was this Jones erstwhile actor and printer who was
granted the patent by which the Children of Whitefriars were
once QOre entitled to call themselbulles the Children of the
Queens Revels This patent dated January 4 1610 was
15 Chambers vel IV pp 382-383
16 The Cambridge Bibliography of English Literature
ed F w Bateson 5 vols (1940 Cambridge University Press 1969) p 646
17 Winifred Maynard Elizabethan Lyric Poetry and Its
Music (Oxford Clarendon Press 1986) pp 16 14 48-50
-7-
given by James I It reads in part
Know ye that wee haue appoynted and authorised Robert Daborn Phillipp Rosseter Iohn Tarbuck Richard ones and Robert Browne from tyme to tyme to provide keep and bring vpp a convenient nomber of children and them to practice and exercise in the quality of playing by the name of Children of the Revells to the Queene within the white fryers l8
It is this patent which seems to be the source for
confusing Robert Jones and Richard Jones Several
authorities claim that the Elizabethan COQposer Robert Jones
was involved with the Children of the Revels of the Queene 19
in 1610 However he is not mentioned in their
history until five years later One historian even claims
that Robert Jones is the founder and manager in 1610 of the 20
Children of the Revels to the Queen within White Fryars
18 Chambers vol II p 56 Chambers and Bentley
Jacobean Stage discuss the various associations of Richard Jones and Robert Browne in greater detail than is within the scope of this thesis
19 Edmund H Fellowes The English t-1adrigalist 2nd ed
vol 35 A (London Stainer and Bell 1960) p 4 and Heseltine Prefaces p 171 It is interesting to note that both these works were originally published in 1923 and neither lists sources Chambers also originally published in 1923 clearly states his sources for these patents the original cocuments
20 Morrison Comegys Boyd Elizabethan Music and Musical
Criticism 2nd ed (Westport Greenwood Press Publishers 1973) p 199 Boyd has all references to Robert Jones under one index heading although be discusses the work of the Tudor composer as well as that of the Elizabethan composer No source books on Elizabethan or Jacobean Theatre are included in his bibliographies
-3-
Robert Jonesbull connection with the Children of the
Revels is clearly stated in a patent granted by James I on
June 3 1615 It gave authority for the erection of a new
theatre for the continued training of the Children of the
Revels This theatre would replace the expireci lease on
another house used by Rossiter
And whereas the said Phillipp Roset~r together with Phillipp Kingman Robert Iones and Ralphe Reeve to continue the said service for the keeping and bringing vppe of the children for the solace and pleasure of our said most deere wife bullbullbull by the name of children of the Revelles to the Queene have lately taken in lease and farme divers buildings Cellars sollers chambers and yardes for the building of a Playhouse therevpon bullbullbull All which premisses are scituate and being within the Precinct of the Blacke ffryers neere Puddlewharfe in the Suburbs of London called by the name of lady Saunders house or otherwise Porters hall and now in the occupation of the said Robert Jones Nowe knowe yee that wee of our especial grace bullbullbull doe give and graunte lycense and authoritie vnto the said Phillipp Rosseter Phillipp Kingman Robert ones and Ralphe Reeve at their proper costs and char~~~ to erect build and sett vppe in and vppon the said premisses bullbullbull one conve ient Playhouse for the said ctildren of the Revelles 21
It is interesting to note that Robert Jones is mentioned
three times in this patent
This patent and its various details are confirmed in
other sources of the period The Privy Council was
21 Chambers vol II p 473
-9-
approached by the inhabitants of the Blackfriars area They
maintained that another theatre in Puddle Wharfe would be
too close to the church of St Anne and that it would
disturb the congregation during services Because of a technical
flaw the work that was begun on the building was ordered
stopped in September of the same year (1615) Plays were
performed there as late as January 1617 The last mention of 22
Robert Jones in this instance was the Kings patent
Robert Jones had other connections with the theatre
although he is not called an actor In 1602 he was in
Germany at Frankfort where he was named as a fellow of
Robert Browne Browne was something of a theatre impresario
who specialized in bringing English actors to the continent
and was also included in the patent of 1610 with Richard 23
Jones This year was the start of a three year
publishing hiatus by Robert Jones Appendix One includes
the titles and dates of Jones work An interesting fact
which may or may not be connected with Jonesbull time in
Germany is that his third book Ultimum Vale is one of eight
22 Chambers val II pp 472-473 61 val IV pp 343-345
23 Chambers val II pp 273-282 p 56
-10-
Elizabethan Music books which used to be in the library of 24
the East-Prussian Castle of Schlobitten
This Robert Jones then is the Jones who is the subject of
this paper He was active in the latter years of
Elizabethbulls reign and the early years of the reign of James I
He may or may not have been an actor but he was
associated with actors and the Chilciren of the Revells He
was stable enough to own a house and to enter into a risky
theatre venture
24 Otto Heinrich Meis Elizabethan Music Prints in an
East-Prussian Castle Musica Disciplina III (1949) 171-172
CHAPTER II
EDUCATION A~ID SOCIETY
Robert Jones is known to have graduated from Oxford
University in 1597 It is also known that he was at St Edmund s 1
Hall and was for sixteen years a student His date of death
is unknown although a valid theory has been put forward for 2
his approximate year of birth to have been 1574 This would
have made him only twenty-three when he graduated slightly
younger than n1ost of his contemporaries A comparison may be
rMde by using Appendix Two an outline of works contained in
Christ Church rlusic Mss 56-60 Composers who graduated from
Oxford University are identified as well
Music both sacred and secular was an integral part of
university life Until the Reformation it was customary to
have Masses sung for the souls of the kings and founders of
the various colleges ~ The playing of secular music and
instruments had become so distracting that it was forbidden
at bullbullunseasonable times 11 unless after meals and there was a 3
fire in the fireplace of the hall or communal erea
1 c F Abdy Williams A Short Historical Account of the
Degrees in fiusic at Oxford and Cambridge (London 1893) p75
2 Hese1tine Prefaces p 99 Heseltine combines the fact of
Jonesbull years as a student and Jonesbull admission of practicing music since he practiced speaking to estimate the date of 1574
3 Nan Cooke Carpenter Music in the Medieval and Renaissance
Universities (1958 New York Da Capo Press 1972] p 169 81
-11-
-12-
Since the singing of Masses was required by statute some
means had to be provided for the training of choristers Many
colleges maintained choir schools These younger members of
the college community actually owed their positions at Oxford
to their musical talent and duties In 1547 the Act of
Dissolution under Edward VI closed many church schools but
not the collegiate foundations in the universities the
choirs of St George and Chapel at Windsor and the cathedral 4
schools
The young choristers were taught plainsong and pricksong
and when their voices changed they were preferred for vacancies
in the universitys scholarship lists Among these colleges
were the Schola flusicae of Queens New College Corpus Christi
College Cardinal College (later Henry VIII and nm1 Christ
Church) St Johns College and Magdalen College The statutes
of Magdalen College also provided for places for thirty indigent 5
student-- iemyes) to study plainsong
In the preface addressed to the reader in his First Booke
of Songes or Ayers Jones states that ever since he practiced 6
speaking he practiced singing By his own words it is likely
4 carpenter pp 167 88 388
5 Carpenter pp 267-171
6 F w Sternfield general editor English Lute Songs 1597-
1632 a Collections of Facsimile Reprints (Manston The Scholar Press Ltd 1971) 26 Robert Jones The First Boo~e of Songes or Ayers 1600 David Greer ed
-13-
that Jones was trained in one of these choir schools anG it is
not inconveivable that he was a recipient of a scholarship to the
university of Oxford Indeed Jones was probably at school at
Oxford rather than London and may even have been one of the
demyes of Magdalen College This is especially likely in view of
the fact that Jones had no steady patronage each of his song
books was dedicated to a different person and he was not 7
connected as household musician in the same way that John Wilbe B
and John Ward were involved at Hengrave Hall and with Sir Henry
Fanshawe
The power for presing choristers into service started in
1420 and this practice continued through Elizabeth bull s reign Im-
pressment of exceptional singers men and boys from all over 9
England into service in the Royal Chapel was commonplace
7 Sir w H Hadow English Music (London Longmans Green and
Co 1931) p 65
8 John Aplin Sir Henry Fanshawe and Two Sets of Early
Seventeenth Century Part-Books at Christ Church Oxford Music and Letters 57 (January 1976) 14
9 Carpenter p 341 Foster Watson The English Grammar
Schools to 1660 Their Curriculum and Practice Cambridge University Press 1908 Encyclopedia Britannica Library Resources Inc LEL 10880) pp 155 212 217 Watson mentions several grammar schools in London which incorporated music into their programs at this time They include the Merchant Taylors School St Paul School Thames School and Christ Church Hosshypital It was necessary to know the catechism in English or Latin read perfectly and write co~petently before acceptance at these schools Hulcaster headmaster at Nerchant Taylors claimed that extra subjects like music were studied privately by gentlemens children and that nusic itself was a part of the math curriculum
-14-
It is doubtful that Robert Jones was impressed into such service
He was both eloquent and voluble in the prefaces to his song
books and would certainly have alluded to this aspect of his
life had it been part of his own experiences
The awarding of baccalaureate and doctorate degrees in
music at Oxford was a tradition dating from the early fifteenth
century Music had been established as a separate faculty the
only liberal art so distinguished In fact the English
universities were the only ones to confer degrees in music
There is no indication that a prior arts degree was required for
the Bachelor of Music as was often the case in other fields
Many of England s most talented musicians became bachelors or 10
doctors of music at Oxford Appendix Three is a partial
listing of these musicians drawn fron information in Carpenters
and ~lilliams bull studies Furthermore the University of Oxford
was after the University of Paris the inspiration for more 11
treatises on music than any other medieval university
Appendix Four is a compilation of these treatises taken from the
work by Carpenter
The dichotomy of music that is musica practica versus
musica speculativa was reflected in the requirements placed
upon the degree seeker at Oxford It was as necessary to study
polyphonic music as to study theory Music classified within the
mathematics traditions and the text of Boethius De institutione
10 Carpenter pp 159 89 336 160
11 Carventer p 82
-15-
musica was required by statute since 1431 In 1549 after
Edward VI visited Oxford the candidates for the bachelor of
music degree were to concentrate on the disciplines of the
quadrivium Sixteen terms (four years) were to be spent in
grammar rhetoric dialectic and arithmetic and 11 in musica
Boetium Admission to the bachelor of music granted the right 12
to lecture in any of the music books of Boethius
Each student at Oxford was instructed by his own tutor until
he had obtained his first degree This meant that the musical
careers of some students were actually shaped by the methods of
their tutors Attendance was required at public lectures Aside
from the usual difficulties with student participation and indif-
ference or inability of some faculty these lectures were to be
given in Latin Dr John Bull not being proficient in Latin
was granted permission to read his lectures in English in 1597
Jones of course should have attended these lectures since John
Bull was incorporated as a Doctor of Music from Cambridge in
1592
In order to obtain a degree it was necessary to compose a
Mass song or canticum bull bull bull to be performed before the university bullbullbull 14
on the day of the Cornitia 11 This was not meant to determine
eligibility for a degree rather it was meant to add to the
12 Carpenter pp 89 77 153 159
13 Carpenter pp 154-156 163-164
14 Williams p 21
-16-
solemnity of the occasion This rule specifying a piece of music
to be performed in the university churcl1 at Act time remained un-15
changed from 1516 until 1608 when a hymn only was required
However there was a dispensation from this rule A
candidate could apply for a degree pro circuitah He would
request the Vice-chancellor and proctors to summon a Congrega-
tion On the afternoon before the Congregation the student
preceded by one or both of the bedells of his faculty and accompanied by the person who was to present him in congregation bullbullbull attired in academic dress but bareheaded went round to the schools and also called on the Vice-chancellor and both proctorsl6
Tradition always was an important part of university life
Oxford in the early sixteenth century was no exception Fre-
quently these traditions became codified in statutes Gloves
were an expensive luxury and early in Oxford 1 s history it became
obligatory for the degree seeker to give a pair to the Bedells
and other officials No man could dress above his station and
students fined for wearing silk were required to wear gowns 17
with loose sleeves and square caps in public Following is a
list of graduation fees established by statute at Oxford in 1601
taken from Carpenter Appendix Five is a copy of the original
version According to the custom Jones would have had to pay
some if not all of these fees
15 Williams p 27
16 Carpenter p 165 citing Clark in Register II p 46
17 Williams p 59
-17-
TABLE ONE
Graduation fees at Oxford in 1601
The baccalaureate in music will disburse
First for the total for gifts 6 s For the service of the room For the clerk of the university For possessions For the chamber For the six year total [tuition] 2 s For services during the present year For the clock For the right of the university For the lesser porter of Arts
Total 13 s
IE he has been subsidized by the church 7 s or by patronage he will disburse for wine
If not arranged in advance [] he will pay for the table servants to the porters of his faculty for meals
The greatest expense on this list is for wine [)
a d 6 d
12 d 12 d
4 d
12 d 2 d 2 d 6 d
4 d
4 d
9 d
-18-
It is not indicated in the available sources whether Robert
Jones composed a piece for graduation or used the pro circuitubull
option However a good case can be made for the former there
is an anthem in Christ Church Imiddot1usic Mss 56-6 0 Singe joyfully
which was composed by Jones The words are from Psalm 81 and
are identical with those in an Elizabethan Bible printed in 18
1595 This is two years before Jones graduated from Oxford
Furthermore the Christ Church lbulllus ic t-lss was compiled 11 wi th
most of the material at hand gathering together works which may 19
already have existed in worn or loose copies It was planned
as a memorial to Prince Henry and most of the composers repre-
sented were court-based friends of the composer John Ward who
was in the service of Sir Henry Fanshawe These part-books were
compiled at Fanshawes request and completed by his son before 20
1620 The Oxford anthem Singe joyfully will be discussed
further in the chapter on sacred music
As can be seen music was an important and necessary
part of the education of a gentleman and it was a necessary
18 The kindness of Mr Richard Austin of St Luke bulls Shrine
Smithfield is gratefully appreciated He allowed access to the Bibles there which proved that Jones used the Elizabethan transshylation and not the King James version of Psalm 81
19 Aplin p18
20 Aplin p 14
-19-
21 accomplisr~ent of the perfect courtier Even Morley begins
his book with a description of the embarassment caused by a lack 22
of ffiUsical knrn~ledge Furthermore a degree in music was an
invaluable asset to obtaining a post in the Chapel Royal
Neither Elizabeth nor James I gave honors such as peerages or
knighthoods to musicians rather they used offices in the
Royal Household the Chapel Royal and the Kings Musick as reward 23
for services In 1605 Jones dedicated his Ultimum Vale to
Prince Henry ~hether this earned a reward for Jones is not
known However it is likely that the Mr Jones listed as a 24
Gentleman of the Kings Chappell in 1612 is Robert Jones
It is possible that this position and not great reknown earned
a place for Jones in the Fanshawe part-books
As a Gentleman of the Chappell Jones would be expected to
be quite proficient in reading music and well-versed in plainsong
and pricksong That he could COQpose apart from performing 25
would have been the highest recommendation of all It is note-
21 Carpenter p 343
22 Morley p 9-10
23 G A Philipps Crown Musical Patronage from Elizabeth I
to Charles I Music and Letters 58 (January 1977) 29
24 Henry Cart de Lafontaine The Kingbulls Musick (New York
Da Capo Press 1973) pSO
25 John Stevens Music and Poetry in the Early Tudor Court
(1961) Cambridge Caniliridge University Press 1979) p 309-317
-20-
worthy that although Jones was actively composing in the latter
years of Elizabethbulls reign he was not associated with her court
Like many others he sought patronage elsewhere as can be seen
from the dedications of his song books His appointment as a
Gentleman of the Chappell may indeed have been a result of his
having dedicated his third song book to Prince Henry elder son
of James I Jones published no work after 1610 two years before
his name appears as a Gentleman of the Chappell It is possible
that Jones again travelled to Germany with theatre impresario
Robert Browne or he may well have decided not actively to
compose as he had implied in the prefaces of his last three song
books Records in these areas are incomplete although further
connections with the theatre will be discussed in the following
chapter
CHAPTER III
WAITS V~SQUES AID THE THEATRE
The waits were orisinally watchers at the gates and were
probably descended from the watchmen and sentinels for camps 1
castles and other fortified places In fact wait is the Saxon
word for watcher Eventually they were employed by the cities to
keep watch and guard during the night and to call out the time
and weather Their main purposes were protection order and
safety within the cities To carry out these duties the waits
were furnished with musical instruments These were used to
sound alarms and call for help when needed and were probably an
early type of shawrn or a horn made of metal In 1296 a statute
was enacted in London which required the servants who closed the
gates at night to have waits at their own expense Eventually
the term wait came to mean the man the instrument and the music 2
played on the instrument
The connection between Robert Jones and tte waits only
beco~es clear when the development of the waits and their
1 Walter L Woodfill Musicians in English Society from
Elizabeth to Charles I (New York Da Capo Press 1969) p 33
2 Henry Alastair Ferguson Crewsdon camp The
1-Jorshipful Company of -iusicians ( 19 50 London Charles Knight and Co bull Ltd bull bull 1 9 7 1 ) pp bull 16 2 -16 4 bull
-21~
-22-
place in Elizabethan and Jacobean society is discussed It was
not long after the first statute concerning the waits was passed
that they came to be considered musicians They are included
called by the nanle of wayghte and other variant spellings
among the musicians of Edward III (1327-1377 and are named in
records from Henry VI through Charles I From watchmen with
musical instruments to capable musicians is a logical development
of talent and time For a watchman with musical ability there
was time to acquire skill and thus gain employment publicly or 3
privately as a musician when not on duty
Many of the principal cities in England employed waits In
London the nunilier of groups varied from six to nine and the
number of masters and apprentices in each group was strictly con-
trolled Their places were so coveted that musicians good or
bad bargainea fought or sued for any vacancies Often a place
would pass fron1 father to son Their privileges included
monetary compensations and gifts distinctive livery status in
the city as freemen in the Company of ~usicians without charge
and the right to keep two apprentices at a time Their services
publicly and privately were much in demand by the lord mayor the
sheriffs and aldermen and the playhouses They were required
to meet regularly for rehearsals and only the 11 ancientist
3 Crewsdon pp 165-167
-23-
4 that is the eloest of their society could dispose order and
direct their music
Until 1525 the wait pipe (horn) and shawm were the only
instruments used by the waits The sackbut was added in 1526
In 1561 instrumentation was expanded with the addition of
viols and recorders and cornetts were added in 1568 and 1576
respectively In 1597 the curtal a bassoon-like instrument was
added Records indicate that portable organs keyboards and
harps were hired for special occasions In some waits the lute 5
and singing were included as early as 1555 The waits
provided the music for visiting dignitaries parades and court
masques and dancing The First Book of Consort Lessons by Thomas
Morley was meant as a guide for the groups of instruments used by 6
the waits Their music consisted of traditional wait tunes
(simple airs meant originally for wait pipes and shawms played
with cold fingers) music which may have existed only in
manuscript form written expressly for use in a masque or pageant
and music apt for viols or voyces u including madrigals
Ultimum Vale of Robert Jones contains music for colibination of 7
lute voices and viols Figures 1-20 are facsimiles of tbe
4 Woodfill pp 37-44
5 Woodfill pp 34-36
6 Wood f i 11 p bull 4 5
7 Woodfill pp 44-52 Waits and their history are more
fully discussed by both Woodfill and Crewseon A very brief outline only has been possible in this paper
-24-
title pages dedications and prefaces and tables of contents of
the song bool s of Robert Jones from Greer
Ultimum Vale is probably the book included by Gordon Doad in 8
his list of music for viols This song book is also the source
for ten of eleven songs by Jones included in the Giles Earles 9
book It is this custom of performing vocal and instrumental
music only instrumentally that forms part of the basis for early
chan~er music in England It was advocated by Thomas Morley in
his book and used not only by Jones but also by Sir William 10
Leighton in Teares or Lamentaciones of a Sorrowful Soule
It is possible that this evolutionary process in performance
practices and adaptations of popular pieces for other instruments
may be the basis for the idea that Jones composed for the
virginals Certainly no music specifically for the virginals or
instruments other than lutes has been found to have been
composed by him
When playing for the masques the waits probably performed
in a room or chamber near the pageant rather than on the street
or porch where the masque was being presented Robert Jones bull
8 Dodd p 263
9 Jergens p f 13V-f22V
10 Ernst H Meyer Early Englisn Chamber ~1usic ed Diana
Poulton (1946 Boston Marion Boyers 1982) p 135 149
-25-
11 naroe is not in the lists of appointments to the London Waits
But Jones did have so~e of his music included ill masques Everie
vloman in her Humor a masque by Maclin published in 16 09
includes two songs from The First Booke of songes or Ayres The
title My mistris was not used in notes for the masque rather
lines from the song were used thus hindering our identification
of Jones as its author Figures 21 and 22 are facsimiles of this
song This same song was used in Loves Charity by Shirley in 12
1631 and The Dutch Courtesan by John Marston The latter was
presented at Blackfriars in 1603 performed by the 11 Children of 13
her Maiesties Revels Christ Church Ms 439 which contains
four songs from The Second Boeke of Songs or Ayres is said to be 14
a compilation of songs used in masques
The dates of the songs discussed indicate that Jones was a
source for music used in masques rather than a co~poser of music
for masques This is admittedly a subtle difference but it is
a critical one since Jones is not credited with supplying tPis
music in tle published sources of the time such as the plays
themselves
11 Woodfill p 48 and Appendix A
12 John P Cutts Everie ~loman in her Humor Renaissance
News 18 (Autumn 1965) 210-212
13 Chambers vol III p 431
14 Cut t s p 212 bull
-26-
Songs used in masques were declamatory in vocal style with
rare word-repetitions except towards the end of a song The
lute accompaniment tended to be chordal with an harmonically
15 statis bass The aforementioned 11Ny mistriS 11 (see Figures
21 and 22) very clearly demonstrates this principle The masque
an offshoot of the main dramatic movement was musically con-16
nected with the great nass of songs with lute accompaniment
Robert Jones was a natural choice for the masque authors His
melodies tend to be rhythmically simple and singable By his ow~
admission in the preface to his First Booke of Songes or Ayres
Jones main concern was fitting the note to the word (See Fig-
ure 3)
Shakespeare also liked to use contemporary songs in his
works for the theatre and in the music of Jones Shakespeare
found songs to express the moods of his characters Perhaps the
best known instance of this reliance upon Jones is in the comedy
Twelfth Night The song 11 Farewell dear love bullbull is number twelve
in The First Booke of songes or Ayers
15 Ian Spink English Song Dowland to Purcell (New York
Charles Scribners Sons 1974) p ~0-41
16 Ernest Walker A His tory of Music in England (rJew York
Da Capo Press) p 153
-27-
In Twelfth Night II iii Sir Toby Belch and the clown
Peste sing a version of this song that telescopes the first and 17
second verses Malvolio warns Sir Toby and Feste that
Olivia will bid farewell to Sir Toby unless he reforms It is at
this point that these two characters alternate singing lines of 18
the song This song was set in 1600 and the date of Twelfth
Night is 1601 The obvious conclusion is that Farewell dear
heart was a popular favorite and would have been recognized no
matter how much it was condensed Another testimony to its
popularity is that the tune appears as a hymn setting in a Dutch
psalter The Dutch version is Heilgierig mensch and the 19
psalter was published at Amsterdam in 1713 That Jones himself
favored this song is shown by the fact that in his fourth book
nine years later Jones sets Farewell fond youth Its meter
is identical and its melody is similar to that of 11 Farewell dear 20
heart Farewell dear heart may be seen in Figures 23-26
and bullFarewell fond youth in Figures 27-28
17 John Stafford Smith Musica Antigua (London 1812) p 10
204
18 Peter J Seng The Vocal Songs in the Plays of
Shakespeare A Critical History (Cambridgemiddot Harvard University Press 1967) p106
19 William Shakespeare The Complete Works ed Alfred
Harbage (Baltimore Penguin Books 1969) pp 316-317
20 Edward Woodall Naylor Shakespeare and Music rev ed
(New York Da Capo Press and Benjamin Blom Inc 1969) p70
-28-
Shakespeare also turned to Jones for parts of the mad songs
for Ophelia in Hamlet IV V Although it is not a proven
fact the setting of In Sherwood liude stout Robin Hood see
Figures 29-30 from A Musicall Dreame bears close resemblance to 22
the words sung by Ophelia That it probably is this song is
due more to the nature of the scene and the impropriety of the
words words which would never have been sung by a sane Ophelia
and to the popularity of Jonesbull work rather than contemporary 21
documentation Frequently Shakespeare had his
characters sing snatches of songs or refrains and further
attributions to Jones are possible but not provable without a
shred of documentation Nor in general are Elizabethan
composers who often set the same words identifiable unless the
tune had been transcribed or the composer named in the
manuscript
21 Heseltine Prefaces p 168
22 F w Sternfield Music in Shakespearean Tragedy
rev ed (London Routledge and Kegan Paul 1967) p 57-58 71
CHAPTER IV
THE SECULAR t-1USIC
The secular works of Robert Jones consist of five books of
lute songs or ayres and one book of madrigals One or two copies
of each song book have all survived in excellent condition with
minor problems such as missing title pages The madrigals 1
however exist only in an incomplete state Possibly this is
due to the difference in publishing techniques of the two types
of song The song books include all voice parts printed on
opposite pages in such a way that tt-e performers can stand around
a table and use the same book The madrigals on the other hand
were printed in separate part books with the result that the
loss of one part book took away from the whole
Lute songs increased in popularity and availability
when the printer Peter Short acquired a font of lute tablature
This acquisition in 1597 greatly facilitated the publishing of 2
lute music William Barley had published a book The New
1 Fellowes Madrigalists p iv In the preface
Dr Fellowes describes in depth the location of various part bookst and which madrigals are complete because they were found in alternate sources
2 Spink p 15
-29-
-30-
Book of Tabliture in 1596 which contained the first solo song
with lute accompaniment published in England In the four years
between the publication of this book and the First Boeke of Songs
or Ayres by Robert Jones in 1600 books by Dowland Morley 3
Cavendish and Farnaby in this style were printed Peter
Short by the essence of Thomas Morley was the printer of the
first two song books of Jones and the first book of Dowland It
may thus only have been for practical reasons that the title
pages are virtually the same
Lute and vocal music were easily printed For the lute
tablature letters not notes were placed on a six line staff
Vocal music used about a dozen signs for clefs tempos and
accidentals and thirty individual signs for notes apportioned on
a staff of five lines each with a note on one of the lines or 4
spaces Obviously it is this setting of each individual note
with its staff which gives the music its slightly wavy
appearance
Each of Jones five song books includes twenty-one songs
although contemporaneous song books usually vary in the number of
songs Whether this really has any special significance for
Jones is impossible to know For all his loquacity he did not
3 Phillip Hes~ltine The English Ayre (1926 Westport The
Greenwood Press Publishers 1970) p 138
4 Boyd p 178 Keyboard music was not published until 1611
and tben it was engraved This was because of the difficulty of dividing the staff to print cords of two or more notes
-31-
refer to this in his prefaces All five prefaces are illustrated
as follows The First Booke of songes or Ayresw Figures 1-4
The Second Boeke of Songes or Ayres Figures 5-B Ultimun
Vale Figures 9-12 A Musicale Dreame Figures 13-16 and
A Musebulls Gardin for Delights Figures 17-20 However that it
was important to him could explain why he chose to include two
Italian songs in A Husicall Dreame They are for solo voice with
lute or bass viol accompaniment (or both) and come at the end of
a book of songs for three and four voices
The idea of performing vocal music instrumentally has
already been discussed with the performance practices of the
waits Another common practice of lute playing was to use
alternate tunings of the lute The more usual tuning is gd A 5
F C G Plternate tunings included the sixth or bass string
tunec to F not G or the tunings called the 11 leero fashion 6
These were d a f a F c This method was used by Jones in 7
The Second Book of Songs and A~res published in 1601 The
words 11 Set out to the Lute the base Viall the playne way or the
5 Edmund H Fellowes The English t-ladrigal Composers 2nd ed
(1921 London Oxford University Press 1967) pp 304-5
6 Veronika Gutmann Instrument oder Dininutionspraxis
Archiv fuer Husicwissenschaft 35 (November 1978) 189
7 Frank Anthony Traficante The Hansell Lyra Viol Tablature
Parts I and II diss University of Philadelphia 1965 pp 188-189
-32-
Base by tableture after the leero [lyra] fashion appear on the 8
title page There often was a seventh string added below the
bass string tunec to D To avoid confusion this note was not
annotated on the staff instead ledger lines were added to 9
indicate its implementation This may not have been a popular
practice Jones used it sparingly in Ultimum Vale his third
book However all songs but one in A Musical Dreame call for
the extra string That Jones was criticized for use of this
extra string in Ult1rnuro Vale can be inferred from the preface to
A Musicall Dreame This preface is not addressed to the reader
but rather to all Musicall Murmurers
Understand me thou vnskilfull descanter deriue from that Note of Plaine Song charitable numbers and thou shalt find harsh voices are often a Note aboue Ela reduced by truer iudgement which I bereaue thee of nowing thy Rules are as our new come Lutes being of many strings not easily used vnlesse in aduenture till practice put forward into deseruing Diuision
From this preface it appears that Jones was something of an
innovator often embracing ideas before their full acceptance
Jones also may have ornamented or used graces in his work
However we cannot know this because the art of ornamentation was
a live tradition passed from one player to another The second
reason is that printers of the time did not have the necessary
8 The title page of this book is misleading The correct
title appears to be The First and Second Boeke of Songs and Ayres It is usually referred to as The Second Boeke of Songs and Ayres See Figure 5
9 Fellowes Madrigal Composers p 304-305
-33-
10 signs for ornaments or graces in lute playing
The following chart of lute tablature is adapted from
Fellowes The strongs are labeled treble small mean great
mean countertenor tenor and bass All but the treble string 11
were doubled
Treble ( g I ) a b c d e f g h Small r-Iean (d ) a b c d e f g h Great Mean (A) a b c d e f g h Counter-tenor (F) a b c d e f g h Tenor (C) a b c d e f g h Bass (G) a b c d e f g h
The fingerboard of the lute has ivory frets When stopped
each fret raises the tone of a strong by a half step The small
letters bullbullabullbull bullbullbbullbull 11 C 11 and so forth indicate behind which fret the
fingers are placed to produce the desired tones The letter a
indicates an open string that is one which is not fretted or
stopped b shows to stop the string behind the first fret It
raises the string by a sernitone Each letter represents the
next semitone to be produced on a string
These signs irdicate the duration of the note 1 ~ ~ f ~ ~) and stand for semibreve minim crotchet quaver and semi-
quaver respectively The last sign used gives the duration of
10 Diana Poulton Graces of Playing Renaissance Lute Music
Early Music (April 1975) 108
11 Fellowes Madrigal Composers pp 304-305
-34-
following beats Dots of augmentation with their accepted mean-
ing are used when needed Barring follows the rhythm of the 12
music or the words and is not always indicated It must be
remembered that Jones did not always use this tuning for the lute
rather he indicated it by specific performing instructions on his
title pages
Lute songs have roots in the freemens songs Freemen bulls
could be a corruption of the Anglo-Saxon work 11 freibull meaning 13 14
fesitval or of the term three mens songs In either case
they were lively cheerful songs with the tune in the uppermost
voice the tenor They were the basis for the simple part songs
which were so popular in mid-sixteenth century England These
songs then evolved into the Elizabethan consort songs and finally 15
the lute songs
Lute songs ordinarily were published with only a word or two
of the first line printed in beneath the score The singer
12 Fellowes Madrigal Composers p 306
13 Smith p 10
14 Walker p 45 The book published by Wynken de Warde in
the early sixteenth century which contains the work of the first Robert Jones also includes freemenbulls songs~
15 Spink p 16
-35-
16 either knew the rest of the words by heart or vocalized 11
Jones however is one of the few composers whose words are
carefully and consistently placed beneath the notes in his song
books This note-to-the-word placing allowed him more control of 17
the rhythm in strophic settings of different stanzas of poetry
The lyrics of English lute songs and ayres consisted mostly
of typically short verses The sources for many of the lute
songs and ayres were the ~any Miscellanies published during
Elizabethbulls reign ~ong these The Phoenix llest and Englands
Helicon were the most popular However the collections of
Richard Jones were also used by some composers Richard Jones bull
not properly detailing the authorship of the poems in his
collections is the primary source of confusion in identifying the
authors of the poems set by composers Another problem in the
use of MiscellanieE is the resultant multiple settings of 18
favorite poetry Robert Jones set many poems of Francis
Davison Sir Philip Sidney and Thomas Campion What initially 19
may appear to be plagiarism is really an accepted practice
16 W a 1 ke r p bull 4 6 bull
17 Winifred Maynard Elizabethan Lyric Poetry in Its Music
(Oxford Clarendon Press 1986) p 71
18 Maynard pp 54-55
19 Heseltine pp 130-131
-36-
The main differences between lute songs and ayres tended to
be those of length and rhythm Ayres generally had simpler
settings were more strophic and shorter and usually were better 20
sung as a solo song with lute acconpanirnent The ayre is
normally considered a short lute song with the accompaniment
providing the clue to the difference~ Performances could vary
according to the abilities of the performers and the instru-
mentation they used Frequently this lead to harmonic 21
discrepancies in the vocal and instrumental part-settings
This perhaps is the basis for one claim which has been made
that Jones did not write these parts for what are really solo 22
songs in his last two books
The English Madrigal developed as a result of the
publication in 1588 by Nicholas Yonge of a collection of works
by Italian and Italianized Netherlands composers This book
Musica Transalpina contained fifty-five of the best Italian
madrigals translated into English and proved to be very po~ular
20 Maynard p 55
21 Walker pp 80-81
22 Edmund H Fellowes The text of the song books of Robert
Jones Music and Letters 8 (January 1927) 25-37
-37-
In 1598 ~iichael Cavendish wrote a madrigal with the nLong live
fair Oriana refrain This may have been based on a madrigal
published in Il Trionfo di Dori It was this refrain which may
have been the impetus for The Triumphs of Oriana published by
Thomas Harley in 1601 The Triumphs of Oriana contains twenty-
five madrigals by nearly all the most distinguished English 23
composers of the time 11 Robert Jones contributed Fair Oriana
seerring to wink at folly 11 to this collection
The First Set of Madrigals was published by Jones in 1607
Its being called the First Set is no proof that Jones intended to
publish more sets Rather this avpears to be a publishing
convention of the time Where this set is unique is its
containing madrigals of 3 4 5 6 7 and 8 parts tvhereas
most madrigal sets were in groups of one or two different numbers
of voices this book has six different voice groupings These
combinations alone would give rise to the idea that although
Jones experimented with the madrigal form he either was not
comfortable with it or was not proficient enough with it for
his own standards On the title page~ Jones claims that the
collection is for Viols and Voices or for voices alone~ or as
you please 11 Several of the texts included in this transcribed
edition are poews by Francis Davison and two are by Campion
23 Walker p 78
-38-
The English madrigal was something of a compromise in form
It combined the contrapuntal secular music of the Italian style 24
and the harmonies of such songs as the frottola It typically
was a single stanza of seven to eleven lines in length A line
maybe made up of seven or eleven syllables with short and long
lines in any order The rhymes were mostly feminine and in
random order For this the Italian verse setting was standard 25
but short verse ottara rima or sestina were also used
Perhaps the one concept about the secular work of Robert
Jones that should not be overlooked is that he intended his music
for pleasure He had no rigid rules about performance practices
and he was willing to experiment with new techniques He was not
tied to rules of harmony and counterpoint and he seems to have
been partial to the sounds of open fifths and false relations
He was clever and innovative in his use of rhythm and rests
formed an integral part of his control of rhythm It was an
unhappy man who composed the song Goe to bed sweet muze This
was in Ultimum Vale the book that Jones intended to be his last
He seems to be saying goodbye to his love of music and composi-
tion rather than to an unfaithful lover That music in his muse
can be found in his explanations for publishing again in the
prefaces to A Musical Dreame and A Muses Gardin for Delights
24 Walker p 77
25 Maynard p 55
CHAPTER V
THE SACRED NUSIC
In a fashion typical of the Elizabethan era one music
publication could contain ayres madrigals or religious motets
The Teares or Lamentaciones of a Sorrowfull Soule by 1
Sir William Leighton is one such book It contains eighteen
consort songs twelve songs for four voices and ten songs for
five voices The contributors of songs for this book include
Byrd Milton Bull Ferrabosco Jones Peerson Thopul
Coperario Dowland Ford Gibbons Giles Hooper Johnson
Kindersley Lupo Pilkington Ward Weelkes and vlilbye As can
be seen Jones is numbered among the finest composers of the era
Sir William Leighton was born into an influential family
He had social economic and educational advantages However
because of carelessness and misfortune in his finances he was
imprisoned In 1613 Leighton published a book of his own
poetry The Teares or Lamentaciones of a Sorrowfull Soule This
was followed the next year by a book with the same title cf
musical settings of these poems composed by himself and twenty
composers The purpose of these books was to show Leightons
1 Walker p 81 The consort in this case refers to the
accompaniment of the cantus voice with the treble viol and lute tablature The altus was accompanied by the flute and had tablature for cittern The tenor voice included tablature for the bandora and the bassus was paired with bass viol tablature This was in reality the broken consort
-39-
-40-
repentance But the laudatory verses composed by his friends
and included in the introduction of the book seem to negate
this These poems use word-plays and puns on Leightons name and
deal with his unjust imprisonment
The works in this book are on sacred themes and could be
considered appropriate for use in church However that Leighton
intended for then1 to be domestic fare is seen in the style of
printing used that is on a double folio in the same form as
that used for lute songs and in the performance practices he 2
recommended
Jones set three poems for this work The first two anthems
are included in the poems published as The Teares or
Lamentaciones of a Sorrowful Soule The third piece by Jones is 3
set to words not included in the 1613 edition and the poetry
differs in form from that of the others The words of the first
two anthems consist of six eight syllable lines rhyming ABABCC
The third anthem is a simple quatrain with an ABAB rhyme scheme
The first two anthems closely resemble the favorite form set from
The Phoenix Nest the difference being that the lines in the
2 Leighton p x
3 Leighton p xxv
-41-
4 miscellany are ten syllables long The poetry from these
anthems is included in Appendix Six
Robert Jones composed a fourth sacred work This piece
Sing Joyfully which will be referred to as the Oxford Anthem 5
is included in the Christ Church Mus Mss 56-60 The source
for this manuscript has already been discussed in Chapter II No
modern transcription exists for this anthem and may be attributed
to the fact that the bass part is missing and this anthem is one
of a few anthems in the Christ Church Mss not found in other
sources
The possibility that the Oxford anthem was the piece that
Jones composed to meet degree requirements at Oxford has been
presented in Chapter II To substantiate this claim further the
words of Psalm 81 from the Book of Common Prayer printed in 1619
and from The Bible of 1595 are included here This will
facilitate comparison with the Oxford Anthem facsimile from
Christ Church and its transcription and recreated Bass part
4 Edward Doughtie Lyrics from English Airs 1596-1622
(Cambridge Howard University Press 1970) p 25
5 This manuscript has not been recorded in RISM
-42-
6 The Book of Common Prayer 1619
Sing we merrily unto God our strength Make a cheerful noise unto the god of Jacob
Take the psalme bring hither the tabret The merrie harp with the lute
Blow up the trumpet in the new moon Even in the time appointed And on our solemne feast day
7 The Bible 1595
Sing joyfully unto God our strength Sing loud unto the God of Jaakob
Take the song and bring forth the timbrel The pleasant harpe with the viole
Blow the trumpet in the new moone Even in the time appointed At our feast day
6 The Book of Common Prayer and Administration of the
Sacraments and other Rites and Ceremonies of the Church of England with the Psalter or Psalmes of David Printed by Thomas and John Buch Printers to the University of Cambridge 1619
7 The Bible That is the Holy Scripture contained in the
Old and Newe Testament London Deputies of Christopher Barker printers to the Queenes most excellent Maiestie 1595
-43-
The bass was reconstructed after a study was made of the
style used by Jones in his two madrigals for five voices and the
one anthem for five voices in Leightonbulls work The madrigals
were used for this comparison because of the similarity of style
with the anthem
In general Jones uses the bass as a platform for the other
voices Large skips are used sparingly and the relationships of
thirds and sixths with the tenor voice is usually maintained
The frequent use of whole notes and rests and the rare use of
dotted rhythms and eighth notes emphasizes the stable voice
leading Jones rarely initiates word painting or new rhythmic
patterns in the bass However the bass is used to start an
upward scalar pattern carried through by the other voices in turn
It is hoped that the reconstructed bass for the Oxford
Anthem is in keeping with Jonesbull methods The transcription
would not have been possible without Dr Clyde Brockett It is
possible to include the anthem because of the assistance of Mr
H J R Wing of Christ Church Oxford
44
Cantus middot
( -11 ((
) L ~L I
middotmiddot~middot 0
I I
45
Cantus
------------------------------ ====~====================~ I
I ~
j-- ---====-=--=--=--=---=----=---=--=----~~----------===shy
l I
r
l t
I
~-
t ~
middot r I
(1 c I ( middoto
A ~ -1 bull T I bull 1-Jtc v I
bull
~iof~ictf ----middot-
t~L f ef a attf j az ~ E I cfft ~ fiipound wuamp J1 -------- --4----bull- - -- --
iS
l ----=-----------
47
I middot--- - -- - -- I
j It~middot~ ~~I ~CJ m bKpound fy nt-l a~ PJtttfd (Ul A ~
t Ybull T 0 A I I I
~ -t-I I I - bull I I l bull I I I bull bull J I 1 bull I I I
A - bull ~ I
1
-~-- -- ---middot-------------+
-------middot---middot~---------
1----- --------~---
48
middot- middot---- -- ------middot --~___middot---~- ~--middotmiddot ~
49
Contra tenor
middot -bullmiddota --~ilirtttwbullnbullmiddot d_rl_ mr
I ~
i-----------------------_)_
F------ --
______ _
-------middot--middot-----middot -~-- ----- middot-middot-middotmiddot --~----middot- ------- ------shy+----- ------------ -----r=-~----_____middot ~~~---~--~- ~~~-~~-~-----_ --I
I
(I
bull
middot~
I ii l
l
l Imiddot
-I
(
50
Tenor
------
fwaft qtmiddoto( tft~ tfttttt~l hF Ibull bull ~ l~~r---~-~- ~ - =13
t)tl) tfc G11 pound th (b ir th~ tf~~ v
~-f~~-~3 -----+ ~ ------middot =-==~-~-fi I 1Ppoundf ft t1 c If r 11 a h -middot qCo ~~ l-K~-
I I I
bull
51
Tenor
l ~
~ ~r--=t-~ ~ J middot~middot bull I I
13fon ~ lppt ~fie bmpt~H1 tfv1VC btpound lLi hum( Efl J A t I o bull
H-1----r~ni----=ll bull1 -----i - r~ n middot bull -~ t i ~ -J j) I l 1 bull 1 bull l
~ bull bull T _ obull bull -x I n _PI I I I T I I amp bull T 1 1 middot y tl- 1 L~t--I ----J-middot-middotmiddotmiddot1_--1-- _-~--~~--Jmiddot middotL__-1L --1-- -
- I 1 I _ 1___1 - -4-1-J - +--+1--ll- J ) 0 I 1 I I I I -~-- ----- ~ A bull bull I (I V =-
---- - --------- middot------
I he Oxford Anthem 52 Robert Jones
5 J J J ) J f r middot r I
Sing joy ful ly un to the Lord our I 1) I Js - I 0 I ) ) ]I ) 11 J bull v- l l
Sing JOY ful ly un I to the Lord Si ngl I I - _ f r
1 r t7 t r t l middot~ I I I ~ _l I I
I l I
Sing joy ful ly un to the Lord our i strength
1 6J
J I
i - ( J amp J
-plusmn=-
I Sing joy ful ly
-c un to the
r r2 c= f r F ( f z 0 r I l ~ 1
Sing joy ful - ly un to the Lord our
10 j J r
I I I l r I I 1 I f I
0 0 tJ bull middot I ~ I I I t _a l r
II I I strength Sing joy - ful -t ly un - to the ~middot Lord our I I I i
I
_I 1 I I I I l I
I ) I 0 I ~I I j l Ll I I
$ j I lfO J I - -~~ L7 t I -v - _
~ joy - ful - l y un - to the Lord our I I
~ ) _ IQoll I ~ 1 y middott I -
I I j I l r I I I -r r 1
I Sing joy - ful - ly un - 1o the I Lord our
I I I I I 1
0 0 I ~ Q - -~
- I - -~ - lord our l strength Sinmiddot] _
I I 1 - I I ) i j J middot __ ___ -- t -
strength Sing loud un-to the
I r I J () h fl e J j (~ I I II r- j 0 I v 0 i r c
53
I i
I - I - I - I r r r ( J I _J_ I 11 _l [
~ I I I
I
~
I strength Sing 1oud un-to the I
I I I I r r r J y r J - 1 v I I 1 l -l - I - -
I str ~ength Sing 1 oud un-to the j god of I la -
t I I J J l J r
11 - f~ t v I I I L y
r l I
I
strength Sing 1 oud un to the god of j I
I
- ~ ~
r r 1 r r t Igt I
J r I I I r - I
I - loud un to the god of I Jq -
I
v I () p 0 I I _ I ~
I I
god of Ja cob Ja
5
god of Ja cob
cob Sing I lou un to t e j I I
] l ~ ~ i
r - I r r r I v I I (7 I v I I I i
I t
Ja cob Sing loud to thf god of I~
- un I l
~ bull
I I L A 1 I I f- I 1 _J _I L l_ l I t I I ~ t r __ __
-fi I l I I
cob Sing loud un to the god
0 eO 0 __ =J
of j Ja cob i middot
----------~--------------------------~1---o----------~l ~ gt~ f middot
cob Sing
20
- I r j I 11
C I r
I
loud Sing un ~ - r 0
I
god of Ja
r 1 I t7 J _J
~
Ja cob -
1 -I J p 0
Ja cob
r c r f
(l
loud un to the god
I l I JI I
-1
0 l-
cob the god - y 0
I I I
the god
0
I
cob f
~ I I 1 I I J
I ~ t I J middot 0 t--1 J I
t to the g od
c9
god of
r I
to
-I
fvO
Ja
I I
l
Sing l
~~
of
I r I I
the
I
I -
---L--1 I
I J ~
54
y
god
L-
cob
I J
cob
_j
I 0
I amp
Ja
25
l 1
--of
- a I
of
Ja
0
i
I of l Ja
I 1
~ t 1 _ Q _ ~ middot
of
Ja
Ja
I I -J I I
- 0
of Ja -I -middot I
J l _ I I
rl 0 0 - -
I of Ja middot-
I j j I _ J I
~
~ (_ I ~
loud un
ampI _
j9
cob the
r
J I I -1 --11 2_ ~~~~
I
Ja - middotcob
i-1 I -f-1
I bulli cob
I
I
- j - w cob j
i l i
J I ------ I t-1 I I - I cob
cob
1n I
I I I J (7
c_ -
-Take I the
- bull- I I r 7 A_ f I r
0 I ---
j
Take the harp t the I
J ~middot
I bull I f~ [ I [ I
J -Take the harp the
1 1 -I I I _
( y
~
Take the
p f bull
Take the
35
f J J I
I 15 Z
) lt I
brell I
tym tym
I 0
CJ ) J forth the tym- 1 bre 11
I I l _ I I I 1 j I
omiddot i I I
harp and ~ bring forth the I I I
1 r
I I + and bring I
~)
r t harp and bring
55
_ -
harp
j fr
r - ti (J J ____ r
-
f ) I
v J
harp the
a
(2
harp the
f
brell
1__ J
and
0 I tl
-
)
harp
~
harp
I J
harp
harp
~ the
r bring
r [I
I I y
rJ I
11
and I bring
f I
and I
f
I ~
I
t take
___
I
I
r ta ke
J 1
tym bull
( r forth the
- _ --- r
tym - brell I j J
I I I J I r I i
_) middot forth the tym - bre 11 the
( t
f I r r-I I z
forth the tym brell the
I 1 1
amp
forth the
1 A ~
bring
I A
7
the
t )
the
I
~ I ~
I I
l
56
40 I I I I I
I t I 0 I _i I I i ~ ~ --middot
li 11 11 I -
- brell and bring forth the I tym - bre 11 tym - brel 1
I ~ - I 1 () 0 1 I r 1 - --- i
I
tym brell and brin9 forth the I - I
_ 17 - i 77 j
- r - T T _ I I J ~ I I I I
I I 1 ( bre 11 ) the tym - brell I the
i I I II
u I pound I A J ~ -1
I -
~
tym - brel l and bring I forth the tym -I
J amp Fyen tji
F l
tym brell tym brell
I I -- I I j I
I l
-J ~ I ~ ~
J
harp and the sweet the ~ I plea sant
middot - --f ) I i I e 61 0 J ( z
bull
tym - brell the tym brell ~ the ft ~middot c t r 19 ufJ f ( c t I
pleasant harp and the vi 0 ll the pleasant harp
j ) j middot99 J GJ or gt _ -5
brell bring forth the tym brel1 th ~e
9 l f~ ( __ r I ~~
-- -
Bring forth the tym brell
57
45 J
I I I [ f I C) A A I A I j l - -
-
~~ ( _
vi - I 011 t sweet vi - oll the I I
I -- 1 - l l 1 (7 I I I J 0 A I J bull
$ r - I brell I
themiddot 1 pleasant harp and the sweet i I
- p I I
r I I lt I_ c I I I r
I I and the vi - I 011
l vi - 011 I
I I I 0 I I
r I -J y v - I I I ~
p~~~~~nt harp and the sweet vi - 011
I
_ v - 0 I I r t I I II 1 I J I I
the plea sant harp and the sweet vi - oll
50 1 I I I I j tl I l bull I
I J L t- 0 J I
-
I ~
J I
pleasant harp and the sweet vi I ollll the I
~ -- _f I A middot bull 0 J i r 1 l I I
vi I oll the plea - sant p
r I i T 0 - 0 I I
I f I I - ------I I I I j
i
the ple~sant harp ~nd the vi - -
I
--- I _l I I I --1 0 I r l
C-
vmiddoti I - 011 the ~
pl ~ea sant harp - C) r 1-
~ r I I )
r ( I l r
I I t
and the sweet vi - all sweet vi ol1
58
I I I I L_ I J _l J f J
I I I
~ r
pleasant harp bull and the --_
t I I I -_j
harp and the sweet -l I
f middotv A I I I I
011 t the I plea - sant I I
I I
I I I i I J t7 Lc -I
and the sweet I
vi I -i - I -
- J
I c- -
oll and l i I
1 I J J J_ v A
I I
oll the I pleasant harp j _ k
-r= 0 I
t I
t
sweet I vi I I _I I
11 i I I I I I I 11 _j ~ C I J _lj bull
harp and th~e I J I ~
sweet vi - 011
J ~
t
the pleasant harp flnd
55 r J1
1 _r _I_
swe ~et vi - I I
- ~ I I A ~middot _t2_ I
I
vi oll I -
t I _l l
fL
harp and
t
al l
-
j_
A I I
th~ swee~ I
j_ 1 L1_
J _L _r I
I I
and the sweet l A
~
i t l I I
I
011
- I
r r the
the sweet vi
0
-0
vi 0
~
the
I t
the
-
60
0bull
vi
0
vi
-
J
pleasant
-
l I I
J bull
pleasant
-
-
amp l
I
l the
I
I
harp I
----1
59
I I
_ middot-I
- I - - __
I ---- oll I I
~~ - f r I f I J e_ I I _
011 I the plea sant harp and
0 - 11
r - - 1 v I I r l I I --~
J _L I l I
pleasant harp and th ~e sweet I vi --j 011 t I
I _I_ ) - I
_I r D I J I 0 I I
I and the sweet vi -- 011 and l the
J ~
-- -=- 7 r I
I T T r l I I 7 l I
pleasant harp and the sweet
65
- - r I
I I J I I J
I ~J ~ v I bull J cent ~
--
the pleasant harp and the sweet - _ r r ~if L) I I tJ - - I I l I I 0 -1 F _l T 0 j I J l I - -- the ~weet
vi - 0 ll t and the sweet vi -ll n middotmiddot-
I I ~middot r I - - t - f7 I I I l _ (7
j j --w
sweet vi - 011 sweet - vi -
I I I I T T - t i -- A t7 r 1 T 7 T i ~ i
_l J
I I I I
I sweet vi - 011 fhe I pleasant harp and the sweet j I I
u I l I J -1 1 0 I )
f I
vi 011 and the sweet
ou
70
-- - I I I I J
~ I I j ~ (1 77 -~
vi - oll the pleasant harp
I I - j I I I A I 410 7
-- L
- oll the plea - sant t --1
I L I I J 0
I I I I ~ ~ t r _fl_ 0 0 _ II I I
1 I - oll~ the pleasant harp and the swmiddoteet
~ I ~ ~
y JoiO c I- I l I r
I I
vi
I 011 sweet v+ 0 ll - -L
- l I I 0 J --- t 0
I
vi oll the sweet
75 I I
I I T J j I A ~
~
I - _() ] middot -- -- -- bull l I and the sweet vi - 0 ll
_l I 1 77 0 0 0 -I - 0 I y l ---- t ------ I I I
harp and the sweet I vi - 011 bull I I
0 0 C)
poundJ I - t (7
I middot-I
vi - oll sweet vi - 011
I I
~---0 J 1 I t J -middot
I _ _ bull I I 17 ~
I - -
I
f t he sweet vi - - 011 bull
- I CJ I
C if- I I
I I 0 T _ I I l I
vi oll vi
~ bull Scr-ibe error shc~AIJ b~
61
80 111
I I j t - - I - J I I y ( j r 1 bull
amplow the I
up I trum - pet I
~ - - j j I r A j J I t - 1
Blow up the trum - pet oiL - r
p r r Igt t r r r f- I I t J I I i middotp I I
I I J I I
Blow the I
i trum up trum - pet Blow up the l - pet
I I I middotr I
f r l J ~I I r- r _r j A I I I _
I i I I r I
Blow ~p the trum - pet Blow up the I trum - pet _ I bull_ _
0 ~ I I l I I I I I I
I
I I l I
Blow up the trum - middot pe~ the trum - pet
85
f 1 - I I I ~ I I I r ( J-middot I I r J J -1
I r l bull
I
trum pet the I trum pet the trum p ~et - -A - I p - - I t
~middot J I r _1 L I t
I I ~ I
the trum - p ~et 1 the I trum - pett
- i I i ~ _
-l f r r ll _r_ [ middotp t
t I I J l t I I I I l
~ I bull I bullmiddot
Blow the Bl~ ow the r bull
trum pet up trum - pet up -t I
- I t l j_ L _L A I
r r J r J I A J f ~
l I I - I bull I
bull I I
Blow up the trum pet Blm_r up the trum pet I - -I
tt) 7 - 0 _ I 0 i I I -I 7 I I I I I I l I
--J I I _J
Blow up the trum pet the trum pet
0pound
_I I I I - I I J I I I 0 -II I L J I J - j
- Jf o I J 0
ln] the new moont evn i n the time ap -
- -- I
- I t l v t -1 I I_ I l I J ~() -in the new moon the new
I I
~
[ 11 -~ - 0 J - I
I ~ l I I 1 I I
I
in the new moon in I
I I I I - I I j J l J _0 r r J p
I
gt in
I the in the new moon~ new
1 _ - r- r r r - I
I I J I I ~
1
in the new moon
A ~ I I I
r
r f cl - A I _f I I I I I
- _ 0
l I gt _ _ I
I poin - ted at our feast day at
-middot - _
-moon
I l I
_ I I J r ~middot I I J j - t 0 A A
I - r-- ~ ~
the new I moon evbulln [in) the time ap-
J I ~ 7 j I I I ~
r r T I I _I I
1 _ J J t J l - j ~
I I pol nted I sol moon I evn in the time ap at our - emn -
I I + -( _-f- i- ___ - ~middot
_ T I I I J 1 t l r 0 ~-
r I I 1 bull - I I r I I j_ I I I
r
evbulln at the time ap- poin- ted- at our feast day at
93 [ot] Ct =at II otl~ va middot
95 I I [ I l
17
J I
__ J r rJO
r---
our feast
- - I I
v_ ev 1n
0 f6 r I J l - -J I l I I I_ l J
pointed at ou~ast
1 L _ II I y _ r Cl
I r - I
feast day at our I I J
bull _) 0 [j A I _ I - t I
__- I I I
our feast
- - I I
C
evn I
- ~-
--_r r 0 ~ ~
J l I 1
our
u
day
I [ I
J _
in the ~
r I I I
poin - ted
roo -= ~5
q~
I
I r r feast dayt -oGr
- _ I
- _ I
evn I 1
I I I ~
r l l I I
~me~--I ~nted a_p_ I
J I I I I
at our fea~t day
c t ) o t h u o s [1 h) = a~ tr~J))~ribed from
altmne ~cill-ed o~~ ti
- _ _
day 1 I -I I I I
I I J r I I -J I J
in the time ap - poin-ted at
pound)- bull -J _ I j
day our I feast
- l 1 l I
~t _--tf 0 II ~ ( I
I
feast day~ ev 1 n
__ _ r I ~ r I I J
I I 1 -
day the time ap-
100 -Imiddot 6_ __ J J J I I I I J I r t _1 ) - I bull -
in the time ap- pointed at
0 _
feast day
- 0 _
r I _
bull I 1
bull jrlJ the time ap
I
~-
r T o I I I I l A _ J
a or feast day our - o---- r l - f I I I
i
1 _l 1 _ I
at our feast day
Ct VOIC~
b4
105
r r f 6J dmiddot 0 I~ j A our feast day our feast day evn I
- - ~
J I
-
l evn in the time ap- pointed at __
A 0 ~ )
y 0 J I I
poin - ted at our sol - emn
- -0 dl ~ ~- - A middotmiddotmiddotmiddot-
feast day i at our feast at L
LJ
I
- 0 - - _A
v
our feast day sol emn
l -1 I- _pound_
I -_
in the time t
ap- pointed at our feast day evn l
_ 0 1 J l ~
-- - ~ J I 1 1 - I
our feast day evn in the time ap- pointed
0 ~ _ middot- A
feast day evn
- - -d A (
at ourmiddot -f- at our ~ ~ -- 0 - ( I I
feast day evn in the time ap- poin - ted feast
I
110
J omiddot u --1 -I
lt---
in the time ap -I
poin - ted at our
0 - ---1- -I-- I
at our feast day 0middot
I - --
l
(i nJ the time ap- pointed_ at feast day
I our
l Omiddot (_) y l
I feast day
0 ap- poin - ted at o~r I
~ 7 ~bull
I v
day at our feast day in the time
115 I I -middot
I-
-- 0 bull ~ -
middotfeast day evn I in the time ap- poin ted -
I I - - 11 (7 ~ 0 -at our feast day
bull 1- t -
- A ~
I evbull n [in) the time ap-
-middot y
I
~--c CJ
feast day evn in the time pointed at
r 7- ---ap-
J ~
y -ap- pointed at our sol emn feast
iblihing Mil 414 A bullbullbullbullbull
120 -
~ y r tFU
L j _L_ y -
at our feast day at our
- - - _ (7 _ - __ -
at our feast ~ L)
a_ 1 _L r I y r1
pointed at our
feast day middotI evn UnJ th time ap -
0 1 - --I -
A middotbull -
our feast day evn r 0 0 I -- Q_
-
day our feast day feast day evn
11 - -_y 11
_V -J
- __l -
feast day at our - 1 I _L_
_Ql_ A (7 I r-i 0
daymiddot ap - poin - ted at our 0
v I y ---d I
poi n - ted at our feast day at our
____
I I - -1 v J 1
FJ Cl bO L
I I ( t-I in the time pointed at ap - our
_)_ 1 ~ ~
Ll f
_r I
in the time ap - poin -ted at our
11ishing MP 454 A bullbullbullbullbull
67
A ~ ~
Ai 0 -- C-
-feast day
I
c- _- I - -
feast day
I I --
- _ _
-- -bull
I
I
feast I
day
u -I
feast I
day
I - I
~
middot~ lt-
feast day
130 f A -J I 0 A
-7 bull - -
A - men ~
~ v j middotmiddot r I I I _ l _
A - - - - - - _ -- -- -
- j -A men
_t - - -1
0 --
I - - - - -A
I I 7
A I ~
A
i
I -I I t- 7 -t I -~
A - -
~ I I - l I
t-- 0 I A
I I
- A men I M - I
- r ~I r v t I 1 I I _t J I I T I
A - - - ~ - men
c-~ I
- -I -
mmiddoten A I I I
--- 1 I I I J
I I T J _t A - I -
men A
135 l
I I I I _I -1 I ~~I I I 1 0 -l - I I I J rj~
- _
r --- ___ A -~ - - - - -01en -
I 11 - ~ - I t _ r p
r I J I I v I l J I
- - men A - -I I - I I -p - v_
v C7 I I -- __ I
-A men A
~ J I I I
I l I J I A _ - L7 JJ J ~
~ v p
- - - - - --
I I I J y __ I T r I I
~ I I I 0 ~~ - V
men A
lblishint MP 414 A bull
I I
I --- -~
- - tf a ~ - - _ - -- - men
0 ___
- men - A _ - ~ I --- -
I - men
- i _
- -- ---men
--
~--
_
men
tblishin9 MP 414 A 7
----
l I
72 ___________ ____ Ff gure 1
I I I
middot-
i
l I I r I 1 I
I r
IH pound
FIRST BOOK E I I ofSo11ge or q_fyftlJ of iRetiiu~
rourf parn ilh TJ 1
binsr~l tb( lbullU
paru togethcror ~lther of middot dle1Jlfhur2llynliay be toils it _ l 11l~U~~~r
to dte Lutebull Orpbad~l
or Viol de gllllbo Compoftdby Robct~ ltJ~Xto
f
----
1
l
I ~
1
I I
73
Figure 2
TO THE HO middotNORABJJE Ai~O VETt T OVS GENTLEMAN SIR ROBERT SlDNEY KNlCH -c
Gouernour nder her Mai~fi~e of the tOne f VltlbitJ1
and the CaAJe of the Jldlraquotftns In the low C oumnes and of tJtjorll ojtltf411Jt AJtntLrrpuh thtJbullrr-ifonthenmiddot
In plilctdMTftU D b~ifi~jiUitt
~~~ii~5fil Our great loue and famor Honorable Syreuer rhanifellcd toal OrthyScier ces hath ltnbdened me to offer vppe t
y~ut ~ordfiups Shrnc thefe the vr I wortht~middot labours of my uulicall trau~~middot And though in refpect or their Veake nes they ln~y perhaps leenu vntin1ely
bull=-o=====~ broughtfor[hand theremiddotbre the vnlikelrshyerlo pr~fpermiddot yet doubt I rt~t butj~ renderd by you they fl1all happclbulle find gentle cherdh~ng w h tel~ n1ar be a mea ne to make them more tlronger or elfe mtfcarrytog to etcour~ge my en~ ~ deuours to beget a better for as no arts vinclf at fever errors than muficke fo none greater enimies to thcirDvoe profeffion then Mu 1cians whowhdn in their-own ~tlguaritietheycon demne euery mans ~rkes raquo as fome wate ~duty they are cbe caufe dm an istbcmiddotldfcentc~emcJ ian~ they thuitfelues feEuted as fclfc-com e1enders tnd men man fan[aLlicll Vhcrfore if chis one cen~uringinfirm itie were remoued thefe nty ayres (free l dare fay from groffe crraurs) wauldfitde euery where mort gratious entcrtainement bull Butfince euei thofe who are betlfecneirtthis art cannacvaunt themfelueJ free from fuch de tra~ours~ ~ lhe~ leffc rega ~d irbting_fo w~ accompanie Howfaeu~r tfheretn I may gatne yout Honor~goodallOwance fuaU thinke I haae attained co the better en de of my labours (vbicb with my fdfeandthebell of my Ctruite) rcfies eaer more at your Lordihips in1ploimenc
Your LorJjh1ps lmotetl in ~tO dutifiiJfirmce
aobett lonebull
----
middotmiddot
74
Figure 3
ro THpound READER
~ gtltmiddot bull bullbull bull bull bull middot~ EntlettztnJfincem1dtireu)ourtllrtsfoulde middot ~~-- ~imiddots benlindijferentiudgtrfclllnot thin41t nt
-~~i ~ ~rflary to filalt nv trautil or nu hringing -vp ~ tbull middot 01 argtttJmts to plr[Jllade you that f haue a ~Ofd
~ op11110n of 111) feft~ only tht~ much lwzl~tJte 1n~ ~ I ot ihatJmttypretttnttherifhudgnlentsoJ[uch
bull _~~~ ~ t- ) u now n1c not E11er jinre I praflftJ fe4-- middot bull ~ kng I hat~e praRifid inging lbullauin hail not
itr qualitie tobitJder mefro1nmiddot the pifefimiddotI(TIOTPfedgt o(th~]aculu I rtue ~~~n incortngtil kr tbl lParranmiddott oj Jiucts good iugmentr that my
pt~ints herein foal 11tihe eafl proct~re_gooJii~ng if riot delight ~hich Jttfor ntineownetJtitl muflueeder Jeare 111 much 111 defi~e ~efpmiddotecialy
lien I conidtr tb Nptnes ofthu induflriousagtlhtrtillaU mtn tndeshyrwurto nol~t all Ninges I ronfefo I 1as not --nTiiUing to emhract the conctitr of fuch ge1tlemen uraquorere ear til to h11 ue me AfpbullreU thtfo ~~~ tits for them ~hihthough they intendet or their pmiddot_iuate rmeation 11eUcr meaning thfJhoultcomeintothe~tght~tre 1elf(I1Jten~ )pon inshytrtiiJ ~o ma~ thtoncouragementr of tq1s ~ jrfl di~tr~tllre 1Pkere11p~ PO f lilas ~lmrfl ~~to m4~e tnJ flfaJ ftiJt~ne lJJtbtU~OTJ pr~-shymtn~ thAt if lY ctfimiddotnnrfoilttltn( ~ M_~HJI ~~H fllghl P_eakt for theme~ts ~boTPfoeiltr 1~plt4ftth tbtm middottodlaquonunl bl~tt of thest ihen oftbeft1 0 f purp_ofo ( M -ltfiOiddfiemt)tom~t4 mehJ1eut I hm do (omething 1111 onb hope i1 thai fo~ing ntither J cold AJres A nor fheir idedties ( u thgDi[ntedtl hau t cAUthtin) hAue hithn-to Jeene foc~ttd in Ut tdrtJ of rnanie thg maierh~nttlflil)dt f~Kh enshytertllinmentJ llJ conmonlit nn~e1 aoth in tht bullorJ ~thith if I J he fo
middot ~appie~(o he11re lTtiUnoefaie my next jh11H Itt ampttirr1hut I ~a promift tO tfl~middotIJfOft f4intmiddotsroJmJ lliOt fOintsof mfiampJtwbich noJJt coufJ not JohectJuft YlitJtffcllrerPu (ofttlht (Jf~mtk~Jor~ ~~~~hen muflhe-ullJe~ connntDith e11ch IIJantlll))foU cenfurtU IjhJbe giAJ of fomt mtns vndeftrueJ fouourl
-J
--
IJ
Figure 4
~~ ~ A Table of aU the Songs contained in thir7JooJc ~~~Ul
middotImiddot AWordans LookecS middot Fertd Wlnto~ youdu ~~= Sheewhorematd)Jet1ebcaury f+- ~ Qncre did I laue ~~~ L~d ~r~Atongdcfuc l Ltc dOwne poorc bean J ~ bull n Wl I _ ~ -b _nere rngrrnguare
1 - i1 Hcroatenotchougb ~ z- middot ~ Wbcnleucandumo bull ~~ Swee(te come awa t bull -a Wmiddotomenmiddotbullhataicrtbey
EarcweHdccrc louc ~ middot gt ~ ~ 0 my paorc eiu r~ ~ a If fathers knew
bull ~e i Life is a PoeampJ phablo ~~~ Sweere Pbilomdl fi ~- ~ 9 That heart 1 ~
1 VVbit ifl feckc MymiRris
middot~ M ~ Petplcxed _ 1 ~ Can lllodca pbine dctir
I
middot 11 - 1 ~ ~ middotr_ ~ r fl~ - I
l j It I I
~ ~
-I i I
lj middot J ~t ir- I
bull Ill - -middotmiddot - B
L lL m IUL v VL vu VUL IX X XL xn
xm X1Dl-xv XVI xvn
I t
I r-middot
r --- ~ I r- ~ J
I
Figure 5
--------------~- ____ __ t
lf~ flfl TJE
B 0 0 K E 0 F S 0 N G S AND AYRES
Set out to the Lute lhe bafe Violl the pr-ynt Wdl etr tbr 84ft by
tablcturc afitr lhc lctlo ~114
CftftJJ Kobert Iones bull ~middotihl~ by Pr flaquo Afbs by bullbe
~Jm ~f11HtfNI Al~rl)l J tbull6t Cold bulll bullhe Inner l(mplc
u bullr bull 1-ot
_ +- - middot tmiddot bull
~
II
Figure 6
------middot--~ middot-------
T 0 T I-1 E It l G I-I T V E R T V 0 V S A~ D V oR T II Y K ~I G H T S 1 R
H F N It Y L f 0 N i D -middotrmiddot t ~ ~ ---middot~middot 0 R T H) Sir mJ my_ Honourablc fiicnd I giue you thi~ ~~ ~~~1 bull CIJIIJl pr~u~ gtou hnng at vp bccaufc I ttm o1 ~orc mn ami t ~ middot ~ _ can nor maanrunc bull t 1t bulluy ~ulfcc muchaducrfi u~ ~~~ my nam c
middot middot your For~u~c mnc aJ~cr llJS rtJrrcs 1_nd make h1m hJppac bull f ~ I fhopghllllbtherbe ahmiddot oe l ulltec~Uhoun Orpbanrlorpm rc
mens CbddrlfJ -are Orplano borne and more to be piuiCd d~cn they liJJt hJ11c changed thcidltl cr) lor their ltuJ ~ fud1 mlc bullai(e themfduc~hl due time we h0111C oo wJ ic to l lciglncnour being bm by lbulllothcr pomiddotNcr As Gcntlcwo- mtn pecce lhcmfdbullcs with Tij es and Co ronctsto t p flC trt mor~ per fcmablc ~nd t~ll o UltJfi woaJdc VntO OUl )ulctlCS if wew11 not De (corned iardwarfcs) rhccroYlC of Acnllc pC1fons mgtre cmincnt and hi~h Our (Lnurcs ~rc nor fct aboue d3nshygcr i WCcJuJowc hdor CUCflC footetO trcadc vpOtr OUt place IS he cround there icnodnng balc-~trwsandycr dcuil~ion _m pun n lower if wee h~uenotgood ~(reds Th~ y wiH fin_J _me~nc~ lfl digg c and In v s down~ irnu the cllth ~ nd burie yenS
bcfotc ourume Th1s 1s the nufc of pttroua~ct nnd thli ts rho p(rlecutton o( ahem tlpt wouldingroffc ~11 Gloric imo the~r owne hmds But t~cdJt UJl~ o~ rhtfe mcn they bite the truhe~ thcmfdues 01ould fee de vpon Vcrtuc would llrlng fonh mmie h1idrtfl but 1hey hold them an the wombe that lhcy due not come hut As the coshyucrolls maf~~ fi~gcth aU the hind about h1m wath fi3tuus 6ncsand b~nds i1 nd othc r (uch Iike~iumiddot 1 warre (o doth the ambitious intrap the Jinle pori ion of ante commenshydations cha m~ ic fie II bcfidcdilm And like the mercalcff- Souldicn lhe Cafilcs they cmnot t~ kc they blow vp They uc a~ f(nring of cucr ie CmUlrcJun~flc of crcdifbull ~s iflt were I aide vp in oonnnon-bmke and the more were giuco a wile the IelTe would ~orne to tl1cic nbullarcs Theya1 c mafcra~lc men) _f roill onlf br~md (htm wi1h this m rk~ and let dttmgoe Thty were Eaglci tftheyd1d not rJtch Hycsas lheY ate thcy-bullro grculhings)muchldfcthcnnoamphing For my parc)l willnotcorucoa wiJhchcm ( aeiire JlO appf~u(c or commcndadons lei ch~m haue the flmc of Ecchocs and (oundf and let me be a Bird in your C~ge fin~ to Y fclfc ~nd yo-1 Tl)is is uiy coment and this is my llmbition~ if 1 haucthis Jfiile nm in mtcxpclhton il more for rour akcth~t is my ashbntagct andl will owe you duciie for it in the m~anc time lrcfL
fl 0 Jt I ll T 1 0 H R ~
A 2
10
Figure 7
f
TO THE READER
rSI~~---11~~~ E AD E R 1 btt11t atrl moruuuttiWtJ to At~ IIgtJ oujlU rtPhul~r J b411t 6o1ft WU r no td~n( tlull
--=middot ~m~laquoh ft~inen~ rltoife thrt e~tU th4t jwiUf-1 fortify j - ~ry inrtnl toJll~rJdbtt lllll JJ 1tt btctufo
z kow tlwcwot r middot41d I IU jtlllrl ftDf gr~flJ(t D
comftlirltfto Wilrrant J tnJtutJMrs lll-bullfl o~U met~ ~ J bull JqJ it 110 fJ1J1111t tJ ()~~ Vfri~btrztQt ~~~ thttiJJkJt 1 ~~
J tntlfflt IUJtl~ AUfljt my Jrlfrof~lliJtnltt yluggbullJ ~~a~ ~~~~ iby fat~olll ~ whrrtin l t~sft rt~tiJti tJ itftritk rkJt ~D11bull
II~~~~~-~~ llllldllllorlt 1 then PJ my ownt bullfi 1 to frt 9 l4hD~ifl ~Ill (o Jbulllr The llNIIb b lllthlugh l wbull nbulll fo nilt
Jllltll J rptnpofol l~rt cA7rn t~Jt J J4n1Jt~t jl11d c tbrbbull~r~ of t~rirt~~min~tion Ttt Jwould bt ~it~J( if 1t ~IJtbi) thfl~tlt J1nJI7 tpptabat~tm mtJbtgtlltll1t mcouragtmtntto foutJJm t1Jan4rfoltJumfltt JrtlltfJJJJ rlmu t4ttJ hertJttr bull Jftb( Dtt~itr aiftk dJrlmiddot 1
1ll mjiullt- th~tt lJU fo e~DlJ til flbfffll 1J_
pri~su rt~nttnrntu(JilltrJ Gnt(tmt~ith~ut tbti~tonj~IUJ lhh ( lmiddotbPfl J nor 4middot gbullmJltbdr tltls RPtrtm if t~oN ftrJJ afllltiJmg to rnrtttfllltbmiddotrlq Jefiri rblt~k m~ jtlr th] rtltre ~uwr mr~nt tiNt~ J (nmiddotow nDJ l11w 11 ttiiIbullrt~ttmt Q(lr~IJt bullMtillllb~n~l tkrt p~NJ btn~ GtJ~thmbulln ( btn H 1tJ4j ~middot1 fo mfcb pbullrnufor fo hulltMJ) tbl wbullD n ~911middot cl11~1ht c~n 4~ ItA k bull~ loiftr bi Imiddot~~~middot 1l~~JtMjrlrJIJ g_olll bullJtiK tlritil bullfhu tNnmng JifJbulltlltmtbulltJJ tblttll) bt(t11TiflfllJ ~~JUJhlllfJ nolliIYIIJ hu tiJN)t rl1tfo Jrtlo dtjilehim Cif ht-6middott nt~~zruiiPbullP bulllirbnmiddotz ii) tb41hfmaj(J 4ctrp1tbt N6inrri DnDfiiiJ Nt1111t M 11 f~cirnl Tiflsmonit th~t J ttm wat bAiflrJ oinflrt~DJ~Il Jflhtrtifl Iter 1 iraquo94fftt~r rt~hbullffibullNJ7rll ~ ~ J~fiijitJIIjon ~so~middotrbrr~fl tb~l1fDMJj~inc in formt llltil tbtY ktofMttlhm~ Jytbur gmzt411Jtjl~ ~INtrltlbltlg J IJ n1t j11 rnbullch 41 tltfirtthtm o 6elftbulltbull ltARJf11ould hfrrbl teacluhmr At lr~tp bow tbl) IJII~ bt ttmt je F r 1hl 1Jc)Dl 1 will foit 1n1J t hHJ mMch tbtrt blllh not bttnl u~tPttt of tbil fojhitm wampicblf tha jh11l1 pron~gturt to bt blWirtbmiddottb btAtHitJ rtfl fJfifjitJ) if tlbJtit~tor Pbullrewell~
Leaftanie ntan fi1ouldfeen1e to acctlfc tneoflingularitit for expref~ fing thetimeo( myfong~s by prlcke fong Neres neuer b~reto fore vfemiddotd Ihaueforhis ~euer innruction hcr~un~o indeuoored to fatiffie him
amp t r f A Scmlbrcofe Minnum~ ChrocberQampIItr
-----
~ qA~ ~- ~ 1b [G~ ir~1
~~J ~ v 1
~ ~~ c a
c ~ ~79 - =-m
IC~~
~ p _l
9t ~ ~
ll4 ~ l
-- 79
Figure 8
-
A Table of all the Songs contain~d in thitltBook
I loue wing middotd my hopes I I Jly louc bound m~ with ~ kiffe
1 I f bull 0 how my thoughts doe be~ t me II [ Ore ames ~nd I magi Oitiom V Nfcc thought thi~other night V l IVho fo is tidmiddot= 1 II fie fie V Ill e~~utic (bndc further I X Now what is loUI X loues God it a boy X I Ouerthcfebrookcs X I ( Whither 1Unnc1h my fw cct hart X II I Once did lloue X II I 1 F1ire womtn X V D~mtic d~rling
X V l My Jouc is neither yoong nor otd X VI I Loue is a b~blo X V I I I A rife XIX Did cuerman
middot XX To lighandtohefad X X I Come fa tro-w con1e
0
I l Jl
iir 01 11 -~
~~~ ~~ ~
t~ ~1
~P J
~~8 L e
( _] middot~- - ~
v lft -amp A
l -
I
~u
Figure 9
-----------------------------~
VLTMfiM fl IILE virh a triplicity ofMuficke
W HEREOF lbt firfl p~trt ir (or t~t Llltt J tbt Voyc~ and the Vbullolc Deg1mbo The Jcflt lbt Lbulltt tfH Yllt 2J IMrt
p1ne1 to fine The third part is foe twoTtcbl~t to 1fint ~it hc 10
lbtAr n- rhll 1~ bullr t-
bull bf ~ Compofed byR obull bull T lo bullbullmiddot
fl fr1fbull1JibullJ~ ~ 4111 Priorcd It london br r~ i JIIiWd
~re robcfoJd l)yS pfn (lw J bt sJ-laquo
ttfiN C01bull1 I 6 G l bull
81
Figure 10
r~IW~- ~~~middot middot~- middot ~middot bull bull
TO THE GREAT lOY AND HOPpound OF PCZ(ESB~Tuf ~Jgt rUTUfF
Times H E N R ~ E P ri nee of lf a cr Duke Cl~r41wt1 ElJieoflhc CIJjtJirfbullibulltifttfchtjltr Knight ~fthdiDIN ribkoJenf
dl G4rUr Hcyu App rant 10 tht Rcllmcs of Elrjuntl Scotbnd France and JrdoJnd
Ojl Exrelknt Prince T Jr flrengtb of our d rt (] houJ aythrrPuaf(ncsgt) cannot endure tbc force of Soueraigne
erltlCpoundOf1tcncarcitwemay tU ncarc u to you your poundarcJ TPillyet_ be arc to deale wuhfottndes tbougb nor to
dwcU there yet to pajfe by tbcm1nd by teJiJ to learn to tune Jenjcs lJ a nper a~c c-A lmo all attr k[JlPicdge ir drallme through the ftnfirtbey arc the Saulctntclligencfrf -wbcrciy (he paffith into tbc -world a11J theTPorld into bcrttnd tJntangl ali ~(than )there is none fo learned__ a1 the tare~ none hatbobtainedfa cxccllrnt tJJJ ufrtJjodelicate1[a ablrufe fo p_irituaJ thAt itCIJtChftb rup TPifde fo undet in tbe Jitt and brin~~J tk Under tJ goucrtJC1fttnt ntJt to he expreffi1gtbut donegt and done by no sQll buf it otPn~ Thereu Mufic-k in all thinretbttt ettery tnan cannotfinde i t Ot4t)
iltampAJJjeofbilo~neurri11ghee MJlft baue 4 harmo1J_J in hiinftl[e)hat hold goe-about it and then bt u in~ good way 111 be that ht~th a gwti ~artJ in d
oudfot1llardtUJ to our focultit [ onceitc u but aTPtll tundejat~ry done in tinu ~ pLsce ~~~ ex(ellezt fintencril hut a TPell lHn~e rea(vn Dell nit ltgethtr P ollte or the fubt efl therof a [omit 1on IJ1ellltbu6utll lite I tuul middot e
Song T~htr~-allr41ltl Joettgrec ana lnccte together~ith foil C011ftneanti lJartiJOnJ one Jertung otherand cuery ont rhemfeltlet in tht Jam~ lAbour ButnolP] intrudeintoJOilr llrtin whicb 411 pnry(anJ ftc hoper)thal q oJ ~iff giucyou a oJy aru profpetOI~S k_JoIIJfedge anJ t)en aJ orhtr eJ rtCS foal profPpoundrnder it Our gracious S tll7aigt7(Tour H~h11ei dear FatJcr) hath ar11trd atul conortedjomc great prOfifiolH areaJy~ fi~eh1ittleoneJ dJ this )oo e for itgtand heg il cfw OJ4 your p ri nccb nature promi[eth it J hich m4 es nv boJJnet bopefor p4r on ltJucbfiifc tne(mojl exctllcnt Pr1nce) )ourProte8ion Ph(f1flt)on41lowJall Qtbtrs rPill conrmtnd theircenfitrer n A it fobulluoflrlikjngthst ot~~rraquoJift1Pold Jifpift me bull EN en your n meJ the forefrTJntu ll charmifor ~~talttiOHl trmgtu ThAI praJtng thatyour Htghnt IIJ aDtaet h~ttte dtJ tttre t~be te alir bulllltuJijingulj1J ~tht _fo14tuJ of lTlCth l necl tftJOUr Higbnes feet
Your Highnes in all hom blc tl~~tJt AIIJ cruice
RoaampampT
lo N s
82
Figure 11
- ~ H c ldndc A pplauf~ vherevith I hau~ been~ revardcd in n1y former A yrcs hr fuch Gcndemen as can iudg~
~~~mJ Imiddotb middot Y the e bull are~ an not other 1n~ns Echo~s hath nov du s ~ middot durd t1me gmcn n1e heart fron1 then to hope for the
like in tbcfe V hich l hauc corn ofed cuen to hew n1y
graticude rovarcles them I lulO eucry Father is paniall ouer the i ue ofhis body)and hauing his iudge1nentcorrupced by Insaffecti- onis VOn[ rofpe~J e bis Chtldrens prayfesaccordingto hisovn de fires rather the i1 I he ir de f~r ts 1 t tna y bcJ h aue thuS oucrlookcd this iffue ofn~~ br3iue whereforel wiU onely comm~nd my pur_pofceto ntakc tlus lail my bdt expcchng to reade the rruchof my fdfe out of thy reporc AnJ becaufe ant notignorancenough)to b ~egroffely taxed by any of our cunningJvlaiJlers nor bigge enouamph to beflar te~ed or c n u yed 1 hope I 01a1J not be driuen toe nq utre out my en~ 1 middotes) co heare of n1y fa~cs nor to befpeake mylriendes~uour F or ho1rvloeuer l an1 fe t in an vndetfortune thac hath need ofampicndlhip y~cit n1y Vorl e~cannot 1ufiifie n1erny wordes Htalluotl bad rather dye a be g r 1tbcn Jiue a boaler what skilltimeand mycontinuall
radifehath biucnme)hcre I gladly impantocuery wel wiUert lat gr(tuntcs me buc acc~tanae for my paines And fa I comn1it my icfe to thy cenfuse1 F arevcJI middot
7ohertloner
( middot
83
Figure 12
A TABLE CONT AI-ning all the Songs in rhis
BooK E
1 ooenotO do not prize thy be11utie 2 middot 73ea utic fote bathing h y a j pri ng ~ CjoctobedfrJJcct6lvluzcgttak thyrcjl 4Shalil loaktampoenogriifc 5 ~Pbar1jJ fpcd1t1hert 1 leafl cxpeEled 6 Slpeetcijyoulik and lotte 1ne fliJ 7 SetifetrothledrhoughtJtofgh 8 Scinrhia~cene ojSeas and Lands 9 rB la111enot tn) chee 1 I l o There is a qardci1 in hc1 forc 11 S1reete Loue my oney Trcafr4re u ~hinkft thou 1_ate to put me doUJne I) Jfhen willtltfounraineojmy tea res bedrye J+ F lye ji-o11J tbe TParld 11 Happy he botofrraquo etebomc retirdc
-Thcfc following are for z Tr~blcs
l61Jiftlaine thntjoll amph Jilfne 7 middot o) et)erchangeandjjttre not
I8SirctiuftJijJAineh 1~to ri t
19 cuftler ry hands lo vh ue lgrt~ceintreatetl ~o Oft haut fmJe the cartfe to ftn e ll J(o hAuefleamd-mithmuch4doot~tfpjl
B
84
Figure 13
ORTHE FOVRTHBOOmiddotICEOF A Y R E s
The Firlt partisfor tbe Lute poundVO Voyce s and the Viole de G ambo The Second part it for tbe ~amptte ebe Viole and joure V oices to Sing The 7 bird paramp
is for one Voycealon~ ono ~he Lumiddote the llafTe Violeot to bach if you pleaf~ VYIrrtoj~ tAlo ut ltzlitn AJrtt middot
CompufcJ by R o bull l ~ T 1 a bull s
2f trfont (intIJ J1fJJmiddotil4 iMMJifl
L o P n w lrnplintedbyloHN WI~ D T andaretobcColdcbv StCO-rt w TElSO lol inPowlcs
ChMhmiddot]tlfd)bulltlhl SlJt j lit Cfll~middot l o 9bull gt
-----
I
--- 85
Figure 14
1
- ~~
TOTHERIGHT YV 0 RmiddotS HIP F V L L AN D VV 0 R--
thy Gcndcn1nn Sir I o H N ~ E v r N T u o u r pound Knigbc pcrptlll3ll liafpinrffe and [or~tcrlt
~~)1-lpound--- -- fmiddotts not vnkncvne =nco your wcl deft ruing fdfe 0 R igh~ V Vorfhipfull that not long fince 1 cooke n-1y
V~tiltttm )a[t vith a refoluing in my ldft lHter co
put llfh aoy VOdc~sof che f1mC Natllre and Fan ion VJlereupon) betooke n1e co the eafe of n1y PJIIov
middot where SompUI -auing taken poffehionofmyeyesand u 1orphttlf the charge of my feofes it happenrd
~~~~Mmiddot~~~bull rnee to fall into aM uftcal dreame wherein Jbulldl middot nc~d - to haue many opinions and extrauagant hun1ors Lf
di uers Natures and Condttionsfome of rnodet mt rth fame of a marc llS Louc ~nd orne of mofi diuine contemplacion all (hefe I hope 1 fl1all not gue any dtilafie to the eareror d nde to the mind eyther in their words or in their r~~ ueraUfoundsalchough it is not nec~ffarie co relate or diuulge all Drean1es or PhanrafiesthatOpinioo hegcrsin lleepcor happeneth to the n1indes apparbull[i onAnd continuing long in chis my dreaming humber I btgan to avake anJ vp n my eyes v ndofin~ l bethought n1 y fclte being full a Vak~d aJu itlng n my n1ind Vhom~ to dec1 and chute as a Patrone for the lan1~ l Vas eafily in -ued to n11J~e choice of yqur V orO~ip a3 one to V hom~ I necelfarily ou ht
both lou~ and duety l nJ howfocuer l m1ght feare that you Vil not adamp0
ledge it yec in thlt Nature ha th inricheJ you Yith more chen ord1nlrie know le oe in th ~ Art~ be~inga Vi ntsofthat Lo~t~ Vbich you haue ahvaycsl ffor
ded to Mufick gtI en1boldened my fel fe the rather ro pre(ent it vntu ycu Accept itthen(good Sir) as a T oken of vnfained Loueand a e be
worthily Jue ynto middotyou for your many fauours done to him [hat is
uft)middotour lforhiju conJmaund
----
86
figure 15
Thi~ Greetin ~middot bullbull
~~~~ HoulPhofo dare itcbeJ ltJith the VJrietie of opinion h~aring thinr oraquome otlJdtJf tJc ecchqc nuerbcrtJ~ ing otfJeTJ fubflt~nCC and lmprofit4hfr ~n it
middot jtlfefhclpt s to tbe IVorld comfJrtaJie liJc though to thy orvne ~Je bttle middot~~~~pleajurcLJ retjon of)lnch-umiddotirbl~ctn[ure I fpc zlte tot bee m ujirall Mo tuusthotljimiddotcm ruboft Jucctie IUimhcrr ~1 J rajiy pafeJJ drop1 foil in tbc jhonre Dt4l
)ithlrjfiprofiufcomprutmiddotthcetothqhlt nuy Jr4l tbatjlitr int0 11UJUCJCf and ltJill twt tbcncertJithout much troubli) or tbuu rn t JJ Jfper[el iulgemeiltgt not oneamp art afo jeniru tofecing kJonde~~c hut moj fo ttlty f ct o d jcruing i~Jdamptflr]fL~~gtg 1110zte r ctU of the 111oilpurt Bilfoaud Jmoothiu~ tbt~ plztncl Citttl ~ rvben on ely thine on~ne opt 11iltJ1J it more nJrinc~lcd and more vitiotH mit ~( then grcjJcr10Yle lo tbJt 11 a brujh 111
jcFlcdlPilhfithgttbott ralbcrjomiddotlcfl theti iiMI( pebullje( 41VWl) I ha~1e jlooJ atthi11c e lho1PJ andh~arJ tbcl prop~Jtne cur a 1 dlfit c1 bcfl J(ryu and 1tJith thy lntu~zde ref 1b Jot f~rde~J rfl gnoh iy l4J1l ltJJilre~ ~nil f f~ renot g~eaty_tJat tboul~iltlay to raquo1J ciJatg t 1 111 lD vtfu111C )Oll11 ~Cttrrag1tRf 6ecaufe fft011tied a r ~nuch but 1md~rflauJ me tbou-ns ~VIitll dojcanterdtriur Ji o 11 tba t JCrue fPlaineSong charit4bletJtlm hers)and tbotl (hale fnd harb Joicr I ttr~ ojtrtl t1 J0te ahoue pound redr1c el hJ tn~er
izulgtment n bicb 1 htrc4Uc tht of tJmiddotorPinrl by RJtler are as orr nelll cmne Lutf be~ -_ ing ofrJany ftri~I(CfIJOt((ffamp tJjJJlmlcflr ~~~ ~dllefittlreti1 praf1i(tput fon~4rd it1to
dcjerurng Dst4ijtaiJ rr hH nIJ aduerJI ure I r nomiddot rtccd but drtanze) and utJat art tlrcamei poundut aiJie fCtjcfi iotJgtandjcttrall ayrc s 6reathll)~ Jarmonio111 llilijperitJgt tbongh to thee difcordlmiddotet toolbcrs indffirent 1rvill not ttY cxcellel~(~ becHfe it is 4J
othen otflce 110ttni1u 6ru let tbcm6~ as thtY arto~lmiddotcn propuu tul my p~inct _(rt forth j ar pleafurcgt uot for pw1HJIc~l poJou Jiucfl itntrginatioiJIJO but aJ a fhorPrcjt~llitiJ i1 ~urcdfuil ft~fouJ~ 7 jJtUr m fmiddotlje atlrajlaJJd wrl(ay fo et4er bY au otbmiddotrj lPhofe IJ bourfhJI vfJ(t Alujt~udl uuulu~ztt -~ Jbe rmeiy rPiug fJ IrJe courage being tl1e mofl pltttfo~~ 1luice ~(11~ 1) nmiddothotjnmiddoteet~rc J t t11chcr h 1m to hcaiHIJ itfelf~ Jt ir Jjara if a thi r pztt1cs rcpt ntgood romm~ndJti~Jniand it lf t~ttr Ulrtlll out of 11 Flint itJ the toll ith l hou ntHer rl ink (I u ell of di1J 1 Jn ~rlJ bull(rt in tb) fjto v nri(Jifi1 encr aJ l lJ Tt~tor jranJ tbr I ~ Jllol middotrc fotdtlneuct Jnn rbcc 1~1~ it~ irune be 4J thott art a h1mp of Jc(onnity lllbm I Jjhonbrcldt i11 tbe Ufvdr ampi diAI~ir~e nd 6rontht forth b1 b~n~iulr l1emiddot g~r ~ t htftt r1 11idn fc to ~til t i nc m n rt f
j i umiddotme lc u todrplrt Jmiddotor ifnd J1Ntbout it J $111 gonec rtltfic o~ til)middot crnfitrillifi arf jJ~IIy p( ~(n 1dcd thuu ca1Jjl110t thiole tlrlnd tcrefurc art crufl tiJ thy [raJie 11 IHr pound0 1e btu (rttclltJntl being 6on1c wit b rce tb irJ tly bc11dbit eucryeuronJC D47111ele t jJ tbir orwbat rijeboncfl iudujlry~nxcr th) ~111 egosip trJo
fucwdl1f thou wilt in ~in~llclfeot hoi~ tlly fClfltfitgtm1inthcr cupmg
87
Figure 16
lee Caldi fopitmiddoti Samor nfltJ c t~t du119Uc
B
lO
l~
------
88
Figure 17
Or [he tift Bookeof Ayres onelyfor rhe Lure che Bafc vyoll J and the Voyce
[ompofedb) RoBs R T IoN E s
QEe profontjingula mdta ibullmant __ _ ___________________ __ middot~-middot -middot middot--- -
L 0 N DC
rrintcd hy tlbullc Afigur~ ol ~~
Jij0ilfm lJdr ley t 6 1 o
I 89
I Figure 18
TO THE TRVE HONOVRABLE AND ESTEEM ED VVOR THIE THE
1 f q H T If 0 7 S H I P F V L L r If E LAVY vv R 0 T ll
~~~~~~On Honoured Lady my ddcfl anJ firft iiTuc hautngthr(ud fo ~middotdl vnder the protec1ion of your Right Honourable Facher blame not this my yonshygell and h1tl Babe if it dcfiroul1y fecke ampnctit~ric
~ with your fdfe as being a mopound1 vonhy branch frotn fo Noble and renov1ned a flocke It is here uarie tc I
a - your whole houfc noton ly to be trudy Honoura7 bl~ i o your feluesh ut to be the fa u ou rers and fu rd1ercrs of all hone 0 and crtuous end~uourpound in others And [hJt n1akes n1e fo farr~ daringas ro prefunle to offer rhis o~dicadon to your fJire acceptlOCP- AnJ hovfoe uermy defeCts therein may happily (or rather v1happtl y) be n1any ~t an1 I moficonfiJent(and tl1atgrow~s fion1 tbe worthinefleofyourowne nature) that your 1-Ionourable minde middotviii he plea fed (fince it cg s c fc lfc moll humbly in your annes) to giue it villin~ eqtcnain~ment and to countenance it Vith the fairc Liuca ie of your nobl~ Name It may bee flighted in ref peel of its ovne valev bur your f1uourable acceptance
wil~ bot~ grace it andmy fdfe a~ a poore Table hung vp euen tn Pnnces G lJoncs ndt for lhe VVoo ~hut for the Ptdurc
And fo (Noble ~ad y) not d~ring to bee ir~Ious of your rlonourable entercaine
menc I rcll
-I our LaJyjhip Jellcted in all dutit
I
RonERT I o Npounds
-----
~
90
Figure 19
~ )~To the friendly Cenfurcrs
- Eart jriend1 for fi I ~sJIyou ~(you pltbulltJ(e to acctpt my 7ood lllttJning i prefented yot l~fl rraquouh a Vreame i1j
middot wbich 1 doubt not ttt Ottr jJJta(ies htJue receuud fame rcafota6e contentment and now f JO~t pleaje to lee 1l9afd ortt of that VreiJJne f jhaU for your rerre JIJOIJ 1nd rcfi pound(bing guide you to tbe_1v( v s ~ s G A u ~
~=-o~-o~~ o EN Pberrytu (halljindj~cbVttrittiemiddot of Jelighn tiJt quc-ihunltfeJmiddoton n ill wilitt~Jjcnd fome time in the vien
t rrtof 1 n )Ot~r 1jentr411Ce into -which Cjardtmiddotn) yotl jhJIJ mtett ~ith Lout 1 CJr r and li6tl6ht bHt L4Jur frt foortb at lt~rge i11 biJ colourrby JFay ofdecypht t in6 bim in hit 11 ~1turt_~ ln the midfl ofzt yat4 fbaU find Lcmt rciefleJ) vpon t~rLnfu~cie 1nd b1rd mtajuteoj-ingrt~titude T ruching them that ar~lourrt gtI cr1 tumiddot tl1em to tltiro1~ne Ctl~(ure in Lout I defcripttou eJrul nowfor tht end it tf )liJn~ble UJ anorbcr ~ tur)for tbedcligbt oftht ettrf tnjamptUJjit opbull~1io1 14111
nM ft lrogant loco 1mf1Jd mi1te onme gitt neither yet fo Jegtnerate IU to be-g )Uto tdl(rartvn fftbejt d hgbtroFloftl(rt) or)4r(tico[PruittY ruaymJ
)1 ~1~Yt J -t rle _rjtng WJOffr_(ut i 1 jla1 bl gitJd Othel TPije J raquoiiJ )O)) nelIICr to J~middot t_fot~gtPluu orgraft and my ittbourJ butcrflrtb jh111l rtaft to trou61e)middot~ott
iJ Jt41)middotilln retlr lniflil r ~-tren ot will f1etunty ourctnforesl and dcfi~ your malice if you drJfe iht 1 a111 rifolute 1
ijyou11[e me r~ith rtjfe(l 1 bidJou mojl bearti_v
R I
--I
91
Figure 20
THE ry A11 L E
~Ouelouc=
middot~ tpound1 Soft Cupid fofi middot~ Alec 1 the fiUy 6th begu1c 1middotmiddote lounuhtcs ~~noake o =okin~ hy ti~( Riocr ride 1 n nnot (n 1fc but liuc 1 (mile loy in lhy Imiddotmiddot ( S
How rn~uy New yccrcs luuc grow ~n nldc There vvas lt~~ ll lcptCoJrd bull hn d~d litH The Sea h~h 1nany tbo~L~nd llnd Omiddotlmiddote dimiddotJ tnt thoHgh 5-both cLbc bullnd Sow l ~m b t~rrt ftom piuyh g th rc h 1 2] lately in a d1 came There wu 2 wil y a ddt My f~thtt fampinc would hluc me uke Mv loue harh hcr trot L ue bctro11d All roy fenC~e thy tweeuncfl~ g2incd T middot t~ CC de1fe A fpc wnh dyna voice Ddwld her I d ct like wire~ ofemn Gold 1lhouwb d1lt 1iogs ufmy ddirc h( dipt _l~ht 1 rcdccun cnln cu on witu mtnc ryet
middot
92
I Figure 21
Robert Iones bull XIX CANTVS
-~----- middot_ - ---------~- htl_ _+--=--= =- middot __ - -middot ---=---- - middot- --- -==== ramp-1==+~- - middot -~------- middot-- ---- ---___-
kt her goc
rtmiddot-w
bull And 0019 lbc rwofa dit but hu Nzyny)l moRneoctdlyou An yri I will ltis fo ( 1
A5 tlaquobelt tahha ~hen loucn IIKGC
5trt ~oma~oo tk ~ ~ Tatdl you mateilis necdldft~ I nnnt md c u hew by middotthe 1ooe And tbcnlQll chis wu ooJ~
93
Figure 22 ------~--- ---
bullsAtlV
llil 11 ~ middotl llh1J 11111 lllll t ~ I l ~ ~ I II II II I ttJ S amp I a HIH lf lll It g I J ~ I L~ Ill~ lt lll
vi i i II t middot1 ~ ~ I I II I ll
r
I l I I
l I bull
l 0 middot bl
1J 1 bull i ] _ Q
middot a middotmiddott kl U I I I I
_____~_=~=-~JIlW~ wrong bdccue htr not it wu not fo I dJd but lilfc her I did b~ Lilfc bcr aac~
-__1---------- -middot- ------middotjmiddot------ ------------- - --- -~-- middotbull - ___~__-- ~
~ ~__ - ~--- middot --~--~
----- -------------middot--------------------===-================-=-=~--middot---------
4
Figure 23
Rob~ rt lonts Xlr CANTVS
~ F 1 r ~ l ~ - ~ ~ - P r lt1 J c r bull ~ ~ r t r- r n t b c- - c
- middot (~-middot~ ~ ( - ~)7-47-~- ~ ~ amp --_-_ ---_- ~sectC-~---_---~- -(--~- --~-- -- -~ -_- - _ E - -- middot- --- --~ -L-~L-middot = middot ( -- --~middot-- f -=---~~ -77-_-C_ - t _ c ( t2 - -= ---~---- -- middot-----------
middot~ middot
n_ tt=l= -iIt~_plusmnt_~~poundltr=t=~~~=middotumiddot==---= -_ ~t=-==t=-=xtptl--~=t---=-t-x~-E~=-------
go there be many mo I fcltC nor why then let her goe 1 care DO[
---middot-------
l
Far--cwt UfJrewdllincc d1ls 1 finde it llllt 1 will not fpCod more nme in wooing you
nul I iH cce d w htre lfl mivfindhctthcrc S1=-ll l bid hct goc Vh1~ and rll Jocf
Sh~lbid her go and fparc not tll oo oo no I date noc
J Ten Lhoufand imes f1rcwcll yet fl2y I hilt Swca kilfe me onceJ t t ltdfcs limcbcguic 1
l h~ue no pow ~r lo mouc
How oow 1lt2m 1 io laue W ilr d10u nec middotbe gone Go then all is one
Viit thou need be goncoh hi~ thee Nay 01y ~nd doc no lnoampe dcwcmec
Once moce flrewcll t ~lorn rodcrrwrct Bids oamp adcw to her due holdcs Ill bm
But fcdh~ r mnR kgtof~
7hy loucwbi h ldid chufc Go rhy waies for 111t_ smiddotncc irmay nOt k
Gothywaiesfor mehucwhithcr Go oh burwhcrcl may come lhitber
r Wh~cCh~D I doe~ my laue is novvdqnr d Shccinsramiddot~ -a -c iscrucUhart d
Shcc would nor be intrc-attd Wirh pnicrs oft ~~ -J neccomc no more Shall I die ther(forc
H tb~e come no mor what c~rc II Faithlctbcr go or c-owe oa
(
95
Figure 24
---middot -- _____-- ~ -- ~
I
- --__ -----~ -------__- ~-~~ _ _ ____ ___-__ -
- middot --~~--~ ______ ------------111middotmiddot-middot ~-_--------middot ----middot---___- ___ __ _______ _ ____ ~------~--~-- ~__~___ __ _
------ -~ _~-----~- -~-middot----------------
96
Figure 25
204 SONG
CoMIOS-U uv middotnoLn nT Jor-o Js
~ - I middot middotluoted by ShakbullHiU~are - ~~~~ homiddotm tht 1 Hnukpul1lliOI
middot~ h-51 Jggff==r middot r~ Fate- ~ wtdl (l~arl loe since thou wilt needs he gem~
-=-t middot g-one
luC 111inn~ thnn wile IHls lu ()UC
J J loftgt since thou rilt nteds middot lumiddot
1 Jp4 J =-amp=imiddot------middot -r~--t-11---+-middot r=~-r=----middotJ__tJJ middot Jnine ttcs tloe tth~w my life i almost done
--
fl-=t~ -
IPg I WlH y middot t
~fLSI==r=f=lplusmna min~ eie doe _ 11hew
r nbully middot lite middot is almost douc yetmiddot J wilt
rplusmnHmiddot ~ ~ff my lilc iJ ycmiddott I will
Imiddot r--d E4 m y life ia almost yet 1 will
( -~
~__~middot--==--==t~- ~~plusmn 1
ne Vtr die HO lni1J t I ran tpit 1lumiddotnmiddot l)l- trHlll)
~- Jl==q=T-=_==~-middot- ~T~ - 11~~----e= - =r=-=ct ~middot - r--==EF~----=I-~-===+=FL0 - middotFJ==Z=c~~middotmiddotmiddot- - -
n-=- wer dit~ lon~ as I taU 51lio tlu-nmiddot ltl ny nm
~MIEF F i t~sect E tr l I c=middotreg~-~~~~-D bull v~r dit bulln oug a~ CiR hllie thn c 1-tmiddot uuuy inu
a~ t==t~~ r _ q~~~-=-~ ~= lllt - tr tlic ~ ~0 long lUI I I can illh t1wr htmiddot Utmy UIU
97
Figure 26
LO)
J t W=- --~4-~ middot thoughtlmt 5heeclre gomiddot -there he rnan u1u I If~ -1110
I I b P c ~ -B - j- -k=tJ4--t==fi=4D_ I ~middotrt thouKb that Hbec llo e Jeo fhuc be nuny mo not
not 1 _why tlnm let laer gne 1
Eamp--e - ~ - 1 r
1
uot ~middotby th~n let her gne I
1 F~nbullwell fflttbullwl1 sintmiddot tlll i I rt11ltltt li truemiddot I will 110t 11p~ml rn~bulln~ time iu wouing- )Oil~
Unt I lt~ ill fttbull(bullk tmiddotl~ wlwnbull If I m~y fhnt l1r hlaquo~tt
Shall 1 hid hlr gnf hat litnl if I de~
Sha)) 1 bid lwr gne and middotpar~
0 no no tut no 1 dare nut not
l i
Ten thnmbulland bullimt-11 lart-wllII)Lbullt 11taymiddot Jwh ile Swevt kisse me onctlfmiddotWNt kis~d t ime b(J~middotuile
l hamiddote uo flPWer to mmmiddottbull lluw uow arn I iu I on Vilt tbon n~tgtd8 be gonemiddot
Go then) all i~ onbull Wilt thnn umiddotN)~ btgt gontbulloh hie the4l Ny ~tay oUHt lintbull 11U lnonbull thmiddotuhbull lll~middotmiddotmiddot
J L IJ_ -
0
cnr-r lOt
-~ 1-e lg
care not J
JJi I 11laquo1 ) ~ar-e not -
0 IIi
ca re nut
4- middot bull ~ Onc-e more fu~wbullmiddotll~ l 5ee )Qth to dlaquo part j middot
1
llid R ull bulldew ifl lwr that l1ohtfbullbull my b umiddoth Butmiddot ~~ting I nnut )O()In~
_Thy love whkh I did chuite
Go thy wRie Jbr me _ Shlfe itnu1y not he ~ middot
(4) Uy WHit~ for me~ lu1t whithfr~ bull 0 J - f
Go oh hut wlu~re 1 mRy come th~~lur
f bull bull lmiddot I It tihaH I doer my lo~ it now middot-middot~middotpart~middotd ~ Sheto is ttll fnirr asmiddot6hee ls cruel1 harted
Slu~middot would nnt h~ intr~ated
With pra irra oft repeated ~ _ ~ If slw~ f()rne nq more middot middot ~ ~
Shnll I middot11~ thtoreforf I
lrsh6e come no mor~ batwh9t cbullr middote I~~ -1 FHifh)rt htr gnor lomfor tarry
98
Figure 27
CANT VS vI I I rCDERT loNE~
== ttf=y-=-t-===~=~~plusmni+==---=middoti--=rr~ -t=-r~==t-=t= W sect~~= - =i middot =clt=cL =~-t=- -middotr ----=i_ --~ ~-- - -middot-- middot-- --middot--- ----middot-----l- --middot----middot- ---middot middot--- -middotmiddotmiddot-
Clut no I phinrly Cu how chou wouldftbinclc~ucauurc l ~a~ t c11rll not to gofatbullu a
1 r 1 l 1 l r l lmiddot r ~ r i r --- ~---n_plusmn ______ ~ ---J middot- ~ s L -d--r--gtlt---- J LL---- J ___ c_ -------j- ~-n1l ~1~( _ _ il_il_ t_ ~----nt_L- -----_[c______ -+~~ 1--L- p ___ -L- -~--Lpound ____ _ ~-____ j__ __ + ------ l -middot~-- ~~- l --1 __ j_ ______ (__ l ~10_ -~---- -- i - -- - - middot - middot -- - ----- - ___ _ I _ __ --middot ~-~ ----- - 4l_ __ ampJLt __ --------~----P-1---~middot 3 __ c__l_J _ _r__-ltJ ___ _ _ _____ L ------
- n
--~- -~--+--middot-1--~ 1 middotmiddot---middot--middot~---- middotmiddotmiddot- -----~~-middott- =--~--- ~~ - middot~---iL-i- -~-- -- -t- r middot-~- middot -l middotjmiddot -bullmiddot I- middot -t ~--~---- -t-~~-tmiddotmiddotH- - middot -----t-~T middot ---- -l -- ~ middot-07- middot- -middot-middot bull ~-Lmiddot- J bull---- ~--- middot-t- - -- - --f -middot-- - -fi-l-L- -+- --[middotmiddot -middot-~ middot--middot--middot--1 --middot-- - -- - bull - -f- ~- --I=_ --middotmiddot---- _I __ __ _ --~- middot- _ _ - _ ______ __L _-t _ middot~_- --_middot--r~ -~~~ Q-- -
fuct 1 wlscnrfiO Jic fi~ nofwtctt lhy amp 1 w 11i leU thee why noafuc 1 wu ace urn JJol bullto goc oat bull
t f t 1 ~ lmiddot t r 1 1 t i ----middot-l~a--__ _ __ St_tLi-3---- --~(~ l-~---1~-d- a aL _ __ _ ______ Jtl a_JAi~-11---~-middot(_---+7Jk~-- - [ A--- -----__ lgt __ ~-1 ----lmiddot l _ ____ i-----middotmiddot-----~--L-----6~ - -
S-( _ 1-h_kJ--middot ----middot ~- L-----Llt-S-L----L__L ------- _______ J_ ______ ---Aplusmn- ---__ _1 ____ -middot---bull ~ ---~-~---1 ~-----L---- 3- ~_t_~- - ____ [ _ __ ~-~- -A - --J
----middot-1---r--t---------t-t-middot-----1---middot ------11-I-t=-~ middot ----L-- - -middot -plusmn --- r-middot-~--- ------middot middot --~middot--- 1--~-middot _-middot- --- ~---------===middot ~-middot-b-1_ --middot- - --- - ----- -~---f- ---fmiddot~-- L- bull - ----- --- middot--- -1-- - ----- --~middot-------~- ---- -1middot-middot1middot-middot--t- --J- -middot- -- - -middot--middot----~-----shy--- middot----~-~ ---- - --middot------------- --~ -~middot ------~- ----------middot
firnrurc I wu l lturfi 0 fie fie oegt rwct lll) uu J will tell thee why no
t I t l t lmiddot~ 1 l -L--~- - - middot-tmiddot J _______ ncU ~A ---S-A-------tl- -11- middot~-- - - --------middotbull-- middotbull----t_ _ _~_ 1 ---middot-~ - ll -o-A--AJl ___ ------middot- t------k- Jt-- -~~ ~--middot- - - - -- -middot- -r~-~ 4- ------llmiddot - middot -
-_~------ _ --~-~---t- -~-----J-- -- A- ------~ _ ----- - bull 1 --middot- -L--middot -- ------------ ~- - c --~--------~----- --------middot ---______ z_j_ _______ __ ___~~ ~-L-------a-e middot- ----middot --
J Oncr m()tdrewdllincc fiJI l 1ord lh_ lpcak
1 uJ bull 1rl bu1 (mlIJrcwcll ubull larHIWout lbullrcalt( Bbull middott bullbullo middot ltn( 1 Joe linJ 1hy loumiddot~ 1lltkt 1he -middotioampl
Wl11 1 l olo-u I Tl llcl-1 cro die
Whlll foolc- lnll u aor Y t fq 1 at l (oulc J ~~lfc nor
)
Wocnne ai~Gc h) diJ lllt[ b_im soc~ 1 hdc be the ~middotutccs of uilc fiym nbull
Now tbu hec o dfproucluchow uullhc cuct loucroe Nay bu t n he gCncbull
lhcn I am bullndunc Nay lnn i1l1c ~oneO hodliD
fl(c-uy hing lU ~CCVD oJcihua
vi gt VI V)
lt a
99
Figure 28
1 tn 1 I I I II
ll 1 I l middotI I I ll l l l tl I I i Imiddot i I i II I 1111 ll I l n I It i i Ill l I d l t I I I ~
f Hif tt I I ~~ I if t
1+1 ~ a j
thll
ALl V S
I Tl Ill i II L I I I II I I
II II I I rL ll1 I t I I
l i I I I I I I I
Iii 1middot I t
IHL IIIli
I I II 1 II l I II 111 I I I I I bull I I I I I
I bull I I ll 1 I I J
L t I llmiddot II ~ I ~ middott
I I ~~ ~ 1
I 1 t I 1
111
t 1middot II I bull
I tJ It I q I I
~~ I I I I
r
I z-1 __ 1 __ =t=-~-----1- - middot -~--~- ~ -f=middot -t=--~--~- middot~-- -===-middot~~-1 N~tsect t-~--_ _ c ~middot _--- __ _ ~-- c -=-b-- _ ~ ~ =-=-=--Xl =plusmn=
- b--- ~--_ __ -- -----middot-middot --middot--- - ~ ___ - ------------~-
nl rJ iiOr-T 1 -
ArCwtll fond )OUt h iflhcu hbulldR llOt bccnc blinCl aut cf Dline emiddotcbull thcu mi~tu n ll)Ut read my mintl ~~ J411
t==+=i =middot -=+-middot---poundmiddot _Emiddot -~ i=j ~ -ti~- -Qt=~ middot=i==- -tl-~- --~ - -~shy~t ~-i ~----+=middot = --~~ - -= bull ~ _ +=a~C -c + -~-=-middot ~ ------ -----~ --- --- --middot -~ - ----------laquo= ---- --~- middot-~ middot--
but now I plaincly fcc how thou wouldll fainc luuc mc(orc lPII~S Uturflnot hJ I)OCIC firtlft~re lu atcurflO hamp
-=t~-----------r+--tmiddot --1-1-l middot 1middotmiddot-r~--- -- middot middotmiddot- --- ~------ - )middot~-----~----- at-middot_t-~--1= 11_ ~tc=l=~ Ei middotmiddot-r- --tI +middotl =0Etmiddot plusmn middot i irlttmiddot ~ - ~-~ middot ~ --plusmnt-~ - - ----middotmiddot-middot---middot--- -middot- -middot _[ - ---- middot- middot---J -- - 1--l-- - -- - - - - -- -~---middot------middot--- - ----middot-- ---- middot---middot---middot+middot--- -~-r-4- -- --middotmiddot fic6cao fwect Aay ~nd I will cell thee why t~ofurc I w~~ accudl not JO goc at firfll(urc 1 wu accudl ~0 fie no f wcct
100
Figure 29
I
CANTVS
lt ll-rllt 1r1t 1 lmiddottl 1 1 - t4---6 A-A~ d~Apound~-fi------ ~ middot ---~
bullmiddot te_- ~I i~~I~- ___ --=~rmiddot --t=Z=j- = --Lt-- -- - middot--- --middotmiddot -- -----middot - - A-- middot - -- _ _~__ __ J ___ _ J_ - - --- - -----~ n a- L r amp_-4--- - -A I - -
~ - - -bull -middot_[- _ - - - - middot - -middotmiddot - - - lt- ~ Ll bull middot- -- ---_ middot- --- ---l~-middotmiddot -~ middot -~gmiddotr ~iiftmiddot- middot--~11--j~-middot _t~middot ~-- plusmn~~ - _-- -- ~- _ J middotmiddot~ - middot J J -- - J~ ~ - bull - ~ -- - ----= ----middot~ --- ------middot -------- J __ ___ --f ___ ~ -~----- -----middot bull middot- - - middot--middot- -bull- middot --- -- middotmiddotbull--- -1-- - middot- - -- I - bull bull --~-
I
bull A Mble d~middot ~fc wH ~ obin Jhlod - V(c l ~t be cbullJultl J ccc 1uc Jumj
yet r- ~r r middot~middotin hh br ltlt H lmiddotllOJ
C u iJ~~I hbulll hrlll bcruuc h middotlll to gr u rn ductelbulltl-hidkn wJltr ~kinmiddot
then lnauty doft lylo~l~ddn womcnt C )CI
Htf i lly jobJh
4
J An Our-b lr as 1his Rollin I lood
H1i l-1fc free and vnruly Yu [O fitc M~bullri~n boull d h~nood
Atul louu debt payed hu duel y Who111 cur be of Ctnc lmllaiyen could nor hold ia
Louc t~ri th obe)middottd~s mJ a winLt could wiltnc Heyiolly Roh
NoW~ w(nd wt l1olll r ilou1 Robi ro HooJ Lc~uc wuhc woodl bchsnd vt
_our fl ho n1 muU nor be w~lhfiood but ~~nr whelt u fi lld ll
1 h t Ill hclIbull11J h)WUC 1 bullud fo ltltd h( I otm( w r icentW~HJdbull 1 1ootlollnwcd r
lhr ullzllt~~J
v~
gt Vl V)
lt
Jlftl
litH ~~rm ~ middot II
I Imiddot~
I
II tt-1 )~
101
Figure 30
I
102
Figure 31
CANTVS bull III
W=tRW=~~~~==--=-------=--=--=--== 0 lollc is but 3 bhu~1-fwtetmiddott I en r r middot r r
~tP ltm~~-~t----~-
Mu1enorvpon hCI fmili ng lookcs Thinke thtr they ~re bttt baitcd hooka
Audu fncy Loudufranzy~
middot e( not J toy Then breed chtc foch annoy1
bur kaue to coke vpponfuch fond booka
)
L(Jtnt ro fotgct fu ch idle royn Finer for youtbcs md youd1full boya
L~ o~ one fwccte frnilc Thy rrue loue igtegllile ~flOibulltiownc
r c-ur uft theedowne- Jlopund jllmiddot to bed iathcf~ioy~
I
bull
103
Figure 32
BASSVS
---------middot--- ----- ------- ---- -- ---------- ---- -~ ------------- - ----------- _ ___ - ~ _____-------~~~------------ - ----- - - ---
- -- -- --~-- - ___ __
CJ
I
-70-
If other sacred music by Robert Jones exists 1 it has not
come to light The Reformation did much to improve English
Church music However the combined effects of Civil war
supremacy of Puritanism suppressed church services disbanded
choirs and the destruction of organs and libraries by the B
soldiers of the Commonwealth resulted in irretrievable loss
The hatred of the Puritans for the English Church and its music
was so strong they seemed to consider it their duty to root out 9
and destroy every office-book they could find lmiddotluch music has
also been lost because of errors and omissions on the part of
scribes the use of old manuscripts as waste paper and in the
binding of new books and in the practice of sending manuscripts 10
to continental bookbinders The fact that any sacred rausic by
Jones exists may possibly be attributed to its inclusion in two
sources meant for secular use
What happened to Robert Jones after the theatre difficulties
remains a mystery Loss of records because of fire or
carelessness only allows speculation in this area Since the
English style of string playing was in fashion in Germany France
8 ~Talker p 56
9 F~ Landon Hunphries The Evolution of Church Music (New
York J J Little and company 1896) p 94~
10 William Joseph King The English Anthem from the Early
Tu ~or Period t roug_ the Restor_fltj gn Era diss Boston University Graduate ~chool 1962 vol I and II (Ann Arbor university Microfilms International 1982) p 12
-71-
and Italy he may have returned to the continent It is equally
possible that he died in any of the plagues which forced the
theatres in London to close so often That his music still
exists to be enjoyed may be epitaph enough
104
Blank
Appendix One
Sources of the Husic of Robert Jones
BookSong
The First Booke of Songs or Ayres
The Pirst and Second Boeke of Songes and Ayres
Ultimum Vale
First Set of Madrigals (inc)
A Husicall Dreame
The Muses Garden for Delights
Hhat if I seeke for love of thee
There is a garden in her face
Doe not o doe not prize Beautie sate bathing 11 Goe to bed sweet museu Shall I locke to ease
griefe 11
11Jhat if I speed Cease troubled thoughts Scinthia queene of seas
and landn Thinkst thou Kate to
put rre down 11
nt1hen will the fountaine of my teares
F1ie flie flie from the world 1
Fy fy 11 (inc)
Date
1600
1601
1605
1607
1609
1610
1600
1605
1605 1605 1605
1605 1605 1605
1605
1605
1605
1605 1601
-105-
Source
British Igtluseum Folger Shakes~eare Library
British 111luseum Central Library
Hanchester
Royal College of Music
Private ownership Furst Alexander
British Nuseurn Royal Library
Brussels
San Marino British 1middotlus eurn Euing Library
Glasgow
San Harino
British Library Add Ms 15117
The First Book of Songes or Ayres
British Library Egerton ~s 2971
Ultimum Vale
British Library Add Ms 24665
Giles Earles his book taken from Ultimum Vale
u
II
fl
fl
n
The First and Second Boeke of Songes and Ayres
-106-
The love of change hath changed the world 11
What shall I render to the 1614 Lord bullbull
Let thy salvation be ~Y joy
Lament lament my soul cry 0 cry
n Sing j oyfull ybull
Arise my thoughts
11 Dreams and imaginations
uFie what a coyle Now what is love
no date
1601
1601
1601 1601
Folio ms in Folger Library
British Museum Royal App 63
The Tears or Lame tations o f a Sorrowful Soul
RISM attributes 4 songs to Jones
Christ Church Music Mss 56-60
Christ Church Husic ~1ss 439
The Second Book of Songes and Ayres
lt
-107-
APPE IDIX THO
Contributors to Manuscripts nu~beren 56 through 60 in Christ Church Oxford
SEC~~ number CC lmiddot1SS Voice 334 Hus 56 c 335 Mus 57 Q 336 Mus 58 Sx 337 Mus 59 Ct 338 Mus 60 T
Bassus lacking ca 1620
a alternate sources published b transcribed c Psalm 81 in two versions
Amner John~ 1579 1641 B r-1 Oxford 1613
Consider all ye passers by (b) 3349835803378633896 verse
I am for peace inc) (with different verse section) 33463356337~6 3386 verse
Bennet John flca 1600-ca 1615
Great God of Gods 0 God of Gods (a) 334 113 33595 33710133811 verse
To the almighty Trinity (ptll of 0 God of Gods)
Bull John ca 1562-16287 B H Oxford 1586
Almighty God who by the leading (ab) 334110 33592 33798338 108 verse
How joyful ana how glad (inc) a) 33448335483374833748 verse
Byrd William ca 1542-1623
Save me 0 God for thy name bull s sake (I) 33410 33510 33710 338 10 fS
Sing joyfully unto God our strength and Blow the trumpet parts I and II and Sing we merrily and Blow up the trumpet parts I and II not in this source from Christ Church (c)
-108-
Corkine William1 fl 1610
Praise the Lord 0 my soul (inc) 33441 335413374133841 f5
Cranford William fl early 17th c
My sinful soul (inc) 33413833512033616337126338136 verse
Daman (Damon) William ca 1540-1591
0 heavel]nly God (b) 33451335513375133851 f5
East Michael ca 1580-16481 B M Oxford 1606
Blow up the trumpet Sing we merrily (Pt II Take the psalm PT III Blov1 up the trumpet) (ab) 33420933520233698337196338214 verse
Take the Psalm
Ferrabosco Alfonso Sr~ 1543-1588
0 remember not our old sins (a) 33414133512333619337129338139 f6
Ford Thomas ca 1580-1648
Miserere my maker (inc) 334151v33513533631337141338151 f6
Gibbons Orlando 1583-1625 Phd Mus Oxford 1622
See the Word is incarnate (ab) 33495335773378333893 verse
Hooper Edmund ca 1553-1621
Hearken ye nations (a) 334211335204336100337198338216 verse
Jeffreys Matthew fl ca 1590 B M Oxford 1593
If the Lor~ himself (a) 33414833513033626337136338146 verse
-109-
Lord rernerr~er David (a) 334142 335124336120337130338140 f6
My love is crucified (inc) 334100335823378833898 fS
Out of the deep (a) 33414633512833624337134338144 verse
Sing we merr-il y (II) (a) 33414433512633622337132338142 verse
Jones Robert fl ca 1600 BM Oxford 1597
Sing joyfully unto the Lord (inc) 33412335123371233812 f5
Lupo Thomas fl 1593-1628 or fl 1605-c1660
For I knowledge my faults Have mercy upOii me (pt IIFor I nowledge my faults) (inc) (ab) 33418335183371833818 f5
Out of the deep (c) 33420335203372033820 pound5
Mundy John d 1630 B M Oxford 1586 Phd Mus Oxford 1624
0 give thanks unto the Lord for he is gracious (a) 33416335163371633816 fS
Mundy William ca 1529-ca 1591
0 Lord I bow the knees (a) 33490335723377833888 f5
Parsons Robert (I) d 1570
Deliver me from mine enemies (ab) 3348335833783388 f5
Peerson Martin ca 1572-1650 B M Oxford 1613
0 Lord in thee is all my trust (inc) 33488 335703377633886 verse
-110-
Philips Peter d ca 1635
Bow down thine ear unto my crying (a) Adapted from the motet Cantai mentre 334217 335210336106337202 338220 f6
Portman Richard~ d ca 1655
Rejoice in the Lord 0 ye righteous (I) (a)334226 verse
Ravenscroft Thomas ca 1590-ca 1633
0 let me hear thy loving kindness (a) 3343133531337 3133731 verse
0 woeful ruins (a) pt II and pt III Those sacred walls and 0 how these graceful piles not in 334-338 33440335403374033840 f5
Simmes William fl ca 1600
Awake (Away (a)) fond thoughts 33415733514233638337148338158 verse 6
Rise 0 my soul (pt II and pt III And thou my soul To theee o Jesu) (a) 3342833528 3372833828 verse And thou my soul To thee o Jesu
Stubbs Simon fl ca 1600
Father of love (a) 3348633568 33774 33884 f5
Tye Christopher ca 1500-ca 1573 Phd Mus Oxford from Cambridge 1545
Christ is risen Christ is rising again (pt II Christ is risen) (inc) 334225335218336114337212338230 f6
I lift my heart to thee (ab) 33492335743378033890 f5
-111-
Ward John fl early 17th c
Down caittiff wretch (a) (pt II Prayer is an enciless chain) 33424 amp 2633524 amp 2633724 amp 2633824 amp 26 verse
How long wilt thou forget me (a) 33422335223372233822 f5
Let God arise (a) 33411633598337104338114 verse
Praise the LordO my soul a Lord my God (a) 334219335212336108337206338224 verse
This is a joyful day (a) 33413333552336523375233852 verse
~~larwick (Warrick Warrocke) Thomas d 1660
0 God of my salvation (a 3349 335933793389 pound5
Weelkes Thornas1 -1623 B M Oxford 1602
Alleluia I heard a voice (ab) 33414335143371433814 pound5
Gloria in excelsis Deo Sing my soul to God (ab) 33415533514033636 337142338156 pound6
Hosanna to the Son of David (ab) 334214335207336103337201338219 f6
Lord to thee I make my moan (ab) 3341023358433790338100 pound5
0 Johnathan woe is me (ab) 334151v33513433630337140v338150 f6
0 my son Absolom (I) (ab) When David heard that Absolom (ab) (~t II 0 my son Absalor1) 33415033513233628337138338148 pound6
-112-
Wilkinson William Thomas
Hear my prayer 0 Lord and with thine ears (a) 3341043358633793338103 verse
Preserve me o Lord (a) 33443354 33743384 verse
Put me not to rebuke (a) 3341063358833794338107 verse
Compiled from
Nan Cooke Carpenter Music in the Medieval and Renaissance Universities
Ralph T Daniel and Peter Le Huray compilers The Source of English Church Music 1549-1660 part I and II
C F Abdy Williams A Short Historical Account of the Degrees in Music at Oxford and Cambridge
-113-
Appendix Three
Graduates of Oxford
Doctors
Robert Fairfax John Gwyneth John Merbecke John Shepeard Robert Stevenson Orlando Gibbons Nathaniel Giles John Hunday Christopher Tye John Bull
Date
1511 1531 1550 1594 1596 1622 1622 1624 1548 1592
Tye and Bull were incorporated as Doctors of Music from Cambridge
Bachelors
tathaniel Giles John Bull John t-1unday Thomas Morley John Dowland Giles Farnaby Edward Gibbons George Waterhouse Arthur Cocke Francis Pilkington Robert Jones Thomas leelkes Thomas Tomkins Richard Deering
1585 15B6 1586 1588 1588 1596 1592 1592 1593 1595 1597 1602 1607 1612
Author
Robert Grossteste
Robert Kilwardly
Roger Bacon
Bartholomaeus Anglicus
Walter Odington
Simon Tunstede
John Hanboys
John Hothby
William Bathe
John Case (attr)
William Barley
Thomas Morley
-114-
Ap~endix Four
Oxford Treatises
Date Title
ca 1175-1253 De artibus liberalibus
d 127 9
ca
ca
ca
1351
ca
1584
1600
1586 1588
1596
1597
1214
1230
1330
1450
94
De ortu et divisione philosophiae
Opus majus and opus tertium
De probrietatibus rerum
De speculatione musice
Quatuor principalia musicae
Surnma super musicam continuam et discretam
Regulae super proportionem De cantu figurate Regulae super contrapuncturn Caliopea legale
A Briefe Introduction to the True Arte of Music
A Briefe Introduction to the Skill of Song
The Praise of Musicke Apoligia musices tam vocalis quam instrumentalis et mixtae
The Pathway
A Plaine and Easie Introduction to fvlusicke
-115-
Appendix Five
Baccalaureus in musica solvet
Imprimis pro cumulatione presentatis Pro comrnuniis Pro scriba universitatis Pro circuita Pro camera Pro curnulatione sex annorum Pro anno instante Pro horolog-io Pro deric[t]o universitatis Pro inferiore bedello artiurn
Si beneficiatus vel patrimoniatus fuerit solvet pro vino
Si non praebat convivia solvet betiellis facultatis suae pro prandio
vj s
i j s
xiij s
vij s
viij d vj d
xij d xij d
iiij d
xij d ij d ij d vj d
iiij d
iiij d
ix d
116
Appendix Six
Words set by Jones for Leighton
Let thy salvation be my joy
Let thy salvation be my joy Confirm me with the spirit of grace Let sadness not my soul annoy For pensive thoughts too much take place 0 let my comfort still reside In Christ who for my sin hath died
In setting the third line Jones uses sixteenth notes on the word spirit 11 to compensate for the extra syllable
What shall I render to the Lord
What shall I render to the Lord For all his blessings poured on me My heart and soul with one accord Shall laud and praise thy majesty All praises do from thee desend Blest be thy name world without end
Lament my soul cry cry o cry
Lament my soul cry cry o cry Swe et Jesus pity pity me Help help help help for sin I die Sweet Christ come ease my misery
BIBLIOGRAPHY
Primary Sources
The Bible That is the Holy Scriptures contained in the Old and Newe Testament London Deputies of Chrlstopher Barker Printer to the Queenes most excellent Maiestie 1596
Book o f Common Prayer and Administration o f the Sacraments and Other Rites and Ceremonies of the Churchof England WiSh the Psalter or Psalms of David Printed by Thomas and John Buch Printers to University of Canbridge 1629
Fellowes Edmund H ed The English Madrigalists val 35A Revised edition edited by Thurston Dart London Stainer and Bell 1960 The First Set of Mad_ri a_l s 1607 by Robert Jones
The English Madri al School val 32 London-stainer and Bell 1923 The Triumphs of Oriana to 5 and 6 voices Compose - y D1vers several Authors published by Thomas Mor ley 1601
Jergens Elise Bickford English Song 1 600-1 67 5 Part I British Library Manuscri ts London
Pu middot- 1sh1ng Inc 1986
Leighton Sir William Th e Teares or Lamentaciones o f a Sor rowful Soule London W2 1arn Stansby 1614
The Teares or Lamentations of a ----Sorrowful Soul Transcr1bed and edited by Cecil Hill Vol ll Early English Church Music London Stainer and Bell 1970
Morley Thomas A Plaine and Easie Introdction to Practical Music Edited by R Alec Harmon New York WW Norton and Co 1952
Smith John Stafford Musica Antigua London Preston 1812
Sternfie1d FW gen ed English Lute Songs 1597-1632 A Co l lect~on o Fac s imiDelRepr ints
ress t Vol 7 edited by David Greer The First Boeke of Songes or Ayres 1600 by Robert Jones The Second Booke of Songs and Ayres 1601 by Rober ones t1mum Vale 1605 by Robert Jones A Musicall Dreame 1609 by Robert Jones The Muses Gardln for Delights 1610 by Robert Jones
-118-
Books and Articles
Abraham Gerald ed New Oxford History of Nusic vol IV uThe Age of Humanism 1540-1630 11 London Oxford UP 1968 3rd impression 1974
Adams Joseph Quincy 11 A New Song by Robert Jones bullbull Modern Language Quarterly I (March 1940) 45-48
Adler Kurt The Art of Accompanying and Coaching Minshyneapolis The University of Minnesota Press 1965
ArkmiddotJright GE P Catalogue of Music in the Library of Christ Church Oxford London Oxford UP 1915 ed 1971
Bateson fW ed The Cambridge Bibliography of English Litshyerature 4 vols Cambridge University Press 1969
Bentley Gerald Eades The Jacobean and Caroline Stage Dramat~c Companies and Players 5 vols Oxford Clarendon Press 1941 reprinted 1949 bull
The Profession of Player in Shakespearebulls Time 1590-1642 Princeton Princeton UP 1984
Blom Eric ed Groves Dictionary of Music and Musicians vol IV New York St Martins Press Inc 5th ed 19B4
Boyd rbulllorrison Comegys Elizabethan Music and Musical Criticism 2nd ed Westport Greenwood Press Publishers 1962 reprinted 1975
Brown David nJones Robert in The New Grove Dictionary of llusic and Husicians vol 9 p 703 Edited by Stanley Sadie 1980
Carpenter Nan Cooke Music in the Medieval and Renaissance Universities Norman Okla University of Oklaho~a Press 1958 reprint eo New York Da Capo Press 1972
Chambers E K The Elizabethan Stage Vol I-IV Oxford Clarendon Press 1923 ed 1961
Crewsdon Henry Alastair Ferguson TD MA comp The Worshipful Company of ~t-lusicians Loncion Constable and Co Ltd 1950 new ed London Charles Knight and Company Ltd 1971
Cutts John P 11 Everie Woman in her Humor Renaissance Nevs 18 (Autunm 1965) 209-213
-119-
Daniel Ralph T and LeHuray Peter compilers The Sources of English Church Music 1549-1660 Part I and II London Starier and Bell 1972
Dart Thurston t-1A The Interpretation of Music 4th ed London Hutchinson University Library 1960
Dodd Gordon 11 A Summary of Nusic for Viols Early flusic 6 (April 1970) 262-267
Doran T s A Dr Annals of the English Stage from Thomas Better ton to Edmund Keen Vol 1 New York bullJ J ~1 iadle ton Publishers 1865 republished St Clair Shores Mich Scholarly Press no date
Doughtie Edward ed Lyrics from English Airs 1596-1622 Cambridge Harvard University Press 1970
Einstein Alfred Essays on Music London Faber and Faber 1956 rev eng ed 1958
Feldman Martha 11 In Defense of Campion A New Look at His Aryres and Observations The Journal of Musicology v
(Spring 1987) 226
Fellowes Edmund Horace CH Mvo MA Mus D English Cathedral l~sic Edited by J A Westrup Westport Greenwood Press Publishers 1981
_________ The English Madrigal Composers 2nd edition London Oxford University Press 1921 1948 reprinted 1967
bull The Text of the Song Books of Robert Jones Music --------middot and Letters VIII (Jan 1927) 25-37
__________ Tudor Church Music Appendix ~lus D New York Brouclex Brothers reprint 1963
Greenberg Noah music ed Auoen ~middotlH and Kallman Chester text ed An Anthology of Elizabethan Lute Songs Mad rigals an Rounds Pew York ~middot1 w Norton amp Co Inc 19 55
Greer David What if a Daybull - an Examination of the Words and r~usicbullt husic and Letters 43 (Oct 1962) 304-319
Gutmann Veronika Instrument oder Diminutionspraxis 11 Archiv fuer Husikrvissenschaft 35 (1978) 187-190
Heseltine Philip and Warlock Peter The English Ayre London Oxford University Press 1926 reprinted Westport The Greenwood Press 1970
-120-
Hesel tine Philip 11 Robert Jones and His Prefaces The rmiddotusical T ime s bull ( Feb -t-1a r 19 2 3 ) 9 9 -1 0 0 16 8 -17 1 bull
Humphreys Rev F Landon ~lus Doc STD The Evolution of Church Music New York J J Little and Co 1896
Jeffrey Brian ed Elizabethan Popular Music for the Lute London Oxford UP 1966
King William Joseph The Englsh Anthem from the Early Tudor Period through the Restora t ion Era PhD dissertation Boston University 1 962 Ann Arbor Mich University Microfilms I~ternational 1982
La Fontaine Henry Cart The Kings Musick New York Oa Capo Press 1973
Lewis c s English Literature in the 16th Century excluding Drama 11 in Oxford History of English Literature p 266 Edited by F P Wilson and B Dobree Oxford Clarendon Press 1954 reprinted 1962
r1ason Dorothy E Husic in Elizabethan England Washington Folger Shakespeare Library booklet 1958
rtaynard Winifred Elizabethan Lyric Poetry and its Music Oxford Clarendon Press 1986
McGrady Richard J The English Solo Song from William Byrd to Henry Lawes 11 PhD dissertation University of Manchester 1963 This dissertation arrived to late to notate McGradys theories on Italian Monady and Jones
Meyer Ernst H Early English Chamber ~iusic ed Diane Poulton London Lawrence and Wishart Ltd 1946 Boston Marion Boyars Inc 1982
Mies Otto Heinrich PrussJan Castle
Elizabethan t1usic Prints in an East rrusica Disciplina III (1949) 171-172
Naylor Edward Noodall Shakespeare and Husic rev ed New York De Capo Press 1931 lew York Benjamin Dlom Inc 1969
Pagallelli Serpoundio Jusical Instruments from the Renaissance to the 19th Century trans Anthony Rhodes Milan Fratelli Fabbrl Editori 1966 7 London Hamlyn Publishing Group 197 0
Pattison K An Analysis of the Ayres of Robert Jones MFA thesis University of Georgia 1965 (Request for this thesis has been submitted through the inter-library loan service but has not arrived)
Phillipps G A Charles 1 11
-121-
11 Crown r1us ical Patronage from Elizabeth to Music and Letters 58 (Jan 1977) 29-42
Phillips Peter 11 Performance Practice in 16th Century English Choral Music~ Early Music 6 (april 1978) 195-199
Prior Roger Jewish Musicians at the Tudor Court The ~~sical Quarterly LXIX (Spring 1983) 253-265
Poulton Diane Graces of play in Renaissance Lute Music 11
Early Music (april 1975) 107-109
Reese Gustave Music in the Renaissance revised ed New York W w Norton and Co Inc 1959
RIS~t Einzeldrucke vor 1800 Karlheinz Schlogervolume III Basel Barenreiter Kassel 1974
RISM Recueil s Imprimis XVIe-XVIIe siecles l-1unchen G -Henle Verlag 1972
Robertson Dora H Sarum Close London Jonathan Capt 1938 Bath Firciurt Publishing Limited 1969
Seng Peter J The vocal songs in the Plays of Shakespeare a Critical History Cambridge Harvard UP 1967
Shakespeare William William Shakespeare The Complete Works Edited by Alfred Harbage Baltimore Pen~middotuin Books rev ed 1969
Smith Irwin Shakespeares Dlackfriars Playhouse Its History and Its Des~gn New York New York University Press 1964
Spink Ian English Song Dowland to Purcell New York Charles Scribnerbulls Sons 1974
Sternfeld F w Music in Shakespearean Tragedy London Routledge and Kegan Paul 1963 rev ed 1967
Stevens Denis Tudor Church t-1us ic Nev York Merlin Press 1955 bull
A History of Song New York W W Norton and Co Inc 1960~ First American Edition 1961
Stevens John Music and Poetry in the Early Tudor Court reprint ed Cambridge Cambridge University Press 1979
Traficante Frank Anthony 11 The Mansell Lyra Viol Tablature parts I and II PhD dissertation University of Pennsylvania 1965
-122-
Walker Earnest A History of Music in England New York Da Capo Press 1978
Wells Robin Headlam John Dowland and Elizabethan Melancholy Early Music 13 (Nov 1985) 514-528
Wickham Glynne Early English Stages 1300 to 1660 2 vols London Routledge and Kegan Paul New York Columbia UP 1972
Williams C F Abcty A short Historical Account of the Degrees in 1usic at Oxford and Cambridge Lonaon lovello Eivers and Co 189 3
Woodfill Walter L Musicians in English Society from Elizabeth to Charles I New York Da Capo Press 1969
TABLE OF CONTENTS
ACKNOWLEDGMENTS
LIST OF ILLUSTRATIONS bull
LIST OF APPENDICES
I IDENTIFYING THE MAN
II EDUCATION AND SOCIETY
III ~vAITS MASQUES AND THE THEATRE bull
VI THE SECULAR MUSIC
V THE SACRED MUSIC
I LLUSrrRATIONS bull
APPENDICES
BIBLIOGRAPHY
iii
ll
iii
iv
l
11
21
29
39
72
105
117
ACKNOWLEDGMENTS
This paper cou l d never have been a t tempted without the
faith and assistance of many wonderful p eop l e I sincerely
pray that the results will repay your belief in me
Many thanks to Mr Richard Austin cura tor of St
Luke~s Shr ine i n Smithf i e ld Virginia It was through his
kindne ss that I was a b le to use the Bible of 1615 Mr
Richard Johnson of the New York Public Library Performing
Arts Research Cent er at Lincoln Center was of great
assistance to both my husband and myself I t is because of
the senerousity of Mr HJR Wing of Christ Church Oxford
that I am able to include the Oxford Anthem Mr Arthur
Searle Assistant Keeper The British Library was kind
enough to s e nd sources for the works of Rober t Jone s
I am especial ly thankf ul to and for t he librarians of
Christopher Newport College Mary Daniels Cathy Doyle
Maureen Humphries Trish Kearns Carol Lockwood( and Betty
Smith Their incredible support proves t here i s no place
like home
The following people can never be thanked enough Pat
Silvis for still being my friend Anne Catherine Braxton
for the most awful puns to make me laugh Dr B for his
guidance and support which stretched beyond belief Dr Bill
Stoney for supporting my dreams Dam who wil l get her mom
back soon Jimmy and most of al l my husband Steve the
ma n who killed chauvinism resurrected chivalry and who
loves me so much that he can l et me indulge my passion for
iv
an obscure Elizabethan Composer
I also wish to thank those faculty members who have
consented to read this paper Dr Elizabeth Jones Dr James
Hines and Dr Clyde Brockett May you enjoy Robert Jones
v
LIST OF ILLUSTRATIONS
Figures 1-4 The First Booke of Songes or Ayres bullbull 72 Title page Dedication Preface Table of Contents
Figures S-8 The Second Boeke of Songes or Ayres 76 Title page Dedication Preface Table of Cpontents
Figures 9-12 Ultimum Vale bull 80 Title page Dedication Preface Table of Contents
Figures 13-16 A Musicall Dreame bull 84 Title page Dedication Preface Table of Contents
Figures 17-20 The Muses Gardin for Delights 88 Title page Dedication Preface Table of Contents
Figure 21 92
Figure 22 11 Farewell dear love 94
Figure 23 Transcription from Musica Antigua 96
Figure 24 Farewell fond youth 98
Figure 25 11 In Sherwood liude stout Robin Hood 100
Figure 2 6 11 Goe to bed sweete muze 102
vi
LIST OF APPENDICES
Appendix One Sources of the Music of Robert Jones
Appendix Two Contributors to Manuscripts numbered 56 through 60 in Christ Church Oxford
Appendix Three Graduates of Oxford
Appendix Four Oxford Treatises
Appendix Five bull bull bull Baccalaureus in musica solvet
Appendix Six Word set by Jones for Leighton
vii
105
107
113
114
115
116
CHAPTER I
IDENTIFYING THE HAN
Robert Jones who flourished between 1597 and 1615 is
one of the lesser known Elizabethan composers He has been
claimed not without causing confusion to have taken to
himself a number of QUSical assignments One author asserts 1
that Jones was a composer for virginals Another calls 2
him a composer for viols He is referred to by one historian
as a prominent lutenist to be numbered with Dowland 3
Campion and Byrd He has been called song writer and
1 Kurt Adler The Art of Accompanying and Coaching
(Minneapolis The University of Minnesota Press 1965) p 12
2 Gordon Dodd A Summary of Music for Viols Early
Husic 6 2 (April 1978) 263
3 Elise Bickford Jergens ed British Library
Manuscripts Part I English Song 1600-1675 (New Yorkmiddot Garland Publishing Inc 1986) p 11
-1-
-2-
theatrical manager both controversialist and genial person
Yet some authors such as Edmund H Fellowes in English
Cathedral Music consider his accomplistooents in some areas 5
too meagre to merit mention
In extant records for the period from 1520 to 1620
there are numerous references to R Jones Richard Jones and
Robert Jones There are also references to a w Jones and
an s Jones in the same Stationers Register that lists an R 6
Jones seven times Another Jonest Luke is a
4
contributor of one of the poems in William Leighton bull s Literary
Introduction and Laudatory verses to Teares or Lamentaciones 7
of a Sorrowful Soule from approximately the same period
It is possible to reduce the Richard and Robert Jones
references to four people that is two Robert Joneses and
two Richard Joneses It is also within the realm of
possibility that these rnen were related Their paths
4 Philip Heseltine Robert Jones and His Prefaces The
Musical Times (February and March 1923) 99 171
5 Edmund H Fellowes English Cathedral Music from Edward
VI to Edward VII rev ed Edited by JA Westrup (Westport Greenwood Press Publishers 1981) Fellowes discusses Leightons Teares or Lamentaciones of a Sorrowful Soule yet never discusses Jones contribution of three anthems
6 EK Chambers The Elizabethan Stage 4 vols reprint ed
(Oxford Clarendon Press 1961) vol II pp 380-389
7 Sir William Leighton Teares or Lamentaciones of a
Sorrowful Soule Transcribed and edited by Cecil Hill (Lancon Stainer and Bell 1970) p xviii
-3-
crossed often enough and in at least one instance
scholars have confused them crediting one with the work of
the other Some historians have also preferred to gloss
over the obvious inconsistencies in dates and make no
distinction at all in their references to Jones
The first Robert Jones conceivably the grandfather of
the Elizabethan composer is said to have been a chorister in
Henry VIIs Royal Household Chapel In 1512 it is
claimed that he was a member of Henry VIII s Royal Household
Chapel This Jones furthermore is listed as a meniDer of
the Gentlemen of the Chapel at the Field of the Cloth of
Gold in 1520 Three of his compositions have survived 8
although they are incomplete Thomas Morley cites Jones 9
work in A Plain and Easy Introduction to Practical Music
8 The New Grove Dictionary of Music and Musicians 1980
ed sv Jones Robert (1) The three-part song Who shall have my fair lady is in an anthology XX Songes Gustave Reese Music in the Renaissance (New York ww Norton Co 1956) p 763 discusses this book in a footnote as one of the earlies middott examples of music printing in England which was formerly considered to be a product of the press of bullbullsynken de Warde Denis Stevens Tudor Church Music (New York Merlin Press 1955) p 50 mentions this Robert Jones Mass based on the plainchant cantus firmi Spes Nostra
9 Thomas Morley A Plain and Easy Introduction to
Practical Music R Alex Harman ec (New York ww Norton and Company Inc 1952) p 321 Robert Jones is noted here as a vJelshman active ca 1485-153 5
-4-
The dates for Richard Jones span a time period of
ninety years from 1532 to 1624 Even allowing for
extraordinary good health and ideal living conditions these
dates must at the very least be for two men The first
Richard Jones is listed as the High Master of the Grammer
School for the children of St Pauls from 1532 to 1549 He
followed John Ritwise who was said to have allowed the boys
of the grammar school to perform interludes at the court of
Henry VIII There is no indication that this practice was
continued under the headmastership of Richard Jones The
lack of reliable information in this case can be attributed
to the loss of archives in the Great Fire of 1666 and the 10
confused records of the choir school and the grammar school
It is also possible that this is the R Jones who
entered three plays in the Stationers Register from 1567 to
1569 which had been performed by the Children of the Chapel 11
The headmaster then was Richard Edwardes In 1561
Edwardes received his patent as Master fron1 Queen Elizabeth 12
and this patent was entered into the records by an R Jones
10 Chambers volII pp 8-12
11 Chambers volIV p 381
12 Chambers vol II pp 33-34
-5-
The next two Joneses Richard and Robert have caused
the most confusion They were active during the same time
period and were associated with the same group the Children
of the Revels In addition both men were musicians both
were connected with a theatre troup manager named Robert
Browne and both men travelled to Germany It is a very
real possibility that these men were brothers possibly sons
of the first Richard Jones discussed It may not even be
far-fetched to suggest that all three were related to
the Robert Jones connected with the courts of Henry VII and
Henry VIII
Richard Jones was associated with the acting companies
of the Earl of Worcester in 1583 the Lord Admiral in 1589
1594-1596 and 1597-1602 and the Earl of Pembrokesbulls Hen in
1597 He was in Germany in 1592-1593 1615 1620 and 13
1622-1624 In 1623 he was a musician to the Duke of
Wolgest At this tioe he petitioned the Duke to be allowed
to return to England In 1624 Richard Jones again
petitioned the Duke this time to be taken back into service
as a musician In 1630 he is connected with John Jones a 14
dramatist
13 Chambers vol II p 324
14 Gerald Eades Bentley The Jacobean and Caroline Stage
Dramatic Companies and Players 5 vols reprint ed (Oxford Clarendon Press 1949) val I and II pp 135 485
-6-
Richard Jones entered four plays in the Stationers 15
Register between 1578 and 1594 In 1580 he was the
enterer of the song A newe northern Dittye of ye Ladye
Green Slevesu Jones was granted a license in 1584 to print
a book really a collection of ballads printed in broadsheet
form entitled Very Pleasant Sonets and Stories in Meter by
Clement Robinson Robinson was an Elizabethan poet fl 1566-16
1584 This was in response to a popular interest in signing
to the lute This Jones was not above using the name or initials
of well-known writers to enhance the sale of his verse books
At least three of these books A Smale Handful of Fragrant
Flowers (1575) Brittons Bowre of Delights (1591) and the
The Arbor of Amorous Deuises (1594 and 1597) used the initials
of Nicholas Breton much to Bretonbulls anger These books included
poems by Breton and others used without their consent Other
collections printed by Richard Jones are A Handfull of pleasant 17
delites and A gorgious Gallery
It was this Jones erstwhile actor and printer who was
granted the patent by which the Children of Whitefriars were
once QOre entitled to call themselbulles the Children of the
Queens Revels This patent dated January 4 1610 was
15 Chambers vel IV pp 382-383
16 The Cambridge Bibliography of English Literature
ed F w Bateson 5 vols (1940 Cambridge University Press 1969) p 646
17 Winifred Maynard Elizabethan Lyric Poetry and Its
Music (Oxford Clarendon Press 1986) pp 16 14 48-50
-7-
given by James I It reads in part
Know ye that wee haue appoynted and authorised Robert Daborn Phillipp Rosseter Iohn Tarbuck Richard ones and Robert Browne from tyme to tyme to provide keep and bring vpp a convenient nomber of children and them to practice and exercise in the quality of playing by the name of Children of the Revells to the Queene within the white fryers l8
It is this patent which seems to be the source for
confusing Robert Jones and Richard Jones Several
authorities claim that the Elizabethan COQposer Robert Jones
was involved with the Children of the Revels of the Queene 19
in 1610 However he is not mentioned in their
history until five years later One historian even claims
that Robert Jones is the founder and manager in 1610 of the 20
Children of the Revels to the Queen within White Fryars
18 Chambers vol II p 56 Chambers and Bentley
Jacobean Stage discuss the various associations of Richard Jones and Robert Browne in greater detail than is within the scope of this thesis
19 Edmund H Fellowes The English t-1adrigalist 2nd ed
vol 35 A (London Stainer and Bell 1960) p 4 and Heseltine Prefaces p 171 It is interesting to note that both these works were originally published in 1923 and neither lists sources Chambers also originally published in 1923 clearly states his sources for these patents the original cocuments
20 Morrison Comegys Boyd Elizabethan Music and Musical
Criticism 2nd ed (Westport Greenwood Press Publishers 1973) p 199 Boyd has all references to Robert Jones under one index heading although be discusses the work of the Tudor composer as well as that of the Elizabethan composer No source books on Elizabethan or Jacobean Theatre are included in his bibliographies
-3-
Robert Jonesbull connection with the Children of the
Revels is clearly stated in a patent granted by James I on
June 3 1615 It gave authority for the erection of a new
theatre for the continued training of the Children of the
Revels This theatre would replace the expireci lease on
another house used by Rossiter
And whereas the said Phillipp Roset~r together with Phillipp Kingman Robert Iones and Ralphe Reeve to continue the said service for the keeping and bringing vppe of the children for the solace and pleasure of our said most deere wife bullbullbull by the name of children of the Revelles to the Queene have lately taken in lease and farme divers buildings Cellars sollers chambers and yardes for the building of a Playhouse therevpon bullbullbull All which premisses are scituate and being within the Precinct of the Blacke ffryers neere Puddlewharfe in the Suburbs of London called by the name of lady Saunders house or otherwise Porters hall and now in the occupation of the said Robert Jones Nowe knowe yee that wee of our especial grace bullbullbull doe give and graunte lycense and authoritie vnto the said Phillipp Rosseter Phillipp Kingman Robert ones and Ralphe Reeve at their proper costs and char~~~ to erect build and sett vppe in and vppon the said premisses bullbullbull one conve ient Playhouse for the said ctildren of the Revelles 21
It is interesting to note that Robert Jones is mentioned
three times in this patent
This patent and its various details are confirmed in
other sources of the period The Privy Council was
21 Chambers vol II p 473
-9-
approached by the inhabitants of the Blackfriars area They
maintained that another theatre in Puddle Wharfe would be
too close to the church of St Anne and that it would
disturb the congregation during services Because of a technical
flaw the work that was begun on the building was ordered
stopped in September of the same year (1615) Plays were
performed there as late as January 1617 The last mention of 22
Robert Jones in this instance was the Kings patent
Robert Jones had other connections with the theatre
although he is not called an actor In 1602 he was in
Germany at Frankfort where he was named as a fellow of
Robert Browne Browne was something of a theatre impresario
who specialized in bringing English actors to the continent
and was also included in the patent of 1610 with Richard 23
Jones This year was the start of a three year
publishing hiatus by Robert Jones Appendix One includes
the titles and dates of Jones work An interesting fact
which may or may not be connected with Jonesbull time in
Germany is that his third book Ultimum Vale is one of eight
22 Chambers val II pp 472-473 61 val IV pp 343-345
23 Chambers val II pp 273-282 p 56
-10-
Elizabethan Music books which used to be in the library of 24
the East-Prussian Castle of Schlobitten
This Robert Jones then is the Jones who is the subject of
this paper He was active in the latter years of
Elizabethbulls reign and the early years of the reign of James I
He may or may not have been an actor but he was
associated with actors and the Chilciren of the Revells He
was stable enough to own a house and to enter into a risky
theatre venture
24 Otto Heinrich Meis Elizabethan Music Prints in an
East-Prussian Castle Musica Disciplina III (1949) 171-172
CHAPTER II
EDUCATION A~ID SOCIETY
Robert Jones is known to have graduated from Oxford
University in 1597 It is also known that he was at St Edmund s 1
Hall and was for sixteen years a student His date of death
is unknown although a valid theory has been put forward for 2
his approximate year of birth to have been 1574 This would
have made him only twenty-three when he graduated slightly
younger than n1ost of his contemporaries A comparison may be
rMde by using Appendix Two an outline of works contained in
Christ Church rlusic Mss 56-60 Composers who graduated from
Oxford University are identified as well
Music both sacred and secular was an integral part of
university life Until the Reformation it was customary to
have Masses sung for the souls of the kings and founders of
the various colleges ~ The playing of secular music and
instruments had become so distracting that it was forbidden
at bullbullunseasonable times 11 unless after meals and there was a 3
fire in the fireplace of the hall or communal erea
1 c F Abdy Williams A Short Historical Account of the
Degrees in fiusic at Oxford and Cambridge (London 1893) p75
2 Hese1tine Prefaces p 99 Heseltine combines the fact of
Jonesbull years as a student and Jonesbull admission of practicing music since he practiced speaking to estimate the date of 1574
3 Nan Cooke Carpenter Music in the Medieval and Renaissance
Universities (1958 New York Da Capo Press 1972] p 169 81
-11-
-12-
Since the singing of Masses was required by statute some
means had to be provided for the training of choristers Many
colleges maintained choir schools These younger members of
the college community actually owed their positions at Oxford
to their musical talent and duties In 1547 the Act of
Dissolution under Edward VI closed many church schools but
not the collegiate foundations in the universities the
choirs of St George and Chapel at Windsor and the cathedral 4
schools
The young choristers were taught plainsong and pricksong
and when their voices changed they were preferred for vacancies
in the universitys scholarship lists Among these colleges
were the Schola flusicae of Queens New College Corpus Christi
College Cardinal College (later Henry VIII and nm1 Christ
Church) St Johns College and Magdalen College The statutes
of Magdalen College also provided for places for thirty indigent 5
student-- iemyes) to study plainsong
In the preface addressed to the reader in his First Booke
of Songes or Ayers Jones states that ever since he practiced 6
speaking he practiced singing By his own words it is likely
4 carpenter pp 167 88 388
5 Carpenter pp 267-171
6 F w Sternfield general editor English Lute Songs 1597-
1632 a Collections of Facsimile Reprints (Manston The Scholar Press Ltd 1971) 26 Robert Jones The First Boo~e of Songes or Ayers 1600 David Greer ed
-13-
that Jones was trained in one of these choir schools anG it is
not inconveivable that he was a recipient of a scholarship to the
university of Oxford Indeed Jones was probably at school at
Oxford rather than London and may even have been one of the
demyes of Magdalen College This is especially likely in view of
the fact that Jones had no steady patronage each of his song
books was dedicated to a different person and he was not 7
connected as household musician in the same way that John Wilbe B
and John Ward were involved at Hengrave Hall and with Sir Henry
Fanshawe
The power for presing choristers into service started in
1420 and this practice continued through Elizabeth bull s reign Im-
pressment of exceptional singers men and boys from all over 9
England into service in the Royal Chapel was commonplace
7 Sir w H Hadow English Music (London Longmans Green and
Co 1931) p 65
8 John Aplin Sir Henry Fanshawe and Two Sets of Early
Seventeenth Century Part-Books at Christ Church Oxford Music and Letters 57 (January 1976) 14
9 Carpenter p 341 Foster Watson The English Grammar
Schools to 1660 Their Curriculum and Practice Cambridge University Press 1908 Encyclopedia Britannica Library Resources Inc LEL 10880) pp 155 212 217 Watson mentions several grammar schools in London which incorporated music into their programs at this time They include the Merchant Taylors School St Paul School Thames School and Christ Church Hosshypital It was necessary to know the catechism in English or Latin read perfectly and write co~petently before acceptance at these schools Hulcaster headmaster at Nerchant Taylors claimed that extra subjects like music were studied privately by gentlemens children and that nusic itself was a part of the math curriculum
-14-
It is doubtful that Robert Jones was impressed into such service
He was both eloquent and voluble in the prefaces to his song
books and would certainly have alluded to this aspect of his
life had it been part of his own experiences
The awarding of baccalaureate and doctorate degrees in
music at Oxford was a tradition dating from the early fifteenth
century Music had been established as a separate faculty the
only liberal art so distinguished In fact the English
universities were the only ones to confer degrees in music
There is no indication that a prior arts degree was required for
the Bachelor of Music as was often the case in other fields
Many of England s most talented musicians became bachelors or 10
doctors of music at Oxford Appendix Three is a partial
listing of these musicians drawn fron information in Carpenters
and ~lilliams bull studies Furthermore the University of Oxford
was after the University of Paris the inspiration for more 11
treatises on music than any other medieval university
Appendix Four is a compilation of these treatises taken from the
work by Carpenter
The dichotomy of music that is musica practica versus
musica speculativa was reflected in the requirements placed
upon the degree seeker at Oxford It was as necessary to study
polyphonic music as to study theory Music classified within the
mathematics traditions and the text of Boethius De institutione
10 Carpenter pp 159 89 336 160
11 Carventer p 82
-15-
musica was required by statute since 1431 In 1549 after
Edward VI visited Oxford the candidates for the bachelor of
music degree were to concentrate on the disciplines of the
quadrivium Sixteen terms (four years) were to be spent in
grammar rhetoric dialectic and arithmetic and 11 in musica
Boetium Admission to the bachelor of music granted the right 12
to lecture in any of the music books of Boethius
Each student at Oxford was instructed by his own tutor until
he had obtained his first degree This meant that the musical
careers of some students were actually shaped by the methods of
their tutors Attendance was required at public lectures Aside
from the usual difficulties with student participation and indif-
ference or inability of some faculty these lectures were to be
given in Latin Dr John Bull not being proficient in Latin
was granted permission to read his lectures in English in 1597
Jones of course should have attended these lectures since John
Bull was incorporated as a Doctor of Music from Cambridge in
1592
In order to obtain a degree it was necessary to compose a
Mass song or canticum bull bull bull to be performed before the university bullbullbull 14
on the day of the Cornitia 11 This was not meant to determine
eligibility for a degree rather it was meant to add to the
12 Carpenter pp 89 77 153 159
13 Carpenter pp 154-156 163-164
14 Williams p 21
-16-
solemnity of the occasion This rule specifying a piece of music
to be performed in the university churcl1 at Act time remained un-15
changed from 1516 until 1608 when a hymn only was required
However there was a dispensation from this rule A
candidate could apply for a degree pro circuitah He would
request the Vice-chancellor and proctors to summon a Congrega-
tion On the afternoon before the Congregation the student
preceded by one or both of the bedells of his faculty and accompanied by the person who was to present him in congregation bullbullbull attired in academic dress but bareheaded went round to the schools and also called on the Vice-chancellor and both proctorsl6
Tradition always was an important part of university life
Oxford in the early sixteenth century was no exception Fre-
quently these traditions became codified in statutes Gloves
were an expensive luxury and early in Oxford 1 s history it became
obligatory for the degree seeker to give a pair to the Bedells
and other officials No man could dress above his station and
students fined for wearing silk were required to wear gowns 17
with loose sleeves and square caps in public Following is a
list of graduation fees established by statute at Oxford in 1601
taken from Carpenter Appendix Five is a copy of the original
version According to the custom Jones would have had to pay
some if not all of these fees
15 Williams p 27
16 Carpenter p 165 citing Clark in Register II p 46
17 Williams p 59
-17-
TABLE ONE
Graduation fees at Oxford in 1601
The baccalaureate in music will disburse
First for the total for gifts 6 s For the service of the room For the clerk of the university For possessions For the chamber For the six year total [tuition] 2 s For services during the present year For the clock For the right of the university For the lesser porter of Arts
Total 13 s
IE he has been subsidized by the church 7 s or by patronage he will disburse for wine
If not arranged in advance [] he will pay for the table servants to the porters of his faculty for meals
The greatest expense on this list is for wine [)
a d 6 d
12 d 12 d
4 d
12 d 2 d 2 d 6 d
4 d
4 d
9 d
-18-
It is not indicated in the available sources whether Robert
Jones composed a piece for graduation or used the pro circuitubull
option However a good case can be made for the former there
is an anthem in Christ Church Imiddot1usic Mss 56-6 0 Singe joyfully
which was composed by Jones The words are from Psalm 81 and
are identical with those in an Elizabethan Bible printed in 18
1595 This is two years before Jones graduated from Oxford
Furthermore the Christ Church lbulllus ic t-lss was compiled 11 wi th
most of the material at hand gathering together works which may 19
already have existed in worn or loose copies It was planned
as a memorial to Prince Henry and most of the composers repre-
sented were court-based friends of the composer John Ward who
was in the service of Sir Henry Fanshawe These part-books were
compiled at Fanshawes request and completed by his son before 20
1620 The Oxford anthem Singe joyfully will be discussed
further in the chapter on sacred music
As can be seen music was an important and necessary
part of the education of a gentleman and it was a necessary
18 The kindness of Mr Richard Austin of St Luke bulls Shrine
Smithfield is gratefully appreciated He allowed access to the Bibles there which proved that Jones used the Elizabethan transshylation and not the King James version of Psalm 81
19 Aplin p18
20 Aplin p 14
-19-
21 accomplisr~ent of the perfect courtier Even Morley begins
his book with a description of the embarassment caused by a lack 22
of ffiUsical knrn~ledge Furthermore a degree in music was an
invaluable asset to obtaining a post in the Chapel Royal
Neither Elizabeth nor James I gave honors such as peerages or
knighthoods to musicians rather they used offices in the
Royal Household the Chapel Royal and the Kings Musick as reward 23
for services In 1605 Jones dedicated his Ultimum Vale to
Prince Henry ~hether this earned a reward for Jones is not
known However it is likely that the Mr Jones listed as a 24
Gentleman of the Kings Chappell in 1612 is Robert Jones
It is possible that this position and not great reknown earned
a place for Jones in the Fanshawe part-books
As a Gentleman of the Chappell Jones would be expected to
be quite proficient in reading music and well-versed in plainsong
and pricksong That he could COQpose apart from performing 25
would have been the highest recommendation of all It is note-
21 Carpenter p 343
22 Morley p 9-10
23 G A Philipps Crown Musical Patronage from Elizabeth I
to Charles I Music and Letters 58 (January 1977) 29
24 Henry Cart de Lafontaine The Kingbulls Musick (New York
Da Capo Press 1973) pSO
25 John Stevens Music and Poetry in the Early Tudor Court
(1961) Cambridge Caniliridge University Press 1979) p 309-317
-20-
worthy that although Jones was actively composing in the latter
years of Elizabethbulls reign he was not associated with her court
Like many others he sought patronage elsewhere as can be seen
from the dedications of his song books His appointment as a
Gentleman of the Chappell may indeed have been a result of his
having dedicated his third song book to Prince Henry elder son
of James I Jones published no work after 1610 two years before
his name appears as a Gentleman of the Chappell It is possible
that Jones again travelled to Germany with theatre impresario
Robert Browne or he may well have decided not actively to
compose as he had implied in the prefaces of his last three song
books Records in these areas are incomplete although further
connections with the theatre will be discussed in the following
chapter
CHAPTER III
WAITS V~SQUES AID THE THEATRE
The waits were orisinally watchers at the gates and were
probably descended from the watchmen and sentinels for camps 1
castles and other fortified places In fact wait is the Saxon
word for watcher Eventually they were employed by the cities to
keep watch and guard during the night and to call out the time
and weather Their main purposes were protection order and
safety within the cities To carry out these duties the waits
were furnished with musical instruments These were used to
sound alarms and call for help when needed and were probably an
early type of shawrn or a horn made of metal In 1296 a statute
was enacted in London which required the servants who closed the
gates at night to have waits at their own expense Eventually
the term wait came to mean the man the instrument and the music 2
played on the instrument
The connection between Robert Jones and tte waits only
beco~es clear when the development of the waits and their
1 Walter L Woodfill Musicians in English Society from
Elizabeth to Charles I (New York Da Capo Press 1969) p 33
2 Henry Alastair Ferguson Crewsdon camp The
1-Jorshipful Company of -iusicians ( 19 50 London Charles Knight and Co bull Ltd bull bull 1 9 7 1 ) pp bull 16 2 -16 4 bull
-21~
-22-
place in Elizabethan and Jacobean society is discussed It was
not long after the first statute concerning the waits was passed
that they came to be considered musicians They are included
called by the nanle of wayghte and other variant spellings
among the musicians of Edward III (1327-1377 and are named in
records from Henry VI through Charles I From watchmen with
musical instruments to capable musicians is a logical development
of talent and time For a watchman with musical ability there
was time to acquire skill and thus gain employment publicly or 3
privately as a musician when not on duty
Many of the principal cities in England employed waits In
London the nunilier of groups varied from six to nine and the
number of masters and apprentices in each group was strictly con-
trolled Their places were so coveted that musicians good or
bad bargainea fought or sued for any vacancies Often a place
would pass fron1 father to son Their privileges included
monetary compensations and gifts distinctive livery status in
the city as freemen in the Company of ~usicians without charge
and the right to keep two apprentices at a time Their services
publicly and privately were much in demand by the lord mayor the
sheriffs and aldermen and the playhouses They were required
to meet regularly for rehearsals and only the 11 ancientist
3 Crewsdon pp 165-167
-23-
4 that is the eloest of their society could dispose order and
direct their music
Until 1525 the wait pipe (horn) and shawm were the only
instruments used by the waits The sackbut was added in 1526
In 1561 instrumentation was expanded with the addition of
viols and recorders and cornetts were added in 1568 and 1576
respectively In 1597 the curtal a bassoon-like instrument was
added Records indicate that portable organs keyboards and
harps were hired for special occasions In some waits the lute 5
and singing were included as early as 1555 The waits
provided the music for visiting dignitaries parades and court
masques and dancing The First Book of Consort Lessons by Thomas
Morley was meant as a guide for the groups of instruments used by 6
the waits Their music consisted of traditional wait tunes
(simple airs meant originally for wait pipes and shawms played
with cold fingers) music which may have existed only in
manuscript form written expressly for use in a masque or pageant
and music apt for viols or voyces u including madrigals
Ultimum Vale of Robert Jones contains music for colibination of 7
lute voices and viols Figures 1-20 are facsimiles of tbe
4 Woodfill pp 37-44
5 Woodfill pp 34-36
6 Wood f i 11 p bull 4 5
7 Woodfill pp 44-52 Waits and their history are more
fully discussed by both Woodfill and Crewseon A very brief outline only has been possible in this paper
-24-
title pages dedications and prefaces and tables of contents of
the song bool s of Robert Jones from Greer
Ultimum Vale is probably the book included by Gordon Doad in 8
his list of music for viols This song book is also the source
for ten of eleven songs by Jones included in the Giles Earles 9
book It is this custom of performing vocal and instrumental
music only instrumentally that forms part of the basis for early
chan~er music in England It was advocated by Thomas Morley in
his book and used not only by Jones but also by Sir William 10
Leighton in Teares or Lamentaciones of a Sorrowful Soule
It is possible that this evolutionary process in performance
practices and adaptations of popular pieces for other instruments
may be the basis for the idea that Jones composed for the
virginals Certainly no music specifically for the virginals or
instruments other than lutes has been found to have been
composed by him
When playing for the masques the waits probably performed
in a room or chamber near the pageant rather than on the street
or porch where the masque was being presented Robert Jones bull
8 Dodd p 263
9 Jergens p f 13V-f22V
10 Ernst H Meyer Early Englisn Chamber ~1usic ed Diana
Poulton (1946 Boston Marion Boyers 1982) p 135 149
-25-
11 naroe is not in the lists of appointments to the London Waits
But Jones did have so~e of his music included ill masques Everie
vloman in her Humor a masque by Maclin published in 16 09
includes two songs from The First Booke of songes or Ayres The
title My mistris was not used in notes for the masque rather
lines from the song were used thus hindering our identification
of Jones as its author Figures 21 and 22 are facsimiles of this
song This same song was used in Loves Charity by Shirley in 12
1631 and The Dutch Courtesan by John Marston The latter was
presented at Blackfriars in 1603 performed by the 11 Children of 13
her Maiesties Revels Christ Church Ms 439 which contains
four songs from The Second Boeke of Songs or Ayres is said to be 14
a compilation of songs used in masques
The dates of the songs discussed indicate that Jones was a
source for music used in masques rather than a co~poser of music
for masques This is admittedly a subtle difference but it is
a critical one since Jones is not credited with supplying tPis
music in tle published sources of the time such as the plays
themselves
11 Woodfill p 48 and Appendix A
12 John P Cutts Everie ~loman in her Humor Renaissance
News 18 (Autumn 1965) 210-212
13 Chambers vol III p 431
14 Cut t s p 212 bull
-26-
Songs used in masques were declamatory in vocal style with
rare word-repetitions except towards the end of a song The
lute accompaniment tended to be chordal with an harmonically
15 statis bass The aforementioned 11Ny mistriS 11 (see Figures
21 and 22) very clearly demonstrates this principle The masque
an offshoot of the main dramatic movement was musically con-16
nected with the great nass of songs with lute accompaniment
Robert Jones was a natural choice for the masque authors His
melodies tend to be rhythmically simple and singable By his ow~
admission in the preface to his First Booke of Songes or Ayres
Jones main concern was fitting the note to the word (See Fig-
ure 3)
Shakespeare also liked to use contemporary songs in his
works for the theatre and in the music of Jones Shakespeare
found songs to express the moods of his characters Perhaps the
best known instance of this reliance upon Jones is in the comedy
Twelfth Night The song 11 Farewell dear love bullbull is number twelve
in The First Booke of songes or Ayers
15 Ian Spink English Song Dowland to Purcell (New York
Charles Scribners Sons 1974) p ~0-41
16 Ernest Walker A His tory of Music in England (rJew York
Da Capo Press) p 153
-27-
In Twelfth Night II iii Sir Toby Belch and the clown
Peste sing a version of this song that telescopes the first and 17
second verses Malvolio warns Sir Toby and Feste that
Olivia will bid farewell to Sir Toby unless he reforms It is at
this point that these two characters alternate singing lines of 18
the song This song was set in 1600 and the date of Twelfth
Night is 1601 The obvious conclusion is that Farewell dear
heart was a popular favorite and would have been recognized no
matter how much it was condensed Another testimony to its
popularity is that the tune appears as a hymn setting in a Dutch
psalter The Dutch version is Heilgierig mensch and the 19
psalter was published at Amsterdam in 1713 That Jones himself
favored this song is shown by the fact that in his fourth book
nine years later Jones sets Farewell fond youth Its meter
is identical and its melody is similar to that of 11 Farewell dear 20
heart Farewell dear heart may be seen in Figures 23-26
and bullFarewell fond youth in Figures 27-28
17 John Stafford Smith Musica Antigua (London 1812) p 10
204
18 Peter J Seng The Vocal Songs in the Plays of
Shakespeare A Critical History (Cambridgemiddot Harvard University Press 1967) p106
19 William Shakespeare The Complete Works ed Alfred
Harbage (Baltimore Penguin Books 1969) pp 316-317
20 Edward Woodall Naylor Shakespeare and Music rev ed
(New York Da Capo Press and Benjamin Blom Inc 1969) p70
-28-
Shakespeare also turned to Jones for parts of the mad songs
for Ophelia in Hamlet IV V Although it is not a proven
fact the setting of In Sherwood liude stout Robin Hood see
Figures 29-30 from A Musicall Dreame bears close resemblance to 22
the words sung by Ophelia That it probably is this song is
due more to the nature of the scene and the impropriety of the
words words which would never have been sung by a sane Ophelia
and to the popularity of Jonesbull work rather than contemporary 21
documentation Frequently Shakespeare had his
characters sing snatches of songs or refrains and further
attributions to Jones are possible but not provable without a
shred of documentation Nor in general are Elizabethan
composers who often set the same words identifiable unless the
tune had been transcribed or the composer named in the
manuscript
21 Heseltine Prefaces p 168
22 F w Sternfield Music in Shakespearean Tragedy
rev ed (London Routledge and Kegan Paul 1967) p 57-58 71
CHAPTER IV
THE SECULAR t-1USIC
The secular works of Robert Jones consist of five books of
lute songs or ayres and one book of madrigals One or two copies
of each song book have all survived in excellent condition with
minor problems such as missing title pages The madrigals 1
however exist only in an incomplete state Possibly this is
due to the difference in publishing techniques of the two types
of song The song books include all voice parts printed on
opposite pages in such a way that tt-e performers can stand around
a table and use the same book The madrigals on the other hand
were printed in separate part books with the result that the
loss of one part book took away from the whole
Lute songs increased in popularity and availability
when the printer Peter Short acquired a font of lute tablature
This acquisition in 1597 greatly facilitated the publishing of 2
lute music William Barley had published a book The New
1 Fellowes Madrigalists p iv In the preface
Dr Fellowes describes in depth the location of various part bookst and which madrigals are complete because they were found in alternate sources
2 Spink p 15
-29-
-30-
Book of Tabliture in 1596 which contained the first solo song
with lute accompaniment published in England In the four years
between the publication of this book and the First Boeke of Songs
or Ayres by Robert Jones in 1600 books by Dowland Morley 3
Cavendish and Farnaby in this style were printed Peter
Short by the essence of Thomas Morley was the printer of the
first two song books of Jones and the first book of Dowland It
may thus only have been for practical reasons that the title
pages are virtually the same
Lute and vocal music were easily printed For the lute
tablature letters not notes were placed on a six line staff
Vocal music used about a dozen signs for clefs tempos and
accidentals and thirty individual signs for notes apportioned on
a staff of five lines each with a note on one of the lines or 4
spaces Obviously it is this setting of each individual note
with its staff which gives the music its slightly wavy
appearance
Each of Jones five song books includes twenty-one songs
although contemporaneous song books usually vary in the number of
songs Whether this really has any special significance for
Jones is impossible to know For all his loquacity he did not
3 Phillip Hes~ltine The English Ayre (1926 Westport The
Greenwood Press Publishers 1970) p 138
4 Boyd p 178 Keyboard music was not published until 1611
and tben it was engraved This was because of the difficulty of dividing the staff to print cords of two or more notes
-31-
refer to this in his prefaces All five prefaces are illustrated
as follows The First Booke of songes or Ayresw Figures 1-4
The Second Boeke of Songes or Ayres Figures 5-B Ultimun
Vale Figures 9-12 A Musicale Dreame Figures 13-16 and
A Musebulls Gardin for Delights Figures 17-20 However that it
was important to him could explain why he chose to include two
Italian songs in A Husicall Dreame They are for solo voice with
lute or bass viol accompaniment (or both) and come at the end of
a book of songs for three and four voices
The idea of performing vocal music instrumentally has
already been discussed with the performance practices of the
waits Another common practice of lute playing was to use
alternate tunings of the lute The more usual tuning is gd A 5
F C G Plternate tunings included the sixth or bass string
tunec to F not G or the tunings called the 11 leero fashion 6
These were d a f a F c This method was used by Jones in 7
The Second Book of Songs and A~res published in 1601 The
words 11 Set out to the Lute the base Viall the playne way or the
5 Edmund H Fellowes The English t-ladrigal Composers 2nd ed
(1921 London Oxford University Press 1967) pp 304-5
6 Veronika Gutmann Instrument oder Dininutionspraxis
Archiv fuer Husicwissenschaft 35 (November 1978) 189
7 Frank Anthony Traficante The Hansell Lyra Viol Tablature
Parts I and II diss University of Philadelphia 1965 pp 188-189
-32-
Base by tableture after the leero [lyra] fashion appear on the 8
title page There often was a seventh string added below the
bass string tunec to D To avoid confusion this note was not
annotated on the staff instead ledger lines were added to 9
indicate its implementation This may not have been a popular
practice Jones used it sparingly in Ultimum Vale his third
book However all songs but one in A Musical Dreame call for
the extra string That Jones was criticized for use of this
extra string in Ult1rnuro Vale can be inferred from the preface to
A Musicall Dreame This preface is not addressed to the reader
but rather to all Musicall Murmurers
Understand me thou vnskilfull descanter deriue from that Note of Plaine Song charitable numbers and thou shalt find harsh voices are often a Note aboue Ela reduced by truer iudgement which I bereaue thee of nowing thy Rules are as our new come Lutes being of many strings not easily used vnlesse in aduenture till practice put forward into deseruing Diuision
From this preface it appears that Jones was something of an
innovator often embracing ideas before their full acceptance
Jones also may have ornamented or used graces in his work
However we cannot know this because the art of ornamentation was
a live tradition passed from one player to another The second
reason is that printers of the time did not have the necessary
8 The title page of this book is misleading The correct
title appears to be The First and Second Boeke of Songs and Ayres It is usually referred to as The Second Boeke of Songs and Ayres See Figure 5
9 Fellowes Madrigal Composers p 304-305
-33-
10 signs for ornaments or graces in lute playing
The following chart of lute tablature is adapted from
Fellowes The strongs are labeled treble small mean great
mean countertenor tenor and bass All but the treble string 11
were doubled
Treble ( g I ) a b c d e f g h Small r-Iean (d ) a b c d e f g h Great Mean (A) a b c d e f g h Counter-tenor (F) a b c d e f g h Tenor (C) a b c d e f g h Bass (G) a b c d e f g h
The fingerboard of the lute has ivory frets When stopped
each fret raises the tone of a strong by a half step The small
letters bullbullabullbull bullbullbbullbull 11 C 11 and so forth indicate behind which fret the
fingers are placed to produce the desired tones The letter a
indicates an open string that is one which is not fretted or
stopped b shows to stop the string behind the first fret It
raises the string by a sernitone Each letter represents the
next semitone to be produced on a string
These signs irdicate the duration of the note 1 ~ ~ f ~ ~) and stand for semibreve minim crotchet quaver and semi-
quaver respectively The last sign used gives the duration of
10 Diana Poulton Graces of Playing Renaissance Lute Music
Early Music (April 1975) 108
11 Fellowes Madrigal Composers pp 304-305
-34-
following beats Dots of augmentation with their accepted mean-
ing are used when needed Barring follows the rhythm of the 12
music or the words and is not always indicated It must be
remembered that Jones did not always use this tuning for the lute
rather he indicated it by specific performing instructions on his
title pages
Lute songs have roots in the freemens songs Freemen bulls
could be a corruption of the Anglo-Saxon work 11 freibull meaning 13 14
fesitval or of the term three mens songs In either case
they were lively cheerful songs with the tune in the uppermost
voice the tenor They were the basis for the simple part songs
which were so popular in mid-sixteenth century England These
songs then evolved into the Elizabethan consort songs and finally 15
the lute songs
Lute songs ordinarily were published with only a word or two
of the first line printed in beneath the score The singer
12 Fellowes Madrigal Composers p 306
13 Smith p 10
14 Walker p 45 The book published by Wynken de Warde in
the early sixteenth century which contains the work of the first Robert Jones also includes freemenbulls songs~
15 Spink p 16
-35-
16 either knew the rest of the words by heart or vocalized 11
Jones however is one of the few composers whose words are
carefully and consistently placed beneath the notes in his song
books This note-to-the-word placing allowed him more control of 17
the rhythm in strophic settings of different stanzas of poetry
The lyrics of English lute songs and ayres consisted mostly
of typically short verses The sources for many of the lute
songs and ayres were the ~any Miscellanies published during
Elizabethbulls reign ~ong these The Phoenix llest and Englands
Helicon were the most popular However the collections of
Richard Jones were also used by some composers Richard Jones bull
not properly detailing the authorship of the poems in his
collections is the primary source of confusion in identifying the
authors of the poems set by composers Another problem in the
use of MiscellanieE is the resultant multiple settings of 18
favorite poetry Robert Jones set many poems of Francis
Davison Sir Philip Sidney and Thomas Campion What initially 19
may appear to be plagiarism is really an accepted practice
16 W a 1 ke r p bull 4 6 bull
17 Winifred Maynard Elizabethan Lyric Poetry in Its Music
(Oxford Clarendon Press 1986) p 71
18 Maynard pp 54-55
19 Heseltine pp 130-131
-36-
The main differences between lute songs and ayres tended to
be those of length and rhythm Ayres generally had simpler
settings were more strophic and shorter and usually were better 20
sung as a solo song with lute acconpanirnent The ayre is
normally considered a short lute song with the accompaniment
providing the clue to the difference~ Performances could vary
according to the abilities of the performers and the instru-
mentation they used Frequently this lead to harmonic 21
discrepancies in the vocal and instrumental part-settings
This perhaps is the basis for one claim which has been made
that Jones did not write these parts for what are really solo 22
songs in his last two books
The English Madrigal developed as a result of the
publication in 1588 by Nicholas Yonge of a collection of works
by Italian and Italianized Netherlands composers This book
Musica Transalpina contained fifty-five of the best Italian
madrigals translated into English and proved to be very po~ular
20 Maynard p 55
21 Walker pp 80-81
22 Edmund H Fellowes The text of the song books of Robert
Jones Music and Letters 8 (January 1927) 25-37
-37-
In 1598 ~iichael Cavendish wrote a madrigal with the nLong live
fair Oriana refrain This may have been based on a madrigal
published in Il Trionfo di Dori It was this refrain which may
have been the impetus for The Triumphs of Oriana published by
Thomas Harley in 1601 The Triumphs of Oriana contains twenty-
five madrigals by nearly all the most distinguished English 23
composers of the time 11 Robert Jones contributed Fair Oriana
seerring to wink at folly 11 to this collection
The First Set of Madrigals was published by Jones in 1607
Its being called the First Set is no proof that Jones intended to
publish more sets Rather this avpears to be a publishing
convention of the time Where this set is unique is its
containing madrigals of 3 4 5 6 7 and 8 parts tvhereas
most madrigal sets were in groups of one or two different numbers
of voices this book has six different voice groupings These
combinations alone would give rise to the idea that although
Jones experimented with the madrigal form he either was not
comfortable with it or was not proficient enough with it for
his own standards On the title page~ Jones claims that the
collection is for Viols and Voices or for voices alone~ or as
you please 11 Several of the texts included in this transcribed
edition are poews by Francis Davison and two are by Campion
23 Walker p 78
-38-
The English madrigal was something of a compromise in form
It combined the contrapuntal secular music of the Italian style 24
and the harmonies of such songs as the frottola It typically
was a single stanza of seven to eleven lines in length A line
maybe made up of seven or eleven syllables with short and long
lines in any order The rhymes were mostly feminine and in
random order For this the Italian verse setting was standard 25
but short verse ottara rima or sestina were also used
Perhaps the one concept about the secular work of Robert
Jones that should not be overlooked is that he intended his music
for pleasure He had no rigid rules about performance practices
and he was willing to experiment with new techniques He was not
tied to rules of harmony and counterpoint and he seems to have
been partial to the sounds of open fifths and false relations
He was clever and innovative in his use of rhythm and rests
formed an integral part of his control of rhythm It was an
unhappy man who composed the song Goe to bed sweet muze This
was in Ultimum Vale the book that Jones intended to be his last
He seems to be saying goodbye to his love of music and composi-
tion rather than to an unfaithful lover That music in his muse
can be found in his explanations for publishing again in the
prefaces to A Musical Dreame and A Muses Gardin for Delights
24 Walker p 77
25 Maynard p 55
CHAPTER V
THE SACRED NUSIC
In a fashion typical of the Elizabethan era one music
publication could contain ayres madrigals or religious motets
The Teares or Lamentaciones of a Sorrowfull Soule by 1
Sir William Leighton is one such book It contains eighteen
consort songs twelve songs for four voices and ten songs for
five voices The contributors of songs for this book include
Byrd Milton Bull Ferrabosco Jones Peerson Thopul
Coperario Dowland Ford Gibbons Giles Hooper Johnson
Kindersley Lupo Pilkington Ward Weelkes and vlilbye As can
be seen Jones is numbered among the finest composers of the era
Sir William Leighton was born into an influential family
He had social economic and educational advantages However
because of carelessness and misfortune in his finances he was
imprisoned In 1613 Leighton published a book of his own
poetry The Teares or Lamentaciones of a Sorrowfull Soule This
was followed the next year by a book with the same title cf
musical settings of these poems composed by himself and twenty
composers The purpose of these books was to show Leightons
1 Walker p 81 The consort in this case refers to the
accompaniment of the cantus voice with the treble viol and lute tablature The altus was accompanied by the flute and had tablature for cittern The tenor voice included tablature for the bandora and the bassus was paired with bass viol tablature This was in reality the broken consort
-39-
-40-
repentance But the laudatory verses composed by his friends
and included in the introduction of the book seem to negate
this These poems use word-plays and puns on Leightons name and
deal with his unjust imprisonment
The works in this book are on sacred themes and could be
considered appropriate for use in church However that Leighton
intended for then1 to be domestic fare is seen in the style of
printing used that is on a double folio in the same form as
that used for lute songs and in the performance practices he 2
recommended
Jones set three poems for this work The first two anthems
are included in the poems published as The Teares or
Lamentaciones of a Sorrowful Soule The third piece by Jones is 3
set to words not included in the 1613 edition and the poetry
differs in form from that of the others The words of the first
two anthems consist of six eight syllable lines rhyming ABABCC
The third anthem is a simple quatrain with an ABAB rhyme scheme
The first two anthems closely resemble the favorite form set from
The Phoenix Nest the difference being that the lines in the
2 Leighton p x
3 Leighton p xxv
-41-
4 miscellany are ten syllables long The poetry from these
anthems is included in Appendix Six
Robert Jones composed a fourth sacred work This piece
Sing Joyfully which will be referred to as the Oxford Anthem 5
is included in the Christ Church Mus Mss 56-60 The source
for this manuscript has already been discussed in Chapter II No
modern transcription exists for this anthem and may be attributed
to the fact that the bass part is missing and this anthem is one
of a few anthems in the Christ Church Mss not found in other
sources
The possibility that the Oxford anthem was the piece that
Jones composed to meet degree requirements at Oxford has been
presented in Chapter II To substantiate this claim further the
words of Psalm 81 from the Book of Common Prayer printed in 1619
and from The Bible of 1595 are included here This will
facilitate comparison with the Oxford Anthem facsimile from
Christ Church and its transcription and recreated Bass part
4 Edward Doughtie Lyrics from English Airs 1596-1622
(Cambridge Howard University Press 1970) p 25
5 This manuscript has not been recorded in RISM
-42-
6 The Book of Common Prayer 1619
Sing we merrily unto God our strength Make a cheerful noise unto the god of Jacob
Take the psalme bring hither the tabret The merrie harp with the lute
Blow up the trumpet in the new moon Even in the time appointed And on our solemne feast day
7 The Bible 1595
Sing joyfully unto God our strength Sing loud unto the God of Jaakob
Take the song and bring forth the timbrel The pleasant harpe with the viole
Blow the trumpet in the new moone Even in the time appointed At our feast day
6 The Book of Common Prayer and Administration of the
Sacraments and other Rites and Ceremonies of the Church of England with the Psalter or Psalmes of David Printed by Thomas and John Buch Printers to the University of Cambridge 1619
7 The Bible That is the Holy Scripture contained in the
Old and Newe Testament London Deputies of Christopher Barker printers to the Queenes most excellent Maiestie 1595
-43-
The bass was reconstructed after a study was made of the
style used by Jones in his two madrigals for five voices and the
one anthem for five voices in Leightonbulls work The madrigals
were used for this comparison because of the similarity of style
with the anthem
In general Jones uses the bass as a platform for the other
voices Large skips are used sparingly and the relationships of
thirds and sixths with the tenor voice is usually maintained
The frequent use of whole notes and rests and the rare use of
dotted rhythms and eighth notes emphasizes the stable voice
leading Jones rarely initiates word painting or new rhythmic
patterns in the bass However the bass is used to start an
upward scalar pattern carried through by the other voices in turn
It is hoped that the reconstructed bass for the Oxford
Anthem is in keeping with Jonesbull methods The transcription
would not have been possible without Dr Clyde Brockett It is
possible to include the anthem because of the assistance of Mr
H J R Wing of Christ Church Oxford
44
Cantus middot
( -11 ((
) L ~L I
middotmiddot~middot 0
I I
45
Cantus
------------------------------ ====~====================~ I
I ~
j-- ---====-=--=--=--=---=----=---=--=----~~----------===shy
l I
r
l t
I
~-
t ~
middot r I
(1 c I ( middoto
A ~ -1 bull T I bull 1-Jtc v I
bull
~iof~ictf ----middot-
t~L f ef a attf j az ~ E I cfft ~ fiipound wuamp J1 -------- --4----bull- - -- --
iS
l ----=-----------
47
I middot--- - -- - -- I
j It~middot~ ~~I ~CJ m bKpound fy nt-l a~ PJtttfd (Ul A ~
t Ybull T 0 A I I I
~ -t-I I I - bull I I l bull I I I bull bull J I 1 bull I I I
A - bull ~ I
1
-~-- -- ---middot-------------+
-------middot---middot~---------
1----- --------~---
48
middot- middot---- -- ------middot --~___middot---~- ~--middotmiddot ~
49
Contra tenor
middot -bullmiddota --~ilirtttwbullnbullmiddot d_rl_ mr
I ~
i-----------------------_)_
F------ --
______ _
-------middot--middot-----middot -~-- ----- middot-middot-middotmiddot --~----middot- ------- ------shy+----- ------------ -----r=-~----_____middot ~~~---~--~- ~~~-~~-~-----_ --I
I
(I
bull
middot~
I ii l
l
l Imiddot
-I
(
50
Tenor
------
fwaft qtmiddoto( tft~ tfttttt~l hF Ibull bull ~ l~~r---~-~- ~ - =13
t)tl) tfc G11 pound th (b ir th~ tf~~ v
~-f~~-~3 -----+ ~ ------middot =-==~-~-fi I 1Ppoundf ft t1 c If r 11 a h -middot qCo ~~ l-K~-
I I I
bull
51
Tenor
l ~
~ ~r--=t-~ ~ J middot~middot bull I I
13fon ~ lppt ~fie bmpt~H1 tfv1VC btpound lLi hum( Efl J A t I o bull
H-1----r~ni----=ll bull1 -----i - r~ n middot bull -~ t i ~ -J j) I l 1 bull 1 bull l
~ bull bull T _ obull bull -x I n _PI I I I T I I amp bull T 1 1 middot y tl- 1 L~t--I ----J-middot-middotmiddotmiddot1_--1-- _-~--~~--Jmiddot middotL__-1L --1-- -
- I 1 I _ 1___1 - -4-1-J - +--+1--ll- J ) 0 I 1 I I I I -~-- ----- ~ A bull bull I (I V =-
---- - --------- middot------
I he Oxford Anthem 52 Robert Jones
5 J J J ) J f r middot r I
Sing joy ful ly un to the Lord our I 1) I Js - I 0 I ) ) ]I ) 11 J bull v- l l
Sing JOY ful ly un I to the Lord Si ngl I I - _ f r
1 r t7 t r t l middot~ I I I ~ _l I I
I l I
Sing joy ful ly un to the Lord our i strength
1 6J
J I
i - ( J amp J
-plusmn=-
I Sing joy ful ly
-c un to the
r r2 c= f r F ( f z 0 r I l ~ 1
Sing joy ful - ly un to the Lord our
10 j J r
I I I l r I I 1 I f I
0 0 tJ bull middot I ~ I I I t _a l r
II I I strength Sing joy - ful -t ly un - to the ~middot Lord our I I I i
I
_I 1 I I I I l I
I ) I 0 I ~I I j l Ll I I
$ j I lfO J I - -~~ L7 t I -v - _
~ joy - ful - l y un - to the Lord our I I
~ ) _ IQoll I ~ 1 y middott I -
I I j I l r I I I -r r 1
I Sing joy - ful - ly un - 1o the I Lord our
I I I I I 1
0 0 I ~ Q - -~
- I - -~ - lord our l strength Sinmiddot] _
I I 1 - I I ) i j J middot __ ___ -- t -
strength Sing loud un-to the
I r I J () h fl e J j (~ I I II r- j 0 I v 0 i r c
53
I i
I - I - I - I r r r ( J I _J_ I 11 _l [
~ I I I
I
~
I strength Sing 1oud un-to the I
I I I I r r r J y r J - 1 v I I 1 l -l - I - -
I str ~ength Sing 1 oud un-to the j god of I la -
t I I J J l J r
11 - f~ t v I I I L y
r l I
I
strength Sing 1 oud un to the god of j I
I
- ~ ~
r r 1 r r t Igt I
J r I I I r - I
I - loud un to the god of I Jq -
I
v I () p 0 I I _ I ~
I I
god of Ja cob Ja
5
god of Ja cob
cob Sing I lou un to t e j I I
] l ~ ~ i
r - I r r r I v I I (7 I v I I I i
I t
Ja cob Sing loud to thf god of I~
- un I l
~ bull
I I L A 1 I I f- I 1 _J _I L l_ l I t I I ~ t r __ __
-fi I l I I
cob Sing loud un to the god
0 eO 0 __ =J
of j Ja cob i middot
----------~--------------------------~1---o----------~l ~ gt~ f middot
cob Sing
20
- I r j I 11
C I r
I
loud Sing un ~ - r 0
I
god of Ja
r 1 I t7 J _J
~
Ja cob -
1 -I J p 0
Ja cob
r c r f
(l
loud un to the god
I l I JI I
-1
0 l-
cob the god - y 0
I I I
the god
0
I
cob f
~ I I 1 I I J
I ~ t I J middot 0 t--1 J I
t to the g od
c9
god of
r I
to
-I
fvO
Ja
I I
l
Sing l
~~
of
I r I I
the
I
I -
---L--1 I
I J ~
54
y
god
L-
cob
I J
cob
_j
I 0
I amp
Ja
25
l 1
--of
- a I
of
Ja
0
i
I of l Ja
I 1
~ t 1 _ Q _ ~ middot
of
Ja
Ja
I I -J I I
- 0
of Ja -I -middot I
J l _ I I
rl 0 0 - -
I of Ja middot-
I j j I _ J I
~
~ (_ I ~
loud un
ampI _
j9
cob the
r
J I I -1 --11 2_ ~~~~
I
Ja - middotcob
i-1 I -f-1
I bulli cob
I
I
- j - w cob j
i l i
J I ------ I t-1 I I - I cob
cob
1n I
I I I J (7
c_ -
-Take I the
- bull- I I r 7 A_ f I r
0 I ---
j
Take the harp t the I
J ~middot
I bull I f~ [ I [ I
J -Take the harp the
1 1 -I I I _
( y
~
Take the
p f bull
Take the
35
f J J I
I 15 Z
) lt I
brell I
tym tym
I 0
CJ ) J forth the tym- 1 bre 11
I I l _ I I I 1 j I
omiddot i I I
harp and ~ bring forth the I I I
1 r
I I + and bring I
~)
r t harp and bring
55
_ -
harp
j fr
r - ti (J J ____ r
-
f ) I
v J
harp the
a
(2
harp the
f
brell
1__ J
and
0 I tl
-
)
harp
~
harp
I J
harp
harp
~ the
r bring
r [I
I I y
rJ I
11
and I bring
f I
and I
f
I ~
I
t take
___
I
I
r ta ke
J 1
tym bull
( r forth the
- _ --- r
tym - brell I j J
I I I J I r I i
_) middot forth the tym - bre 11 the
( t
f I r r-I I z
forth the tym brell the
I 1 1
amp
forth the
1 A ~
bring
I A
7
the
t )
the
I
~ I ~
I I
l
56
40 I I I I I
I t I 0 I _i I I i ~ ~ --middot
li 11 11 I -
- brell and bring forth the I tym - bre 11 tym - brel 1
I ~ - I 1 () 0 1 I r 1 - --- i
I
tym brell and brin9 forth the I - I
_ 17 - i 77 j
- r - T T _ I I J ~ I I I I
I I 1 ( bre 11 ) the tym - brell I the
i I I II
u I pound I A J ~ -1
I -
~
tym - brel l and bring I forth the tym -I
J amp Fyen tji
F l
tym brell tym brell
I I -- I I j I
I l
-J ~ I ~ ~
J
harp and the sweet the ~ I plea sant
middot - --f ) I i I e 61 0 J ( z
bull
tym - brell the tym brell ~ the ft ~middot c t r 19 ufJ f ( c t I
pleasant harp and the vi 0 ll the pleasant harp
j ) j middot99 J GJ or gt _ -5
brell bring forth the tym brel1 th ~e
9 l f~ ( __ r I ~~
-- -
Bring forth the tym brell
57
45 J
I I I [ f I C) A A I A I j l - -
-
~~ ( _
vi - I 011 t sweet vi - oll the I I
I -- 1 - l l 1 (7 I I I J 0 A I J bull
$ r - I brell I
themiddot 1 pleasant harp and the sweet i I
- p I I
r I I lt I_ c I I I r
I I and the vi - I 011
l vi - 011 I
I I I 0 I I
r I -J y v - I I I ~
p~~~~~nt harp and the sweet vi - 011
I
_ v - 0 I I r t I I II 1 I J I I
the plea sant harp and the sweet vi - oll
50 1 I I I I j tl I l bull I
I J L t- 0 J I
-
I ~
J I
pleasant harp and the sweet vi I ollll the I
~ -- _f I A middot bull 0 J i r 1 l I I
vi I oll the plea - sant p
r I i T 0 - 0 I I
I f I I - ------I I I I j
i
the ple~sant harp ~nd the vi - -
I
--- I _l I I I --1 0 I r l
C-
vmiddoti I - 011 the ~
pl ~ea sant harp - C) r 1-
~ r I I )
r ( I l r
I I t
and the sweet vi - all sweet vi ol1
58
I I I I L_ I J _l J f J
I I I
~ r
pleasant harp bull and the --_
t I I I -_j
harp and the sweet -l I
f middotv A I I I I
011 t the I plea - sant I I
I I
I I I i I J t7 Lc -I
and the sweet I
vi I -i - I -
- J
I c- -
oll and l i I
1 I J J J_ v A
I I
oll the I pleasant harp j _ k
-r= 0 I
t I
t
sweet I vi I I _I I
11 i I I I I I I 11 _j ~ C I J _lj bull
harp and th~e I J I ~
sweet vi - 011
J ~
t
the pleasant harp flnd
55 r J1
1 _r _I_
swe ~et vi - I I
- ~ I I A ~middot _t2_ I
I
vi oll I -
t I _l l
fL
harp and
t
al l
-
j_
A I I
th~ swee~ I
j_ 1 L1_
J _L _r I
I I
and the sweet l A
~
i t l I I
I
011
- I
r r the
the sweet vi
0
-0
vi 0
~
the
I t
the
-
60
0bull
vi
0
vi
-
J
pleasant
-
l I I
J bull
pleasant
-
-
amp l
I
l the
I
I
harp I
----1
59
I I
_ middot-I
- I - - __
I ---- oll I I
~~ - f r I f I J e_ I I _
011 I the plea sant harp and
0 - 11
r - - 1 v I I r l I I --~
J _L I l I
pleasant harp and th ~e sweet I vi --j 011 t I
I _I_ ) - I
_I r D I J I 0 I I
I and the sweet vi -- 011 and l the
J ~
-- -=- 7 r I
I T T r l I I 7 l I
pleasant harp and the sweet
65
- - r I
I I J I I J
I ~J ~ v I bull J cent ~
--
the pleasant harp and the sweet - _ r r ~if L) I I tJ - - I I l I I 0 -1 F _l T 0 j I J l I - -- the ~weet
vi - 0 ll t and the sweet vi -ll n middotmiddot-
I I ~middot r I - - t - f7 I I I l _ (7
j j --w
sweet vi - 011 sweet - vi -
I I I I T T - t i -- A t7 r 1 T 7 T i ~ i
_l J
I I I I
I sweet vi - 011 fhe I pleasant harp and the sweet j I I
u I l I J -1 1 0 I )
f I
vi 011 and the sweet
ou
70
-- - I I I I J
~ I I j ~ (1 77 -~
vi - oll the pleasant harp
I I - j I I I A I 410 7
-- L
- oll the plea - sant t --1
I L I I J 0
I I I I ~ ~ t r _fl_ 0 0 _ II I I
1 I - oll~ the pleasant harp and the swmiddoteet
~ I ~ ~
y JoiO c I- I l I r
I I
vi
I 011 sweet v+ 0 ll - -L
- l I I 0 J --- t 0
I
vi oll the sweet
75 I I
I I T J j I A ~
~
I - _() ] middot -- -- -- bull l I and the sweet vi - 0 ll
_l I 1 77 0 0 0 -I - 0 I y l ---- t ------ I I I
harp and the sweet I vi - 011 bull I I
0 0 C)
poundJ I - t (7
I middot-I
vi - oll sweet vi - 011
I I
~---0 J 1 I t J -middot
I _ _ bull I I 17 ~
I - -
I
f t he sweet vi - - 011 bull
- I CJ I
C if- I I
I I 0 T _ I I l I
vi oll vi
~ bull Scr-ibe error shc~AIJ b~
61
80 111
I I j t - - I - J I I y ( j r 1 bull
amplow the I
up I trum - pet I
~ - - j j I r A j J I t - 1
Blow up the trum - pet oiL - r
p r r Igt t r r r f- I I t J I I i middotp I I
I I J I I
Blow the I
i trum up trum - pet Blow up the l - pet
I I I middotr I
f r l J ~I I r- r _r j A I I I _
I i I I r I
Blow ~p the trum - pet Blow up the I trum - pet _ I bull_ _
0 ~ I I l I I I I I I
I
I I l I
Blow up the trum - middot pe~ the trum - pet
85
f 1 - I I I ~ I I I r ( J-middot I I r J J -1
I r l bull
I
trum pet the I trum pet the trum p ~et - -A - I p - - I t
~middot J I r _1 L I t
I I ~ I
the trum - p ~et 1 the I trum - pett
- i I i ~ _
-l f r r ll _r_ [ middotp t
t I I J l t I I I I l
~ I bull I bullmiddot
Blow the Bl~ ow the r bull
trum pet up trum - pet up -t I
- I t l j_ L _L A I
r r J r J I A J f ~
l I I - I bull I
bull I I
Blow up the trum pet Blm_r up the trum pet I - -I
tt) 7 - 0 _ I 0 i I I -I 7 I I I I I I l I
--J I I _J
Blow up the trum pet the trum pet
0pound
_I I I I - I I J I I I 0 -II I L J I J - j
- Jf o I J 0
ln] the new moont evn i n the time ap -
- -- I
- I t l v t -1 I I_ I l I J ~() -in the new moon the new
I I
~
[ 11 -~ - 0 J - I
I ~ l I I 1 I I
I
in the new moon in I
I I I I - I I j J l J _0 r r J p
I
gt in
I the in the new moon~ new
1 _ - r- r r r - I
I I J I I ~
1
in the new moon
A ~ I I I
r
r f cl - A I _f I I I I I
- _ 0
l I gt _ _ I
I poin - ted at our feast day at
-middot - _
-moon
I l I
_ I I J r ~middot I I J j - t 0 A A
I - r-- ~ ~
the new I moon evbulln [in) the time ap-
J I ~ 7 j I I I ~
r r T I I _I I
1 _ J J t J l - j ~
I I pol nted I sol moon I evn in the time ap at our - emn -
I I + -( _-f- i- ___ - ~middot
_ T I I I J 1 t l r 0 ~-
r I I 1 bull - I I r I I j_ I I I
r
evbulln at the time ap- poin- ted- at our feast day at
93 [ot] Ct =at II otl~ va middot
95 I I [ I l
17
J I
__ J r rJO
r---
our feast
- - I I
v_ ev 1n
0 f6 r I J l - -J I l I I I_ l J
pointed at ou~ast
1 L _ II I y _ r Cl
I r - I
feast day at our I I J
bull _) 0 [j A I _ I - t I
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our feast
- - I I
C
evn I
- ~-
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our
u
day
I [ I
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in the ~
r I I I
poin - ted
roo -= ~5
q~
I
I r r feast dayt -oGr
- _ I
- _ I
evn I 1
I I I ~
r l l I I
~me~--I ~nted a_p_ I
J I I I I
at our fea~t day
c t ) o t h u o s [1 h) = a~ tr~J))~ribed from
altmne ~cill-ed o~~ ti
- _ _
day 1 I -I I I I
I I J r I I -J I J
in the time ap - poin-ted at
pound)- bull -J _ I j
day our I feast
- l 1 l I
~t _--tf 0 II ~ ( I
I
feast day~ ev 1 n
__ _ r I ~ r I I J
I I 1 -
day the time ap-
100 -Imiddot 6_ __ J J J I I I I J I r t _1 ) - I bull -
in the time ap- pointed at
0 _
feast day
- 0 _
r I _
bull I 1
bull jrlJ the time ap
I
~-
r T o I I I I l A _ J
a or feast day our - o---- r l - f I I I
i
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at our feast day
Ct VOIC~
b4
105
r r f 6J dmiddot 0 I~ j A our feast day our feast day evn I
- - ~
J I
-
l evn in the time ap- pointed at __
A 0 ~ )
y 0 J I I
poin - ted at our sol - emn
- -0 dl ~ ~- - A middotmiddotmiddotmiddot-
feast day i at our feast at L
LJ
I
- 0 - - _A
v
our feast day sol emn
l -1 I- _pound_
I -_
in the time t
ap- pointed at our feast day evn l
_ 0 1 J l ~
-- - ~ J I 1 1 - I
our feast day evn in the time ap- pointed
0 ~ _ middot- A
feast day evn
- - -d A (
at ourmiddot -f- at our ~ ~ -- 0 - ( I I
feast day evn in the time ap- poin - ted feast
I
110
J omiddot u --1 -I
lt---
in the time ap -I
poin - ted at our
0 - ---1- -I-- I
at our feast day 0middot
I - --
l
(i nJ the time ap- pointed_ at feast day
I our
l Omiddot (_) y l
I feast day
0 ap- poin - ted at o~r I
~ 7 ~bull
I v
day at our feast day in the time
115 I I -middot
I-
-- 0 bull ~ -
middotfeast day evn I in the time ap- poin ted -
I I - - 11 (7 ~ 0 -at our feast day
bull 1- t -
- A ~
I evbull n [in) the time ap-
-middot y
I
~--c CJ
feast day evn in the time pointed at
r 7- ---ap-
J ~
y -ap- pointed at our sol emn feast
iblihing Mil 414 A bullbullbullbullbull
120 -
~ y r tFU
L j _L_ y -
at our feast day at our
- - - _ (7 _ - __ -
at our feast ~ L)
a_ 1 _L r I y r1
pointed at our
feast day middotI evn UnJ th time ap -
0 1 - --I -
A middotbull -
our feast day evn r 0 0 I -- Q_
-
day our feast day feast day evn
11 - -_y 11
_V -J
- __l -
feast day at our - 1 I _L_
_Ql_ A (7 I r-i 0
daymiddot ap - poin - ted at our 0
v I y ---d I
poi n - ted at our feast day at our
____
I I - -1 v J 1
FJ Cl bO L
I I ( t-I in the time pointed at ap - our
_)_ 1 ~ ~
Ll f
_r I
in the time ap - poin -ted at our
11ishing MP 454 A bullbullbullbullbull
67
A ~ ~
Ai 0 -- C-
-feast day
I
c- _- I - -
feast day
I I --
- _ _
-- -bull
I
I
feast I
day
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feast I
day
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middot~ lt-
feast day
130 f A -J I 0 A
-7 bull - -
A - men ~
~ v j middotmiddot r I I I _ l _
A - - - - - - _ -- -- -
- j -A men
_t - - -1
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I - - - - -A
I I 7
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i
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- A men I M - I
- r ~I r v t I 1 I I _t J I I T I
A - - - ~ - men
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mmiddoten A I I I
--- 1 I I I J
I I T J _t A - I -
men A
135 l
I I I I _I -1 I ~~I I I 1 0 -l - I I I J rj~
- _
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I 11 - ~ - I t _ r p
r I J I I v I l J I
- - men A - -I I - I I -p - v_
v C7 I I -- __ I
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~ J I I I
I l I J I A _ - L7 JJ J ~
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- - - - - --
I I I J y __ I T r I I
~ I I I 0 ~~ - V
men A
lblishint MP 414 A bull
I I
I --- -~
- - tf a ~ - - _ - -- - men
0 ___
- men - A _ - ~ I --- -
I - men
- i _
- -- ---men
--
~--
_
men
tblishin9 MP 414 A 7
----
l I
72 ___________ ____ Ff gure 1
I I I
middot-
i
l I I r I 1 I
I r
IH pound
FIRST BOOK E I I ofSo11ge or q_fyftlJ of iRetiiu~
rourf parn ilh TJ 1
binsr~l tb( lbullU
paru togethcror ~lther of middot dle1Jlfhur2llynliay be toils it _ l 11l~U~~~r
to dte Lutebull Orpbad~l
or Viol de gllllbo Compoftdby Robct~ ltJ~Xto
f
----
1
l
I ~
1
I I
73
Figure 2
TO THE HO middotNORABJJE Ai~O VETt T OVS GENTLEMAN SIR ROBERT SlDNEY KNlCH -c
Gouernour nder her Mai~fi~e of the tOne f VltlbitJ1
and the CaAJe of the Jldlraquotftns In the low C oumnes and of tJtjorll ojtltf411Jt AJtntLrrpuh thtJbullrr-ifonthenmiddot
In plilctdMTftU D b~ifi~jiUitt
~~~ii~5fil Our great loue and famor Honorable Syreuer rhanifellcd toal OrthyScier ces hath ltnbdened me to offer vppe t
y~ut ~ordfiups Shrnc thefe the vr I wortht~middot labours of my uulicall trau~~middot And though in refpect or their Veake nes they ln~y perhaps leenu vntin1ely
bull=-o=====~ broughtfor[hand theremiddotbre the vnlikelrshyerlo pr~fpermiddot yet doubt I rt~t butj~ renderd by you they fl1all happclbulle find gentle cherdh~ng w h tel~ n1ar be a mea ne to make them more tlronger or elfe mtfcarrytog to etcour~ge my en~ ~ deuours to beget a better for as no arts vinclf at fever errors than muficke fo none greater enimies to thcirDvoe profeffion then Mu 1cians whowhdn in their-own ~tlguaritietheycon demne euery mans ~rkes raquo as fome wate ~duty they are cbe caufe dm an istbcmiddotldfcentc~emcJ ian~ they thuitfelues feEuted as fclfc-com e1enders tnd men man fan[aLlicll Vhcrfore if chis one cen~uringinfirm itie were remoued thefe nty ayres (free l dare fay from groffe crraurs) wauldfitde euery where mort gratious entcrtainement bull Butfince euei thofe who are betlfecneirtthis art cannacvaunt themfelueJ free from fuch de tra~ours~ ~ lhe~ leffc rega ~d irbting_fo w~ accompanie Howfaeu~r tfheretn I may gatne yout Honor~goodallOwance fuaU thinke I haae attained co the better en de of my labours (vbicb with my fdfeandthebell of my Ctruite) rcfies eaer more at your Lordihips in1ploimenc
Your LorJjh1ps lmotetl in ~tO dutifiiJfirmce
aobett lonebull
----
middotmiddot
74
Figure 3
ro THpound READER
~ gtltmiddot bull bullbull bull bull bull middot~ EntlettztnJfincem1dtireu)ourtllrtsfoulde middot ~~-- ~imiddots benlindijferentiudgtrfclllnot thin41t nt
-~~i ~ ~rflary to filalt nv trautil or nu hringing -vp ~ tbull middot 01 argtttJmts to plr[Jllade you that f haue a ~Ofd
~ op11110n of 111) feft~ only tht~ much lwzl~tJte 1n~ ~ I ot ihatJmttypretttnttherifhudgnlentsoJ[uch
bull _~~~ ~ t- ) u now n1c not E11er jinre I praflftJ fe4-- middot bull ~ kng I hat~e praRifid inging lbullauin hail not
itr qualitie tobitJder mefro1nmiddot the pifefimiddotI(TIOTPfedgt o(th~]aculu I rtue ~~~n incortngtil kr tbl lParranmiddott oj Jiucts good iugmentr that my
pt~ints herein foal 11tihe eafl proct~re_gooJii~ng if riot delight ~hich Jttfor ntineownetJtitl muflueeder Jeare 111 much 111 defi~e ~efpmiddotecialy
lien I conidtr tb Nptnes ofthu induflriousagtlhtrtillaU mtn tndeshyrwurto nol~t all Ninges I ronfefo I 1as not --nTiiUing to emhract the conctitr of fuch ge1tlemen uraquorere ear til to h11 ue me AfpbullreU thtfo ~~~ tits for them ~hihthough they intendet or their pmiddot_iuate rmeation 11eUcr meaning thfJhoultcomeintothe~tght~tre 1elf(I1Jten~ )pon inshytrtiiJ ~o ma~ thtoncouragementr of tq1s ~ jrfl di~tr~tllre 1Pkere11p~ PO f lilas ~lmrfl ~~to m4~e tnJ flfaJ ftiJt~ne lJJtbtU~OTJ pr~-shymtn~ thAt if lY ctfimiddotnnrfoilttltn( ~ M_~HJI ~~H fllghl P_eakt for theme~ts ~boTPfoeiltr 1~plt4ftth tbtm middottodlaquonunl bl~tt of thest ihen oftbeft1 0 f purp_ofo ( M -ltfiOiddfiemt)tom~t4 mehJ1eut I hm do (omething 1111 onb hope i1 thai fo~ing ntither J cold AJres A nor fheir idedties ( u thgDi[ntedtl hau t cAUthtin) hAue hithn-to Jeene foc~ttd in Ut tdrtJ of rnanie thg maierh~nttlflil)dt f~Kh enshytertllinmentJ llJ conmonlit nn~e1 aoth in tht bullorJ ~thith if I J he fo
middot ~appie~(o he11re lTtiUnoefaie my next jh11H Itt ampttirr1hut I ~a promift tO tfl~middotIJfOft f4intmiddotsroJmJ lliOt fOintsof mfiampJtwbich noJJt coufJ not JohectJuft YlitJtffcllrerPu (ofttlht (Jf~mtk~Jor~ ~~~~hen muflhe-ullJe~ connntDith e11ch IIJantlll))foU cenfurtU IjhJbe giAJ of fomt mtns vndeftrueJ fouourl
-J
--
IJ
Figure 4
~~ ~ A Table of aU the Songs contained in thir7JooJc ~~~Ul
middotImiddot AWordans LookecS middot Fertd Wlnto~ youdu ~~= Sheewhorematd)Jet1ebcaury f+- ~ Qncre did I laue ~~~ L~d ~r~Atongdcfuc l Ltc dOwne poorc bean J ~ bull n Wl I _ ~ -b _nere rngrrnguare
1 - i1 Hcroatenotchougb ~ z- middot ~ Wbcnleucandumo bull ~~ Swee(te come awa t bull -a Wmiddotomenmiddotbullhataicrtbey
EarcweHdccrc louc ~ middot gt ~ ~ 0 my paorc eiu r~ ~ a If fathers knew
bull ~e i Life is a PoeampJ phablo ~~~ Sweere Pbilomdl fi ~- ~ 9 That heart 1 ~
1 VVbit ifl feckc MymiRris
middot~ M ~ Petplcxed _ 1 ~ Can lllodca pbine dctir
I
middot 11 - 1 ~ ~ middotr_ ~ r fl~ - I
l j It I I
~ ~
-I i I
lj middot J ~t ir- I
bull Ill - -middotmiddot - B
L lL m IUL v VL vu VUL IX X XL xn
xm X1Dl-xv XVI xvn
I t
I r-middot
r --- ~ I r- ~ J
I
Figure 5
--------------~- ____ __ t
lf~ flfl TJE
B 0 0 K E 0 F S 0 N G S AND AYRES
Set out to the Lute lhe bafe Violl the pr-ynt Wdl etr tbr 84ft by
tablcturc afitr lhc lctlo ~114
CftftJJ Kobert Iones bull ~middotihl~ by Pr flaquo Afbs by bullbe
~Jm ~f11HtfNI Al~rl)l J tbull6t Cold bulll bullhe Inner l(mplc
u bullr bull 1-ot
_ +- - middot tmiddot bull
~
II
Figure 6
------middot--~ middot-------
T 0 T I-1 E It l G I-I T V E R T V 0 V S A~ D V oR T II Y K ~I G H T S 1 R
H F N It Y L f 0 N i D -middotrmiddot t ~ ~ ---middot~middot 0 R T H) Sir mJ my_ Honourablc fiicnd I giue you thi~ ~~ ~~~1 bull CIJIIJl pr~u~ gtou hnng at vp bccaufc I ttm o1 ~orc mn ami t ~ middot ~ _ can nor maanrunc bull t 1t bulluy ~ulfcc muchaducrfi u~ ~~~ my nam c
middot middot your For~u~c mnc aJ~cr llJS rtJrrcs 1_nd make h1m hJppac bull f ~ I fhopghllllbtherbe ahmiddot oe l ulltec~Uhoun Orpbanrlorpm rc
mens CbddrlfJ -are Orplano borne and more to be piuiCd d~cn they liJJt hJ11c changed thcidltl cr) lor their ltuJ ~ fud1 mlc bullai(e themfduc~hl due time we h0111C oo wJ ic to l lciglncnour being bm by lbulllothcr pomiddotNcr As Gcntlcwo- mtn pecce lhcmfdbullcs with Tij es and Co ronctsto t p flC trt mor~ per fcmablc ~nd t~ll o UltJfi woaJdc VntO OUl )ulctlCS if wew11 not De (corned iardwarfcs) rhccroYlC of Acnllc pC1fons mgtre cmincnt and hi~h Our (Lnurcs ~rc nor fct aboue d3nshygcr i WCcJuJowc hdor CUCflC footetO trcadc vpOtr OUt place IS he cround there icnodnng balc-~trwsandycr dcuil~ion _m pun n lower if wee h~uenotgood ~(reds Th~ y wiH fin_J _me~nc~ lfl digg c and In v s down~ irnu the cllth ~ nd burie yenS
bcfotc ourume Th1s 1s the nufc of pttroua~ct nnd thli ts rho p(rlecutton o( ahem tlpt wouldingroffc ~11 Gloric imo the~r owne hmds But t~cdJt UJl~ o~ rhtfe mcn they bite the truhe~ thcmfdues 01ould fee de vpon Vcrtuc would llrlng fonh mmie h1idrtfl but 1hey hold them an the wombe that lhcy due not come hut As the coshyucrolls maf~~ fi~gcth aU the hind about h1m wath fi3tuus 6ncsand b~nds i1 nd othc r (uch Iike~iumiddot 1 warre (o doth the ambitious intrap the Jinle pori ion of ante commenshydations cha m~ ic fie II bcfidcdilm And like the mercalcff- Souldicn lhe Cafilcs they cmnot t~ kc they blow vp They uc a~ f(nring of cucr ie CmUlrcJun~flc of crcdifbull ~s iflt were I aide vp in oonnnon-bmke and the more were giuco a wile the IelTe would ~orne to tl1cic nbullarcs Theya1 c mafcra~lc men) _f roill onlf br~md (htm wi1h this m rk~ and let dttmgoe Thty were Eaglci tftheyd1d not rJtch Hycsas lheY ate thcy-bullro grculhings)muchldfcthcnnoamphing For my parc)l willnotcorucoa wiJhchcm ( aeiire JlO appf~u(c or commcndadons lei ch~m haue the flmc of Ecchocs and (oundf and let me be a Bird in your C~ge fin~ to Y fclfc ~nd yo-1 Tl)is is uiy coment and this is my llmbition~ if 1 haucthis Jfiile nm in mtcxpclhton il more for rour akcth~t is my ashbntagct andl will owe you duciie for it in the m~anc time lrcfL
fl 0 Jt I ll T 1 0 H R ~
A 2
10
Figure 7
f
TO THE READER
rSI~~---11~~~ E AD E R 1 btt11t atrl moruuuttiWtJ to At~ IIgtJ oujlU rtPhul~r J b411t 6o1ft WU r no td~n( tlull
--=middot ~m~laquoh ft~inen~ rltoife thrt e~tU th4t jwiUf-1 fortify j - ~ry inrtnl toJll~rJdbtt lllll JJ 1tt btctufo
z kow tlwcwot r middot41d I IU jtlllrl ftDf gr~flJ(t D
comftlirltfto Wilrrant J tnJtutJMrs lll-bullfl o~U met~ ~ J bull JqJ it 110 fJ1J1111t tJ ()~~ Vfri~btrztQt ~~~ thttiJJkJt 1 ~~
J tntlfflt IUJtl~ AUfljt my Jrlfrof~lliJtnltt yluggbullJ ~~a~ ~~~~ iby fat~olll ~ whrrtin l t~sft rt~tiJti tJ itftritk rkJt ~D11bull
II~~~~~-~~ llllldllllorlt 1 then PJ my ownt bullfi 1 to frt 9 l4hD~ifl ~Ill (o Jbulllr The llNIIb b lllthlugh l wbull nbulll fo nilt
Jllltll J rptnpofol l~rt cA7rn t~Jt J J4n1Jt~t jl11d c tbrbbull~r~ of t~rirt~~min~tion Ttt Jwould bt ~it~J( if 1t ~IJtbi) thfl~tlt J1nJI7 tpptabat~tm mtJbtgtlltll1t mcouragtmtntto foutJJm t1Jan4rfoltJumfltt JrtlltfJJJJ rlmu t4ttJ hertJttr bull Jftb( Dtt~itr aiftk dJrlmiddot 1
1ll mjiullt- th~tt lJU fo e~DlJ til flbfffll 1J_
pri~su rt~nttnrntu(JilltrJ Gnt(tmt~ith~ut tbti~tonj~IUJ lhh ( lmiddotbPfl J nor 4middot gbullmJltbdr tltls RPtrtm if t~oN ftrJJ afllltiJmg to rnrtttfllltbmiddotrlq Jefiri rblt~k m~ jtlr th] rtltre ~uwr mr~nt tiNt~ J (nmiddotow nDJ l11w 11 ttiiIbullrt~ttmt Q(lr~IJt bullMtillllb~n~l tkrt p~NJ btn~ GtJ~thmbulln ( btn H 1tJ4j ~middot1 fo mfcb pbullrnufor fo hulltMJ) tbl wbullD n ~911middot cl11~1ht c~n 4~ ItA k bull~ loiftr bi Imiddot~~~middot 1l~~JtMjrlrJIJ g_olll bullJtiK tlritil bullfhu tNnmng JifJbulltlltmtbulltJJ tblttll) bt(t11TiflfllJ ~~JUJhlllfJ nolliIYIIJ hu tiJN)t rl1tfo Jrtlo dtjilehim Cif ht-6middott nt~~zruiiPbullP bulllirbnmiddotz ii) tb41hfmaj(J 4ctrp1tbt N6inrri DnDfiiiJ Nt1111t M 11 f~cirnl Tiflsmonit th~t J ttm wat bAiflrJ oinflrt~DJ~Il Jflhtrtifl Iter 1 iraquo94fftt~r rt~hbullffibullNJ7rll ~ ~ J~fiijitJIIjon ~so~middotrbrr~fl tb~l1fDMJj~inc in formt llltil tbtY ktofMttlhm~ Jytbur gmzt411Jtjl~ ~INtrltlbltlg J IJ n1t j11 rnbullch 41 tltfirtthtm o 6elftbulltbull ltARJf11ould hfrrbl teacluhmr At lr~tp bow tbl) IJII~ bt ttmt je F r 1hl 1Jc)Dl 1 will foit 1n1J t hHJ mMch tbtrt blllh not bttnl u~tPttt of tbil fojhitm wampicblf tha jh11l1 pron~gturt to bt blWirtbmiddottb btAtHitJ rtfl fJfifjitJ) if tlbJtit~tor Pbullrewell~
Leaftanie ntan fi1ouldfeen1e to acctlfc tneoflingularitit for expref~ fing thetimeo( myfong~s by prlcke fong Neres neuer b~reto fore vfemiddotd Ihaueforhis ~euer innruction hcr~un~o indeuoored to fatiffie him
amp t r f A Scmlbrcofe Minnum~ ChrocberQampIItr
-----
~ qA~ ~- ~ 1b [G~ ir~1
~~J ~ v 1
~ ~~ c a
c ~ ~79 - =-m
IC~~
~ p _l
9t ~ ~
ll4 ~ l
-- 79
Figure 8
-
A Table of all the Songs contain~d in thitltBook
I loue wing middotd my hopes I I Jly louc bound m~ with ~ kiffe
1 I f bull 0 how my thoughts doe be~ t me II [ Ore ames ~nd I magi Oitiom V Nfcc thought thi~other night V l IVho fo is tidmiddot= 1 II fie fie V Ill e~~utic (bndc further I X Now what is loUI X loues God it a boy X I Ouerthcfebrookcs X I ( Whither 1Unnc1h my fw cct hart X II I Once did lloue X II I 1 F1ire womtn X V D~mtic d~rling
X V l My Jouc is neither yoong nor otd X VI I Loue is a b~blo X V I I I A rife XIX Did cuerman
middot XX To lighandtohefad X X I Come fa tro-w con1e
0
I l Jl
iir 01 11 -~
~~~ ~~ ~
t~ ~1
~P J
~~8 L e
( _] middot~- - ~
v lft -amp A
l -
I
~u
Figure 9
-----------------------------~
VLTMfiM fl IILE virh a triplicity ofMuficke
W HEREOF lbt firfl p~trt ir (or t~t Llltt J tbt Voyc~ and the Vbullolc Deg1mbo The Jcflt lbt Lbulltt tfH Yllt 2J IMrt
p1ne1 to fine The third part is foe twoTtcbl~t to 1fint ~it hc 10
lbtAr n- rhll 1~ bullr t-
bull bf ~ Compofed byR obull bull T lo bullbullmiddot
fl fr1fbull1JibullJ~ ~ 4111 Priorcd It london br r~ i JIIiWd
~re robcfoJd l)yS pfn (lw J bt sJ-laquo
ttfiN C01bull1 I 6 G l bull
81
Figure 10
r~IW~- ~~~middot middot~- middot ~middot bull bull
TO THE GREAT lOY AND HOPpound OF PCZ(ESB~Tuf ~Jgt rUTUfF
Times H E N R ~ E P ri nee of lf a cr Duke Cl~r41wt1 ElJieoflhc CIJjtJirfbullibulltifttfchtjltr Knight ~fthdiDIN ribkoJenf
dl G4rUr Hcyu App rant 10 tht Rcllmcs of Elrjuntl Scotbnd France and JrdoJnd
Ojl Exrelknt Prince T Jr flrengtb of our d rt (] houJ aythrrPuaf(ncsgt) cannot endure tbc force of Soueraigne
erltlCpoundOf1tcncarcitwemay tU ncarc u to you your poundarcJ TPillyet_ be arc to deale wuhfottndes tbougb nor to
dwcU there yet to pajfe by tbcm1nd by teJiJ to learn to tune Jenjcs lJ a nper a~c c-A lmo all attr k[JlPicdge ir drallme through the ftnfirtbey arc the Saulctntclligencfrf -wbcrciy (he paffith into tbc -world a11J theTPorld into bcrttnd tJntangl ali ~(than )there is none fo learned__ a1 the tare~ none hatbobtainedfa cxccllrnt tJJJ ufrtJjodelicate1[a ablrufe fo p_irituaJ thAt itCIJtChftb rup TPifde fo undet in tbe Jitt and brin~~J tk Under tJ goucrtJC1fttnt ntJt to he expreffi1gtbut donegt and done by no sQll buf it otPn~ Thereu Mufic-k in all thinretbttt ettery tnan cannotfinde i t Ot4t)
iltampAJJjeofbilo~neurri11ghee MJlft baue 4 harmo1J_J in hiinftl[e)hat hold goe-about it and then bt u in~ good way 111 be that ht~th a gwti ~artJ in d
oudfot1llardtUJ to our focultit [ onceitc u but aTPtll tundejat~ry done in tinu ~ pLsce ~~~ ex(ellezt fintencril hut a TPell lHn~e rea(vn Dell nit ltgethtr P ollte or the fubt efl therof a [omit 1on IJ1ellltbu6utll lite I tuul middot e
Song T~htr~-allr41ltl Joettgrec ana lnccte together~ith foil C011ftneanti lJartiJOnJ one Jertung otherand cuery ont rhemfeltlet in tht Jam~ lAbour ButnolP] intrudeintoJOilr llrtin whicb 411 pnry(anJ ftc hoper)thal q oJ ~iff giucyou a oJy aru profpetOI~S k_JoIIJfedge anJ t)en aJ orhtr eJ rtCS foal profPpoundrnder it Our gracious S tll7aigt7(Tour H~h11ei dear FatJcr) hath ar11trd atul conortedjomc great prOfifiolH areaJy~ fi~eh1ittleoneJ dJ this )oo e for itgtand heg il cfw OJ4 your p ri nccb nature promi[eth it J hich m4 es nv boJJnet bopefor p4r on ltJucbfiifc tne(mojl exctllcnt Pr1nce) )ourProte8ion Ph(f1flt)on41lowJall Qtbtrs rPill conrmtnd theircenfitrer n A it fobulluoflrlikjngthst ot~~rraquoJift1Pold Jifpift me bull EN en your n meJ the forefrTJntu ll charmifor ~~talttiOHl trmgtu ThAI praJtng thatyour Htghnt IIJ aDtaet h~ttte dtJ tttre t~be te alir bulllltuJijingulj1J ~tht _fo14tuJ of lTlCth l necl tftJOUr Higbnes feet
Your Highnes in all hom blc tl~~tJt AIIJ cruice
RoaampampT
lo N s
82
Figure 11
- ~ H c ldndc A pplauf~ vherevith I hau~ been~ revardcd in n1y former A yrcs hr fuch Gcndemen as can iudg~
~~~mJ Imiddotb middot Y the e bull are~ an not other 1n~ns Echo~s hath nov du s ~ middot durd t1me gmcn n1e heart fron1 then to hope for the
like in tbcfe V hich l hauc corn ofed cuen to hew n1y
graticude rovarcles them I lulO eucry Father is paniall ouer the i ue ofhis body)and hauing his iudge1nentcorrupced by Insaffecti- onis VOn[ rofpe~J e bis Chtldrens prayfesaccordingto hisovn de fires rather the i1 I he ir de f~r ts 1 t tna y bcJ h aue thuS oucrlookcd this iffue ofn~~ br3iue whereforel wiU onely comm~nd my pur_pofceto ntakc tlus lail my bdt expcchng to reade the rruchof my fdfe out of thy reporc AnJ becaufe ant notignorancenough)to b ~egroffely taxed by any of our cunningJvlaiJlers nor bigge enouamph to beflar te~ed or c n u yed 1 hope I 01a1J not be driuen toe nq utre out my en~ 1 middotes) co heare of n1y fa~cs nor to befpeake mylriendes~uour F or ho1rvloeuer l an1 fe t in an vndetfortune thac hath need ofampicndlhip y~cit n1y Vorl e~cannot 1ufiifie n1erny wordes Htalluotl bad rather dye a be g r 1tbcn Jiue a boaler what skilltimeand mycontinuall
radifehath biucnme)hcre I gladly impantocuery wel wiUert lat gr(tuntcs me buc acc~tanae for my paines And fa I comn1it my icfe to thy cenfuse1 F arevcJI middot
7ohertloner
( middot
83
Figure 12
A TABLE CONT AI-ning all the Songs in rhis
BooK E
1 ooenotO do not prize thy be11utie 2 middot 73ea utic fote bathing h y a j pri ng ~ CjoctobedfrJJcct6lvluzcgttak thyrcjl 4Shalil loaktampoenogriifc 5 ~Pbar1jJ fpcd1t1hert 1 leafl cxpeEled 6 Slpeetcijyoulik and lotte 1ne fliJ 7 SetifetrothledrhoughtJtofgh 8 Scinrhia~cene ojSeas and Lands 9 rB la111enot tn) chee 1 I l o There is a qardci1 in hc1 forc 11 S1reete Loue my oney Trcafr4re u ~hinkft thou 1_ate to put me doUJne I) Jfhen willtltfounraineojmy tea res bedrye J+ F lye ji-o11J tbe TParld 11 Happy he botofrraquo etebomc retirdc
-Thcfc following are for z Tr~blcs
l61Jiftlaine thntjoll amph Jilfne 7 middot o) et)erchangeandjjttre not
I8SirctiuftJijJAineh 1~to ri t
19 cuftler ry hands lo vh ue lgrt~ceintreatetl ~o Oft haut fmJe the cartfe to ftn e ll J(o hAuefleamd-mithmuch4doot~tfpjl
B
84
Figure 13
ORTHE FOVRTHBOOmiddotICEOF A Y R E s
The Firlt partisfor tbe Lute poundVO Voyce s and the Viole de G ambo The Second part it for tbe ~amptte ebe Viole and joure V oices to Sing The 7 bird paramp
is for one Voycealon~ ono ~he Lumiddote the llafTe Violeot to bach if you pleaf~ VYIrrtoj~ tAlo ut ltzlitn AJrtt middot
CompufcJ by R o bull l ~ T 1 a bull s
2f trfont (intIJ J1fJJmiddotil4 iMMJifl
L o P n w lrnplintedbyloHN WI~ D T andaretobcColdcbv StCO-rt w TElSO lol inPowlcs
ChMhmiddot]tlfd)bulltlhl SlJt j lit Cfll~middot l o 9bull gt
-----
I
--- 85
Figure 14
1
- ~~
TOTHERIGHT YV 0 RmiddotS HIP F V L L AN D VV 0 R--
thy Gcndcn1nn Sir I o H N ~ E v r N T u o u r pound Knigbc pcrptlll3ll liafpinrffe and [or~tcrlt
~~)1-lpound--- -- fmiddotts not vnkncvne =nco your wcl deft ruing fdfe 0 R igh~ V Vorfhipfull that not long fince 1 cooke n-1y
V~tiltttm )a[t vith a refoluing in my ldft lHter co
put llfh aoy VOdc~sof che f1mC Natllre and Fan ion VJlereupon) betooke n1e co the eafe of n1y PJIIov
middot where SompUI -auing taken poffehionofmyeyesand u 1orphttlf the charge of my feofes it happenrd
~~~~Mmiddot~~~bull rnee to fall into aM uftcal dreame wherein Jbulldl middot nc~d - to haue many opinions and extrauagant hun1ors Lf
di uers Natures and Condttionsfome of rnodet mt rth fame of a marc llS Louc ~nd orne of mofi diuine contemplacion all (hefe I hope 1 fl1all not gue any dtilafie to the eareror d nde to the mind eyther in their words or in their r~~ ueraUfoundsalchough it is not nec~ffarie co relate or diuulge all Drean1es or PhanrafiesthatOpinioo hegcrsin lleepcor happeneth to the n1indes apparbull[i onAnd continuing long in chis my dreaming humber I btgan to avake anJ vp n my eyes v ndofin~ l bethought n1 y fclte being full a Vak~d aJu itlng n my n1ind Vhom~ to dec1 and chute as a Patrone for the lan1~ l Vas eafily in -ued to n11J~e choice of yqur V orO~ip a3 one to V hom~ I necelfarily ou ht
both lou~ and duety l nJ howfocuer l m1ght feare that you Vil not adamp0
ledge it yec in thlt Nature ha th inricheJ you Yith more chen ord1nlrie know le oe in th ~ Art~ be~inga Vi ntsofthat Lo~t~ Vbich you haue ahvaycsl ffor
ded to Mufick gtI en1boldened my fel fe the rather ro pre(ent it vntu ycu Accept itthen(good Sir) as a T oken of vnfained Loueand a e be
worthily Jue ynto middotyou for your many fauours done to him [hat is
uft)middotour lforhiju conJmaund
----
86
figure 15
Thi~ Greetin ~middot bullbull
~~~~ HoulPhofo dare itcbeJ ltJith the VJrietie of opinion h~aring thinr oraquome otlJdtJf tJc ecchqc nuerbcrtJ~ ing otfJeTJ fubflt~nCC and lmprofit4hfr ~n it
middot jtlfefhclpt s to tbe IVorld comfJrtaJie liJc though to thy orvne ~Je bttle middot~~~~pleajurcLJ retjon of)lnch-umiddotirbl~ctn[ure I fpc zlte tot bee m ujirall Mo tuusthotljimiddotcm ruboft Jucctie IUimhcrr ~1 J rajiy pafeJJ drop1 foil in tbc jhonre Dt4l
)ithlrjfiprofiufcomprutmiddotthcetothqhlt nuy Jr4l tbatjlitr int0 11UJUCJCf and ltJill twt tbcncertJithout much troubli) or tbuu rn t JJ Jfper[el iulgemeiltgt not oneamp art afo jeniru tofecing kJonde~~c hut moj fo ttlty f ct o d jcruing i~Jdamptflr]fL~~gtg 1110zte r ctU of the 111oilpurt Bilfoaud Jmoothiu~ tbt~ plztncl Citttl ~ rvben on ely thine on~ne opt 11iltJ1J it more nJrinc~lcd and more vitiotH mit ~( then grcjJcr10Yle lo tbJt 11 a brujh 111
jcFlcdlPilhfithgttbott ralbcrjomiddotlcfl theti iiMI( pebullje( 41VWl) I ha~1e jlooJ atthi11c e lho1PJ andh~arJ tbcl prop~Jtne cur a 1 dlfit c1 bcfl J(ryu and 1tJith thy lntu~zde ref 1b Jot f~rde~J rfl gnoh iy l4J1l ltJJilre~ ~nil f f~ renot g~eaty_tJat tboul~iltlay to raquo1J ciJatg t 1 111 lD vtfu111C )Oll11 ~Cttrrag1tRf 6ecaufe fft011tied a r ~nuch but 1md~rflauJ me tbou-ns ~VIitll dojcanterdtriur Ji o 11 tba t JCrue fPlaineSong charit4bletJtlm hers)and tbotl (hale fnd harb Joicr I ttr~ ojtrtl t1 J0te ahoue pound redr1c el hJ tn~er
izulgtment n bicb 1 htrc4Uc tht of tJmiddotorPinrl by RJtler are as orr nelll cmne Lutf be~ -_ ing ofrJany ftri~I(CfIJOt((ffamp tJjJJlmlcflr ~~~ ~dllefittlreti1 praf1i(tput fon~4rd it1to
dcjerurng Dst4ijtaiJ rr hH nIJ aduerJI ure I r nomiddot rtccd but drtanze) and utJat art tlrcamei poundut aiJie fCtjcfi iotJgtandjcttrall ayrc s 6reathll)~ Jarmonio111 llilijperitJgt tbongh to thee difcordlmiddotet toolbcrs indffirent 1rvill not ttY cxcellel~(~ becHfe it is 4J
othen otflce 110ttni1u 6ru let tbcm6~ as thtY arto~lmiddotcn propuu tul my p~inct _(rt forth j ar pleafurcgt uot for pw1HJIc~l poJou Jiucfl itntrginatioiJIJO but aJ a fhorPrcjt~llitiJ i1 ~urcdfuil ft~fouJ~ 7 jJtUr m fmiddotlje atlrajlaJJd wrl(ay fo et4er bY au otbmiddotrj lPhofe IJ bourfhJI vfJ(t Alujt~udl uuulu~ztt -~ Jbe rmeiy rPiug fJ IrJe courage being tl1e mofl pltttfo~~ 1luice ~(11~ 1) nmiddothotjnmiddoteet~rc J t t11chcr h 1m to hcaiHIJ itfelf~ Jt ir Jjara if a thi r pztt1cs rcpt ntgood romm~ndJti~Jniand it lf t~ttr Ulrtlll out of 11 Flint itJ the toll ith l hou ntHer rl ink (I u ell of di1J 1 Jn ~rlJ bull(rt in tb) fjto v nri(Jifi1 encr aJ l lJ Tt~tor jranJ tbr I ~ Jllol middotrc fotdtlneuct Jnn rbcc 1~1~ it~ irune be 4J thott art a h1mp of Jc(onnity lllbm I Jjhonbrcldt i11 tbe Ufvdr ampi diAI~ir~e nd 6rontht forth b1 b~n~iulr l1emiddot g~r ~ t htftt r1 11idn fc to ~til t i nc m n rt f
j i umiddotme lc u todrplrt Jmiddotor ifnd J1Ntbout it J $111 gonec rtltfic o~ til)middot crnfitrillifi arf jJ~IIy p( ~(n 1dcd thuu ca1Jjl110t thiole tlrlnd tcrefurc art crufl tiJ thy [raJie 11 IHr pound0 1e btu (rttclltJntl being 6on1c wit b rce tb irJ tly bc11dbit eucryeuronJC D47111ele t jJ tbir orwbat rijeboncfl iudujlry~nxcr th) ~111 egosip trJo
fucwdl1f thou wilt in ~in~llclfeot hoi~ tlly fClfltfitgtm1inthcr cupmg
87
Figure 16
lee Caldi fopitmiddoti Samor nfltJ c t~t du119Uc
B
lO
l~
------
88
Figure 17
Or [he tift Bookeof Ayres onelyfor rhe Lure che Bafc vyoll J and the Voyce
[ompofedb) RoBs R T IoN E s
QEe profontjingula mdta ibullmant __ _ ___________________ __ middot~-middot -middot middot--- -
L 0 N DC
rrintcd hy tlbullc Afigur~ ol ~~
Jij0ilfm lJdr ley t 6 1 o
I 89
I Figure 18
TO THE TRVE HONOVRABLE AND ESTEEM ED VVOR THIE THE
1 f q H T If 0 7 S H I P F V L L r If E LAVY vv R 0 T ll
~~~~~~On Honoured Lady my ddcfl anJ firft iiTuc hautngthr(ud fo ~middotdl vnder the protec1ion of your Right Honourable Facher blame not this my yonshygell and h1tl Babe if it dcfiroul1y fecke ampnctit~ric
~ with your fdfe as being a mopound1 vonhy branch frotn fo Noble and renov1ned a flocke It is here uarie tc I
a - your whole houfc noton ly to be trudy Honoura7 bl~ i o your feluesh ut to be the fa u ou rers and fu rd1ercrs of all hone 0 and crtuous end~uourpound in others And [hJt n1akes n1e fo farr~ daringas ro prefunle to offer rhis o~dicadon to your fJire acceptlOCP- AnJ hovfoe uermy defeCts therein may happily (or rather v1happtl y) be n1any ~t an1 I moficonfiJent(and tl1atgrow~s fion1 tbe worthinefleofyourowne nature) that your 1-Ionourable minde middotviii he plea fed (fince it cg s c fc lfc moll humbly in your annes) to giue it villin~ eqtcnain~ment and to countenance it Vith the fairc Liuca ie of your nobl~ Name It may bee flighted in ref peel of its ovne valev bur your f1uourable acceptance
wil~ bot~ grace it andmy fdfe a~ a poore Table hung vp euen tn Pnnces G lJoncs ndt for lhe VVoo ~hut for the Ptdurc
And fo (Noble ~ad y) not d~ring to bee ir~Ious of your rlonourable entercaine
menc I rcll
-I our LaJyjhip Jellcted in all dutit
I
RonERT I o Npounds
-----
~
90
Figure 19
~ )~To the friendly Cenfurcrs
- Eart jriend1 for fi I ~sJIyou ~(you pltbulltJ(e to acctpt my 7ood lllttJning i prefented yot l~fl rraquouh a Vreame i1j
middot wbich 1 doubt not ttt Ottr jJJta(ies htJue receuud fame rcafota6e contentment and now f JO~t pleaje to lee 1l9afd ortt of that VreiJJne f jhaU for your rerre JIJOIJ 1nd rcfi pound(bing guide you to tbe_1v( v s ~ s G A u ~
~=-o~-o~~ o EN Pberrytu (halljindj~cbVttrittiemiddot of Jelighn tiJt quc-ihunltfeJmiddoton n ill wilitt~Jjcnd fome time in the vien
t rrtof 1 n )Ot~r 1jentr411Ce into -which Cjardtmiddotn) yotl jhJIJ mtett ~ith Lout 1 CJr r and li6tl6ht bHt L4Jur frt foortb at lt~rge i11 biJ colourrby JFay ofdecypht t in6 bim in hit 11 ~1turt_~ ln the midfl ofzt yat4 fbaU find Lcmt rciefleJ) vpon t~rLnfu~cie 1nd b1rd mtajuteoj-ingrt~titude T ruching them that ar~lourrt gtI cr1 tumiddot tl1em to tltiro1~ne Ctl~(ure in Lout I defcripttou eJrul nowfor tht end it tf )liJn~ble UJ anorbcr ~ tur)for tbedcligbt oftht ettrf tnjamptUJjit opbull~1io1 14111
nM ft lrogant loco 1mf1Jd mi1te onme gitt neither yet fo Jegtnerate IU to be-g )Uto tdl(rartvn fftbejt d hgbtroFloftl(rt) or)4r(tico[PruittY ruaymJ
)1 ~1~Yt J -t rle _rjtng WJOffr_(ut i 1 jla1 bl gitJd Othel TPije J raquoiiJ )O)) nelIICr to J~middot t_fot~gtPluu orgraft and my ittbourJ butcrflrtb jh111l rtaft to trou61e)middot~ott
iJ Jt41)middotilln retlr lniflil r ~-tren ot will f1etunty ourctnforesl and dcfi~ your malice if you drJfe iht 1 a111 rifolute 1
ijyou11[e me r~ith rtjfe(l 1 bidJou mojl bearti_v
R I
--I
91
Figure 20
THE ry A11 L E
~Ouelouc=
middot~ tpound1 Soft Cupid fofi middot~ Alec 1 the fiUy 6th begu1c 1middotmiddote lounuhtcs ~~noake o =okin~ hy ti~( Riocr ride 1 n nnot (n 1fc but liuc 1 (mile loy in lhy Imiddotmiddot ( S
How rn~uy New yccrcs luuc grow ~n nldc There vvas lt~~ ll lcptCoJrd bull hn d~d litH The Sea h~h 1nany tbo~L~nd llnd Omiddotlmiddote dimiddotJ tnt thoHgh 5-both cLbc bullnd Sow l ~m b t~rrt ftom piuyh g th rc h 1 2] lately in a d1 came There wu 2 wil y a ddt My f~thtt fampinc would hluc me uke Mv loue harh hcr trot L ue bctro11d All roy fenC~e thy tweeuncfl~ g2incd T middot t~ CC de1fe A fpc wnh dyna voice Ddwld her I d ct like wire~ ofemn Gold 1lhouwb d1lt 1iogs ufmy ddirc h( dipt _l~ht 1 rcdccun cnln cu on witu mtnc ryet
middot
92
I Figure 21
Robert Iones bull XIX CANTVS
-~----- middot_ - ---------~- htl_ _+--=--= =- middot __ - -middot ---=---- - middot- --- -==== ramp-1==+~- - middot -~------- middot-- ---- ---___-
kt her goc
rtmiddot-w
bull And 0019 lbc rwofa dit but hu Nzyny)l moRneoctdlyou An yri I will ltis fo ( 1
A5 tlaquobelt tahha ~hen loucn IIKGC
5trt ~oma~oo tk ~ ~ Tatdl you mateilis necdldft~ I nnnt md c u hew by middotthe 1ooe And tbcnlQll chis wu ooJ~
93
Figure 22 ------~--- ---
bullsAtlV
llil 11 ~ middotl llh1J 11111 lllll t ~ I l ~ ~ I II II II I ttJ S amp I a HIH lf lll It g I J ~ I L~ Ill~ lt lll
vi i i II t middot1 ~ ~ I I II I ll
r
I l I I
l I bull
l 0 middot bl
1J 1 bull i ] _ Q
middot a middotmiddott kl U I I I I
_____~_=~=-~JIlW~ wrong bdccue htr not it wu not fo I dJd but lilfc her I did b~ Lilfc bcr aac~
-__1---------- -middot- ------middotjmiddot------ ------------- - --- -~-- middotbull - ___~__-- ~
~ ~__ - ~--- middot --~--~
----- -------------middot--------------------===-================-=-=~--middot---------
4
Figure 23
Rob~ rt lonts Xlr CANTVS
~ F 1 r ~ l ~ - ~ ~ - P r lt1 J c r bull ~ ~ r t r- r n t b c- - c
- middot (~-middot~ ~ ( - ~)7-47-~- ~ ~ amp --_-_ ---_- ~sectC-~---_---~- -(--~- --~-- -- -~ -_- - _ E - -- middot- --- --~ -L-~L-middot = middot ( -- --~middot-- f -=---~~ -77-_-C_ - t _ c ( t2 - -= ---~---- -- middot-----------
middot~ middot
n_ tt=l= -iIt~_plusmnt_~~poundltr=t=~~~=middotumiddot==---= -_ ~t=-==t=-=xtptl--~=t---=-t-x~-E~=-------
go there be many mo I fcltC nor why then let her goe 1 care DO[
---middot-------
l
Far--cwt UfJrewdllincc d1ls 1 finde it llllt 1 will not fpCod more nme in wooing you
nul I iH cce d w htre lfl mivfindhctthcrc S1=-ll l bid hct goc Vh1~ and rll Jocf
Sh~lbid her go and fparc not tll oo oo no I date noc
J Ten Lhoufand imes f1rcwcll yet fl2y I hilt Swca kilfe me onceJ t t ltdfcs limcbcguic 1
l h~ue no pow ~r lo mouc
How oow 1lt2m 1 io laue W ilr d10u nec middotbe gone Go then all is one
Viit thou need be goncoh hi~ thee Nay 01y ~nd doc no lnoampe dcwcmec
Once moce flrewcll t ~lorn rodcrrwrct Bids oamp adcw to her due holdcs Ill bm
But fcdh~ r mnR kgtof~
7hy loucwbi h ldid chufc Go rhy waies for 111t_ smiddotncc irmay nOt k
Gothywaiesfor mehucwhithcr Go oh burwhcrcl may come lhitber
r Wh~cCh~D I doe~ my laue is novvdqnr d Shccinsramiddot~ -a -c iscrucUhart d
Shcc would nor be intrc-attd Wirh pnicrs oft ~~ -J neccomc no more Shall I die ther(forc
H tb~e come no mor what c~rc II Faithlctbcr go or c-owe oa
(
95
Figure 24
---middot -- _____-- ~ -- ~
I
- --__ -----~ -------__- ~-~~ _ _ ____ ___-__ -
- middot --~~--~ ______ ------------111middotmiddot-middot ~-_--------middot ----middot---___- ___ __ _______ _ ____ ~------~--~-- ~__~___ __ _
------ -~ _~-----~- -~-middot----------------
96
Figure 25
204 SONG
CoMIOS-U uv middotnoLn nT Jor-o Js
~ - I middot middotluoted by ShakbullHiU~are - ~~~~ homiddotm tht 1 Hnukpul1lliOI
middot~ h-51 Jggff==r middot r~ Fate- ~ wtdl (l~arl loe since thou wilt needs he gem~
-=-t middot g-one
luC 111inn~ thnn wile IHls lu ()UC
J J loftgt since thou rilt nteds middot lumiddot
1 Jp4 J =-amp=imiddot------middot -r~--t-11---+-middot r=~-r=----middotJ__tJJ middot Jnine ttcs tloe tth~w my life i almost done
--
fl-=t~ -
IPg I WlH y middot t
~fLSI==r=f=lplusmna min~ eie doe _ 11hew
r nbully middot lite middot is almost douc yetmiddot J wilt
rplusmnHmiddot ~ ~ff my lilc iJ ycmiddott I will
Imiddot r--d E4 m y life ia almost yet 1 will
( -~
~__~middot--==--==t~- ~~plusmn 1
ne Vtr die HO lni1J t I ran tpit 1lumiddotnmiddot l)l- trHlll)
~- Jl==q=T-=_==~-middot- ~T~ - 11~~----e= - =r=-=ct ~middot - r--==EF~----=I-~-===+=FL0 - middotFJ==Z=c~~middotmiddotmiddot- - -
n-=- wer dit~ lon~ as I taU 51lio tlu-nmiddot ltl ny nm
~MIEF F i t~sect E tr l I c=middotreg~-~~~~-D bull v~r dit bulln oug a~ CiR hllie thn c 1-tmiddot uuuy inu
a~ t==t~~ r _ q~~~-=-~ ~= lllt - tr tlic ~ ~0 long lUI I I can illh t1wr htmiddot Utmy UIU
97
Figure 26
LO)
J t W=- --~4-~ middot thoughtlmt 5heeclre gomiddot -there he rnan u1u I If~ -1110
I I b P c ~ -B - j- -k=tJ4--t==fi=4D_ I ~middotrt thouKb that Hbec llo e Jeo fhuc be nuny mo not
not 1 _why tlnm let laer gne 1
Eamp--e - ~ - 1 r
1
uot ~middotby th~n let her gne I
1 F~nbullwell fflttbullwl1 sintmiddot tlll i I rt11ltltt li truemiddot I will 110t 11p~ml rn~bulln~ time iu wouing- )Oil~
Unt I lt~ ill fttbull(bullk tmiddotl~ wlwnbull If I m~y fhnt l1r hlaquo~tt
Shall 1 hid hlr gnf hat litnl if I de~
Sha)) 1 bid lwr gne and middotpar~
0 no no tut no 1 dare nut not
l i
Ten thnmbulland bullimt-11 lart-wllII)Lbullt 11taymiddot Jwh ile Swevt kisse me onctlfmiddotWNt kis~d t ime b(J~middotuile
l hamiddote uo flPWer to mmmiddottbull lluw uow arn I iu I on Vilt tbon n~tgtd8 be gonemiddot
Go then) all i~ onbull Wilt thnn umiddotN)~ btgt gontbulloh hie the4l Ny ~tay oUHt lintbull 11U lnonbull thmiddotuhbull lll~middotmiddotmiddot
J L IJ_ -
0
cnr-r lOt
-~ 1-e lg
care not J
JJi I 11laquo1 ) ~ar-e not -
0 IIi
ca re nut
4- middot bull ~ Onc-e more fu~wbullmiddotll~ l 5ee )Qth to dlaquo part j middot
1
llid R ull bulldew ifl lwr that l1ohtfbullbull my b umiddoth Butmiddot ~~ting I nnut )O()In~
_Thy love whkh I did chuite
Go thy wRie Jbr me _ Shlfe itnu1y not he ~ middot
(4) Uy WHit~ for me~ lu1t whithfr~ bull 0 J - f
Go oh hut wlu~re 1 mRy come th~~lur
f bull bull lmiddot I It tihaH I doer my lo~ it now middot-middot~middotpart~middotd ~ Sheto is ttll fnirr asmiddot6hee ls cruel1 harted
Slu~middot would nnt h~ intr~ated
With pra irra oft repeated ~ _ ~ If slw~ f()rne nq more middot middot ~ ~
Shnll I middot11~ thtoreforf I
lrsh6e come no mor~ batwh9t cbullr middote I~~ -1 FHifh)rt htr gnor lomfor tarry
98
Figure 27
CANT VS vI I I rCDERT loNE~
== ttf=y-=-t-===~=~~plusmni+==---=middoti--=rr~ -t=-r~==t-=t= W sect~~= - =i middot =clt=cL =~-t=- -middotr ----=i_ --~ ~-- - -middot-- middot-- --middot--- ----middot-----l- --middot----middot- ---middot middot--- -middotmiddotmiddot-
Clut no I phinrly Cu how chou wouldftbinclc~ucauurc l ~a~ t c11rll not to gofatbullu a
1 r 1 l 1 l r l lmiddot r ~ r i r --- ~---n_plusmn ______ ~ ---J middot- ~ s L -d--r--gtlt---- J LL---- J ___ c_ -------j- ~-n1l ~1~( _ _ il_il_ t_ ~----nt_L- -----_[c______ -+~~ 1--L- p ___ -L- -~--Lpound ____ _ ~-____ j__ __ + ------ l -middot~-- ~~- l --1 __ j_ ______ (__ l ~10_ -~---- -- i - -- - - middot - middot -- - ----- - ___ _ I _ __ --middot ~-~ ----- - 4l_ __ ampJLt __ --------~----P-1---~middot 3 __ c__l_J _ _r__-ltJ ___ _ _ _____ L ------
- n
--~- -~--+--middot-1--~ 1 middotmiddot---middot--middot~---- middotmiddotmiddot- -----~~-middott- =--~--- ~~ - middot~---iL-i- -~-- -- -t- r middot-~- middot -l middotjmiddot -bullmiddot I- middot -t ~--~---- -t-~~-tmiddotmiddotH- - middot -----t-~T middot ---- -l -- ~ middot-07- middot- -middot-middot bull ~-Lmiddot- J bull---- ~--- middot-t- - -- - --f -middot-- - -fi-l-L- -+- --[middotmiddot -middot-~ middot--middot--middot--1 --middot-- - -- - bull - -f- ~- --I=_ --middotmiddot---- _I __ __ _ --~- middot- _ _ - _ ______ __L _-t _ middot~_- --_middot--r~ -~~~ Q-- -
fuct 1 wlscnrfiO Jic fi~ nofwtctt lhy amp 1 w 11i leU thee why noafuc 1 wu ace urn JJol bullto goc oat bull
t f t 1 ~ lmiddot t r 1 1 t i ----middot-l~a--__ _ __ St_tLi-3---- --~(~ l-~---1~-d- a aL _ __ _ ______ Jtl a_JAi~-11---~-middot(_---+7Jk~-- - [ A--- -----__ lgt __ ~-1 ----lmiddot l _ ____ i-----middotmiddot-----~--L-----6~ - -
S-( _ 1-h_kJ--middot ----middot ~- L-----Llt-S-L----L__L ------- _______ J_ ______ ---Aplusmn- ---__ _1 ____ -middot---bull ~ ---~-~---1 ~-----L---- 3- ~_t_~- - ____ [ _ __ ~-~- -A - --J
----middot-1---r--t---------t-t-middot-----1---middot ------11-I-t=-~ middot ----L-- - -middot -plusmn --- r-middot-~--- ------middot middot --~middot--- 1--~-middot _-middot- --- ~---------===middot ~-middot-b-1_ --middot- - --- - ----- -~---f- ---fmiddot~-- L- bull - ----- --- middot--- -1-- - ----- --~middot-------~- ---- -1middot-middot1middot-middot--t- --J- -middot- -- - -middot--middot----~-----shy--- middot----~-~ ---- - --middot------------- --~ -~middot ------~- ----------middot
firnrurc I wu l lturfi 0 fie fie oegt rwct lll) uu J will tell thee why no
t I t l t lmiddot~ 1 l -L--~- - - middot-tmiddot J _______ ncU ~A ---S-A-------tl- -11- middot~-- - - --------middotbull-- middotbull----t_ _ _~_ 1 ---middot-~ - ll -o-A--AJl ___ ------middot- t------k- Jt-- -~~ ~--middot- - - - -- -middot- -r~-~ 4- ------llmiddot - middot -
-_~------ _ --~-~---t- -~-----J-- -- A- ------~ _ ----- - bull 1 --middot- -L--middot -- ------------ ~- - c --~--------~----- --------middot ---______ z_j_ _______ __ ___~~ ~-L-------a-e middot- ----middot --
J Oncr m()tdrewdllincc fiJI l 1ord lh_ lpcak
1 uJ bull 1rl bu1 (mlIJrcwcll ubull larHIWout lbullrcalt( Bbull middott bullbullo middot ltn( 1 Joe linJ 1hy loumiddot~ 1lltkt 1he -middotioampl
Wl11 1 l olo-u I Tl llcl-1 cro die
Whlll foolc- lnll u aor Y t fq 1 at l (oulc J ~~lfc nor
)
Wocnne ai~Gc h) diJ lllt[ b_im soc~ 1 hdc be the ~middotutccs of uilc fiym nbull
Now tbu hec o dfproucluchow uullhc cuct loucroe Nay bu t n he gCncbull
lhcn I am bullndunc Nay lnn i1l1c ~oneO hodliD
fl(c-uy hing lU ~CCVD oJcihua
vi gt VI V)
lt a
99
Figure 28
1 tn 1 I I I II
ll 1 I l middotI I I ll l l l tl I I i Imiddot i I i II I 1111 ll I l n I It i i Ill l I d l t I I I ~
f Hif tt I I ~~ I if t
1+1 ~ a j
thll
ALl V S
I Tl Ill i II L I I I II I I
II II I I rL ll1 I t I I
l i I I I I I I I
Iii 1middot I t
IHL IIIli
I I II 1 II l I II 111 I I I I I bull I I I I I
I bull I I ll 1 I I J
L t I llmiddot II ~ I ~ middott
I I ~~ ~ 1
I 1 t I 1
111
t 1middot II I bull
I tJ It I q I I
~~ I I I I
r
I z-1 __ 1 __ =t=-~-----1- - middot -~--~- ~ -f=middot -t=--~--~- middot~-- -===-middot~~-1 N~tsect t-~--_ _ c ~middot _--- __ _ ~-- c -=-b-- _ ~ ~ =-=-=--Xl =plusmn=
- b--- ~--_ __ -- -----middot-middot --middot--- - ~ ___ - ------------~-
nl rJ iiOr-T 1 -
ArCwtll fond )OUt h iflhcu hbulldR llOt bccnc blinCl aut cf Dline emiddotcbull thcu mi~tu n ll)Ut read my mintl ~~ J411
t==+=i =middot -=+-middot---poundmiddot _Emiddot -~ i=j ~ -ti~- -Qt=~ middot=i==- -tl-~- --~ - -~shy~t ~-i ~----+=middot = --~~ - -= bull ~ _ +=a~C -c + -~-=-middot ~ ------ -----~ --- --- --middot -~ - ----------laquo= ---- --~- middot-~ middot--
but now I plaincly fcc how thou wouldll fainc luuc mc(orc lPII~S Uturflnot hJ I)OCIC firtlft~re lu atcurflO hamp
-=t~-----------r+--tmiddot --1-1-l middot 1middotmiddot-r~--- -- middot middotmiddot- --- ~------ - )middot~-----~----- at-middot_t-~--1= 11_ ~tc=l=~ Ei middotmiddot-r- --tI +middotl =0Etmiddot plusmn middot i irlttmiddot ~ - ~-~ middot ~ --plusmnt-~ - - ----middotmiddot-middot---middot--- -middot- -middot _[ - ---- middot- middot---J -- - 1--l-- - -- - - - - -- -~---middot------middot--- - ----middot-- ---- middot---middot---middot+middot--- -~-r-4- -- --middotmiddot fic6cao fwect Aay ~nd I will cell thee why t~ofurc I w~~ accudl not JO goc at firfll(urc 1 wu accudl ~0 fie no f wcct
100
Figure 29
I
CANTVS
lt ll-rllt 1r1t 1 lmiddottl 1 1 - t4---6 A-A~ d~Apound~-fi------ ~ middot ---~
bullmiddot te_- ~I i~~I~- ___ --=~rmiddot --t=Z=j- = --Lt-- -- - middot--- --middotmiddot -- -----middot - - A-- middot - -- _ _~__ __ J ___ _ J_ - - --- - -----~ n a- L r amp_-4--- - -A I - -
~ - - -bull -middot_[- _ - - - - middot - -middotmiddot - - - lt- ~ Ll bull middot- -- ---_ middot- --- ---l~-middotmiddot -~ middot -~gmiddotr ~iiftmiddot- middot--~11--j~-middot _t~middot ~-- plusmn~~ - _-- -- ~- _ J middotmiddot~ - middot J J -- - J~ ~ - bull - ~ -- - ----= ----middot~ --- ------middot -------- J __ ___ --f ___ ~ -~----- -----middot bull middot- - - middot--middot- -bull- middot --- -- middotmiddotbull--- -1-- - middot- - -- I - bull bull --~-
I
bull A Mble d~middot ~fc wH ~ obin Jhlod - V(c l ~t be cbullJultl J ccc 1uc Jumj
yet r- ~r r middot~middotin hh br ltlt H lmiddotllOJ
C u iJ~~I hbulll hrlll bcruuc h middotlll to gr u rn ductelbulltl-hidkn wJltr ~kinmiddot
then lnauty doft lylo~l~ddn womcnt C )CI
Htf i lly jobJh
4
J An Our-b lr as 1his Rollin I lood
H1i l-1fc free and vnruly Yu [O fitc M~bullri~n boull d h~nood
Atul louu debt payed hu duel y Who111 cur be of Ctnc lmllaiyen could nor hold ia
Louc t~ri th obe)middottd~s mJ a winLt could wiltnc Heyiolly Roh
NoW~ w(nd wt l1olll r ilou1 Robi ro HooJ Lc~uc wuhc woodl bchsnd vt
_our fl ho n1 muU nor be w~lhfiood but ~~nr whelt u fi lld ll
1 h t Ill hclIbull11J h)WUC 1 bullud fo ltltd h( I otm( w r icentW~HJdbull 1 1ootlollnwcd r
lhr ullzllt~~J
v~
gt Vl V)
lt
Jlftl
litH ~~rm ~ middot II
I Imiddot~
I
II tt-1 )~
101
Figure 30
I
102
Figure 31
CANTVS bull III
W=tRW=~~~~==--=-------=--=--=--== 0 lollc is but 3 bhu~1-fwtetmiddott I en r r middot r r
~tP ltm~~-~t----~-
Mu1enorvpon hCI fmili ng lookcs Thinke thtr they ~re bttt baitcd hooka
Audu fncy Loudufranzy~
middot e( not J toy Then breed chtc foch annoy1
bur kaue to coke vpponfuch fond booka
)
L(Jtnt ro fotgct fu ch idle royn Finer for youtbcs md youd1full boya
L~ o~ one fwccte frnilc Thy rrue loue igtegllile ~flOibulltiownc
r c-ur uft theedowne- Jlopund jllmiddot to bed iathcf~ioy~
I
bull
103
Figure 32
BASSVS
---------middot--- ----- ------- ---- -- ---------- ---- -~ ------------- - ----------- _ ___ - ~ _____-------~~~------------ - ----- - - ---
- -- -- --~-- - ___ __
CJ
I
-70-
If other sacred music by Robert Jones exists 1 it has not
come to light The Reformation did much to improve English
Church music However the combined effects of Civil war
supremacy of Puritanism suppressed church services disbanded
choirs and the destruction of organs and libraries by the B
soldiers of the Commonwealth resulted in irretrievable loss
The hatred of the Puritans for the English Church and its music
was so strong they seemed to consider it their duty to root out 9
and destroy every office-book they could find lmiddotluch music has
also been lost because of errors and omissions on the part of
scribes the use of old manuscripts as waste paper and in the
binding of new books and in the practice of sending manuscripts 10
to continental bookbinders The fact that any sacred rausic by
Jones exists may possibly be attributed to its inclusion in two
sources meant for secular use
What happened to Robert Jones after the theatre difficulties
remains a mystery Loss of records because of fire or
carelessness only allows speculation in this area Since the
English style of string playing was in fashion in Germany France
8 ~Talker p 56
9 F~ Landon Hunphries The Evolution of Church Music (New
York J J Little and company 1896) p 94~
10 William Joseph King The English Anthem from the Early
Tu ~or Period t roug_ the Restor_fltj gn Era diss Boston University Graduate ~chool 1962 vol I and II (Ann Arbor university Microfilms International 1982) p 12
-71-
and Italy he may have returned to the continent It is equally
possible that he died in any of the plagues which forced the
theatres in London to close so often That his music still
exists to be enjoyed may be epitaph enough
104
Blank
Appendix One
Sources of the Husic of Robert Jones
BookSong
The First Booke of Songs or Ayres
The Pirst and Second Boeke of Songes and Ayres
Ultimum Vale
First Set of Madrigals (inc)
A Husicall Dreame
The Muses Garden for Delights
Hhat if I seeke for love of thee
There is a garden in her face
Doe not o doe not prize Beautie sate bathing 11 Goe to bed sweet museu Shall I locke to ease
griefe 11
11Jhat if I speed Cease troubled thoughts Scinthia queene of seas
and landn Thinkst thou Kate to
put rre down 11
nt1hen will the fountaine of my teares
F1ie flie flie from the world 1
Fy fy 11 (inc)
Date
1600
1601
1605
1607
1609
1610
1600
1605
1605 1605 1605
1605 1605 1605
1605
1605
1605
1605 1601
-105-
Source
British Igtluseum Folger Shakes~eare Library
British 111luseum Central Library
Hanchester
Royal College of Music
Private ownership Furst Alexander
British Nuseurn Royal Library
Brussels
San Marino British 1middotlus eurn Euing Library
Glasgow
San Harino
British Library Add Ms 15117
The First Book of Songes or Ayres
British Library Egerton ~s 2971
Ultimum Vale
British Library Add Ms 24665
Giles Earles his book taken from Ultimum Vale
u
II
fl
fl
n
The First and Second Boeke of Songes and Ayres
-106-
The love of change hath changed the world 11
What shall I render to the 1614 Lord bullbull
Let thy salvation be ~Y joy
Lament lament my soul cry 0 cry
n Sing j oyfull ybull
Arise my thoughts
11 Dreams and imaginations
uFie what a coyle Now what is love
no date
1601
1601
1601 1601
Folio ms in Folger Library
British Museum Royal App 63
The Tears or Lame tations o f a Sorrowful Soul
RISM attributes 4 songs to Jones
Christ Church Music Mss 56-60
Christ Church Husic ~1ss 439
The Second Book of Songes and Ayres
lt
-107-
APPE IDIX THO
Contributors to Manuscripts nu~beren 56 through 60 in Christ Church Oxford
SEC~~ number CC lmiddot1SS Voice 334 Hus 56 c 335 Mus 57 Q 336 Mus 58 Sx 337 Mus 59 Ct 338 Mus 60 T
Bassus lacking ca 1620
a alternate sources published b transcribed c Psalm 81 in two versions
Amner John~ 1579 1641 B r-1 Oxford 1613
Consider all ye passers by (b) 3349835803378633896 verse
I am for peace inc) (with different verse section) 33463356337~6 3386 verse
Bennet John flca 1600-ca 1615
Great God of Gods 0 God of Gods (a) 334 113 33595 33710133811 verse
To the almighty Trinity (ptll of 0 God of Gods)
Bull John ca 1562-16287 B H Oxford 1586
Almighty God who by the leading (ab) 334110 33592 33798338 108 verse
How joyful ana how glad (inc) a) 33448335483374833748 verse
Byrd William ca 1542-1623
Save me 0 God for thy name bull s sake (I) 33410 33510 33710 338 10 fS
Sing joyfully unto God our strength and Blow the trumpet parts I and II and Sing we merrily and Blow up the trumpet parts I and II not in this source from Christ Church (c)
-108-
Corkine William1 fl 1610
Praise the Lord 0 my soul (inc) 33441 335413374133841 f5
Cranford William fl early 17th c
My sinful soul (inc) 33413833512033616337126338136 verse
Daman (Damon) William ca 1540-1591
0 heavel]nly God (b) 33451335513375133851 f5
East Michael ca 1580-16481 B M Oxford 1606
Blow up the trumpet Sing we merrily (Pt II Take the psalm PT III Blov1 up the trumpet) (ab) 33420933520233698337196338214 verse
Take the Psalm
Ferrabosco Alfonso Sr~ 1543-1588
0 remember not our old sins (a) 33414133512333619337129338139 f6
Ford Thomas ca 1580-1648
Miserere my maker (inc) 334151v33513533631337141338151 f6
Gibbons Orlando 1583-1625 Phd Mus Oxford 1622
See the Word is incarnate (ab) 33495335773378333893 verse
Hooper Edmund ca 1553-1621
Hearken ye nations (a) 334211335204336100337198338216 verse
Jeffreys Matthew fl ca 1590 B M Oxford 1593
If the Lor~ himself (a) 33414833513033626337136338146 verse
-109-
Lord rernerr~er David (a) 334142 335124336120337130338140 f6
My love is crucified (inc) 334100335823378833898 fS
Out of the deep (a) 33414633512833624337134338144 verse
Sing we merr-il y (II) (a) 33414433512633622337132338142 verse
Jones Robert fl ca 1600 BM Oxford 1597
Sing joyfully unto the Lord (inc) 33412335123371233812 f5
Lupo Thomas fl 1593-1628 or fl 1605-c1660
For I knowledge my faults Have mercy upOii me (pt IIFor I nowledge my faults) (inc) (ab) 33418335183371833818 f5
Out of the deep (c) 33420335203372033820 pound5
Mundy John d 1630 B M Oxford 1586 Phd Mus Oxford 1624
0 give thanks unto the Lord for he is gracious (a) 33416335163371633816 fS
Mundy William ca 1529-ca 1591
0 Lord I bow the knees (a) 33490335723377833888 f5
Parsons Robert (I) d 1570
Deliver me from mine enemies (ab) 3348335833783388 f5
Peerson Martin ca 1572-1650 B M Oxford 1613
0 Lord in thee is all my trust (inc) 33488 335703377633886 verse
-110-
Philips Peter d ca 1635
Bow down thine ear unto my crying (a) Adapted from the motet Cantai mentre 334217 335210336106337202 338220 f6
Portman Richard~ d ca 1655
Rejoice in the Lord 0 ye righteous (I) (a)334226 verse
Ravenscroft Thomas ca 1590-ca 1633
0 let me hear thy loving kindness (a) 3343133531337 3133731 verse
0 woeful ruins (a) pt II and pt III Those sacred walls and 0 how these graceful piles not in 334-338 33440335403374033840 f5
Simmes William fl ca 1600
Awake (Away (a)) fond thoughts 33415733514233638337148338158 verse 6
Rise 0 my soul (pt II and pt III And thou my soul To theee o Jesu) (a) 3342833528 3372833828 verse And thou my soul To thee o Jesu
Stubbs Simon fl ca 1600
Father of love (a) 3348633568 33774 33884 f5
Tye Christopher ca 1500-ca 1573 Phd Mus Oxford from Cambridge 1545
Christ is risen Christ is rising again (pt II Christ is risen) (inc) 334225335218336114337212338230 f6
I lift my heart to thee (ab) 33492335743378033890 f5
-111-
Ward John fl early 17th c
Down caittiff wretch (a) (pt II Prayer is an enciless chain) 33424 amp 2633524 amp 2633724 amp 2633824 amp 26 verse
How long wilt thou forget me (a) 33422335223372233822 f5
Let God arise (a) 33411633598337104338114 verse
Praise the LordO my soul a Lord my God (a) 334219335212336108337206338224 verse
This is a joyful day (a) 33413333552336523375233852 verse
~~larwick (Warrick Warrocke) Thomas d 1660
0 God of my salvation (a 3349 335933793389 pound5
Weelkes Thornas1 -1623 B M Oxford 1602
Alleluia I heard a voice (ab) 33414335143371433814 pound5
Gloria in excelsis Deo Sing my soul to God (ab) 33415533514033636 337142338156 pound6
Hosanna to the Son of David (ab) 334214335207336103337201338219 f6
Lord to thee I make my moan (ab) 3341023358433790338100 pound5
0 Johnathan woe is me (ab) 334151v33513433630337140v338150 f6
0 my son Absolom (I) (ab) When David heard that Absolom (ab) (~t II 0 my son Absalor1) 33415033513233628337138338148 pound6
-112-
Wilkinson William Thomas
Hear my prayer 0 Lord and with thine ears (a) 3341043358633793338103 verse
Preserve me o Lord (a) 33443354 33743384 verse
Put me not to rebuke (a) 3341063358833794338107 verse
Compiled from
Nan Cooke Carpenter Music in the Medieval and Renaissance Universities
Ralph T Daniel and Peter Le Huray compilers The Source of English Church Music 1549-1660 part I and II
C F Abdy Williams A Short Historical Account of the Degrees in Music at Oxford and Cambridge
-113-
Appendix Three
Graduates of Oxford
Doctors
Robert Fairfax John Gwyneth John Merbecke John Shepeard Robert Stevenson Orlando Gibbons Nathaniel Giles John Hunday Christopher Tye John Bull
Date
1511 1531 1550 1594 1596 1622 1622 1624 1548 1592
Tye and Bull were incorporated as Doctors of Music from Cambridge
Bachelors
tathaniel Giles John Bull John t-1unday Thomas Morley John Dowland Giles Farnaby Edward Gibbons George Waterhouse Arthur Cocke Francis Pilkington Robert Jones Thomas leelkes Thomas Tomkins Richard Deering
1585 15B6 1586 1588 1588 1596 1592 1592 1593 1595 1597 1602 1607 1612
Author
Robert Grossteste
Robert Kilwardly
Roger Bacon
Bartholomaeus Anglicus
Walter Odington
Simon Tunstede
John Hanboys
John Hothby
William Bathe
John Case (attr)
William Barley
Thomas Morley
-114-
Ap~endix Four
Oxford Treatises
Date Title
ca 1175-1253 De artibus liberalibus
d 127 9
ca
ca
ca
1351
ca
1584
1600
1586 1588
1596
1597
1214
1230
1330
1450
94
De ortu et divisione philosophiae
Opus majus and opus tertium
De probrietatibus rerum
De speculatione musice
Quatuor principalia musicae
Surnma super musicam continuam et discretam
Regulae super proportionem De cantu figurate Regulae super contrapuncturn Caliopea legale
A Briefe Introduction to the True Arte of Music
A Briefe Introduction to the Skill of Song
The Praise of Musicke Apoligia musices tam vocalis quam instrumentalis et mixtae
The Pathway
A Plaine and Easie Introduction to fvlusicke
-115-
Appendix Five
Baccalaureus in musica solvet
Imprimis pro cumulatione presentatis Pro comrnuniis Pro scriba universitatis Pro circuita Pro camera Pro curnulatione sex annorum Pro anno instante Pro horolog-io Pro deric[t]o universitatis Pro inferiore bedello artiurn
Si beneficiatus vel patrimoniatus fuerit solvet pro vino
Si non praebat convivia solvet betiellis facultatis suae pro prandio
vj s
i j s
xiij s
vij s
viij d vj d
xij d xij d
iiij d
xij d ij d ij d vj d
iiij d
iiij d
ix d
116
Appendix Six
Words set by Jones for Leighton
Let thy salvation be my joy
Let thy salvation be my joy Confirm me with the spirit of grace Let sadness not my soul annoy For pensive thoughts too much take place 0 let my comfort still reside In Christ who for my sin hath died
In setting the third line Jones uses sixteenth notes on the word spirit 11 to compensate for the extra syllable
What shall I render to the Lord
What shall I render to the Lord For all his blessings poured on me My heart and soul with one accord Shall laud and praise thy majesty All praises do from thee desend Blest be thy name world without end
Lament my soul cry cry o cry
Lament my soul cry cry o cry Swe et Jesus pity pity me Help help help help for sin I die Sweet Christ come ease my misery
BIBLIOGRAPHY
Primary Sources
The Bible That is the Holy Scriptures contained in the Old and Newe Testament London Deputies of Chrlstopher Barker Printer to the Queenes most excellent Maiestie 1596
Book o f Common Prayer and Administration o f the Sacraments and Other Rites and Ceremonies of the Churchof England WiSh the Psalter or Psalms of David Printed by Thomas and John Buch Printers to University of Canbridge 1629
Fellowes Edmund H ed The English Madrigalists val 35A Revised edition edited by Thurston Dart London Stainer and Bell 1960 The First Set of Mad_ri a_l s 1607 by Robert Jones
The English Madri al School val 32 London-stainer and Bell 1923 The Triumphs of Oriana to 5 and 6 voices Compose - y D1vers several Authors published by Thomas Mor ley 1601
Jergens Elise Bickford English Song 1 600-1 67 5 Part I British Library Manuscri ts London
Pu middot- 1sh1ng Inc 1986
Leighton Sir William Th e Teares or Lamentaciones o f a Sor rowful Soule London W2 1arn Stansby 1614
The Teares or Lamentations of a ----Sorrowful Soul Transcr1bed and edited by Cecil Hill Vol ll Early English Church Music London Stainer and Bell 1970
Morley Thomas A Plaine and Easie Introdction to Practical Music Edited by R Alec Harmon New York WW Norton and Co 1952
Smith John Stafford Musica Antigua London Preston 1812
Sternfie1d FW gen ed English Lute Songs 1597-1632 A Co l lect~on o Fac s imiDelRepr ints
ress t Vol 7 edited by David Greer The First Boeke of Songes or Ayres 1600 by Robert Jones The Second Booke of Songs and Ayres 1601 by Rober ones t1mum Vale 1605 by Robert Jones A Musicall Dreame 1609 by Robert Jones The Muses Gardln for Delights 1610 by Robert Jones
-118-
Books and Articles
Abraham Gerald ed New Oxford History of Nusic vol IV uThe Age of Humanism 1540-1630 11 London Oxford UP 1968 3rd impression 1974
Adams Joseph Quincy 11 A New Song by Robert Jones bullbull Modern Language Quarterly I (March 1940) 45-48
Adler Kurt The Art of Accompanying and Coaching Minshyneapolis The University of Minnesota Press 1965
ArkmiddotJright GE P Catalogue of Music in the Library of Christ Church Oxford London Oxford UP 1915 ed 1971
Bateson fW ed The Cambridge Bibliography of English Litshyerature 4 vols Cambridge University Press 1969
Bentley Gerald Eades The Jacobean and Caroline Stage Dramat~c Companies and Players 5 vols Oxford Clarendon Press 1941 reprinted 1949 bull
The Profession of Player in Shakespearebulls Time 1590-1642 Princeton Princeton UP 1984
Blom Eric ed Groves Dictionary of Music and Musicians vol IV New York St Martins Press Inc 5th ed 19B4
Boyd rbulllorrison Comegys Elizabethan Music and Musical Criticism 2nd ed Westport Greenwood Press Publishers 1962 reprinted 1975
Brown David nJones Robert in The New Grove Dictionary of llusic and Husicians vol 9 p 703 Edited by Stanley Sadie 1980
Carpenter Nan Cooke Music in the Medieval and Renaissance Universities Norman Okla University of Oklaho~a Press 1958 reprint eo New York Da Capo Press 1972
Chambers E K The Elizabethan Stage Vol I-IV Oxford Clarendon Press 1923 ed 1961
Crewsdon Henry Alastair Ferguson TD MA comp The Worshipful Company of ~t-lusicians Loncion Constable and Co Ltd 1950 new ed London Charles Knight and Company Ltd 1971
Cutts John P 11 Everie Woman in her Humor Renaissance Nevs 18 (Autunm 1965) 209-213
-119-
Daniel Ralph T and LeHuray Peter compilers The Sources of English Church Music 1549-1660 Part I and II London Starier and Bell 1972
Dart Thurston t-1A The Interpretation of Music 4th ed London Hutchinson University Library 1960
Dodd Gordon 11 A Summary of Nusic for Viols Early flusic 6 (April 1970) 262-267
Doran T s A Dr Annals of the English Stage from Thomas Better ton to Edmund Keen Vol 1 New York bullJ J ~1 iadle ton Publishers 1865 republished St Clair Shores Mich Scholarly Press no date
Doughtie Edward ed Lyrics from English Airs 1596-1622 Cambridge Harvard University Press 1970
Einstein Alfred Essays on Music London Faber and Faber 1956 rev eng ed 1958
Feldman Martha 11 In Defense of Campion A New Look at His Aryres and Observations The Journal of Musicology v
(Spring 1987) 226
Fellowes Edmund Horace CH Mvo MA Mus D English Cathedral l~sic Edited by J A Westrup Westport Greenwood Press Publishers 1981
_________ The English Madrigal Composers 2nd edition London Oxford University Press 1921 1948 reprinted 1967
bull The Text of the Song Books of Robert Jones Music --------middot and Letters VIII (Jan 1927) 25-37
__________ Tudor Church Music Appendix ~lus D New York Brouclex Brothers reprint 1963
Greenberg Noah music ed Auoen ~middotlH and Kallman Chester text ed An Anthology of Elizabethan Lute Songs Mad rigals an Rounds Pew York ~middot1 w Norton amp Co Inc 19 55
Greer David What if a Daybull - an Examination of the Words and r~usicbullt husic and Letters 43 (Oct 1962) 304-319
Gutmann Veronika Instrument oder Diminutionspraxis 11 Archiv fuer Husikrvissenschaft 35 (1978) 187-190
Heseltine Philip and Warlock Peter The English Ayre London Oxford University Press 1926 reprinted Westport The Greenwood Press 1970
-120-
Hesel tine Philip 11 Robert Jones and His Prefaces The rmiddotusical T ime s bull ( Feb -t-1a r 19 2 3 ) 9 9 -1 0 0 16 8 -17 1 bull
Humphreys Rev F Landon ~lus Doc STD The Evolution of Church Music New York J J Little and Co 1896
Jeffrey Brian ed Elizabethan Popular Music for the Lute London Oxford UP 1966
King William Joseph The Englsh Anthem from the Early Tudor Period through the Restora t ion Era PhD dissertation Boston University 1 962 Ann Arbor Mich University Microfilms I~ternational 1982
La Fontaine Henry Cart The Kings Musick New York Oa Capo Press 1973
Lewis c s English Literature in the 16th Century excluding Drama 11 in Oxford History of English Literature p 266 Edited by F P Wilson and B Dobree Oxford Clarendon Press 1954 reprinted 1962
r1ason Dorothy E Husic in Elizabethan England Washington Folger Shakespeare Library booklet 1958
rtaynard Winifred Elizabethan Lyric Poetry and its Music Oxford Clarendon Press 1986
McGrady Richard J The English Solo Song from William Byrd to Henry Lawes 11 PhD dissertation University of Manchester 1963 This dissertation arrived to late to notate McGradys theories on Italian Monady and Jones
Meyer Ernst H Early English Chamber ~iusic ed Diane Poulton London Lawrence and Wishart Ltd 1946 Boston Marion Boyars Inc 1982
Mies Otto Heinrich PrussJan Castle
Elizabethan t1usic Prints in an East rrusica Disciplina III (1949) 171-172
Naylor Edward Noodall Shakespeare and Husic rev ed New York De Capo Press 1931 lew York Benjamin Dlom Inc 1969
Pagallelli Serpoundio Jusical Instruments from the Renaissance to the 19th Century trans Anthony Rhodes Milan Fratelli Fabbrl Editori 1966 7 London Hamlyn Publishing Group 197 0
Pattison K An Analysis of the Ayres of Robert Jones MFA thesis University of Georgia 1965 (Request for this thesis has been submitted through the inter-library loan service but has not arrived)
Phillipps G A Charles 1 11
-121-
11 Crown r1us ical Patronage from Elizabeth to Music and Letters 58 (Jan 1977) 29-42
Phillips Peter 11 Performance Practice in 16th Century English Choral Music~ Early Music 6 (april 1978) 195-199
Prior Roger Jewish Musicians at the Tudor Court The ~~sical Quarterly LXIX (Spring 1983) 253-265
Poulton Diane Graces of play in Renaissance Lute Music 11
Early Music (april 1975) 107-109
Reese Gustave Music in the Renaissance revised ed New York W w Norton and Co Inc 1959
RIS~t Einzeldrucke vor 1800 Karlheinz Schlogervolume III Basel Barenreiter Kassel 1974
RISM Recueil s Imprimis XVIe-XVIIe siecles l-1unchen G -Henle Verlag 1972
Robertson Dora H Sarum Close London Jonathan Capt 1938 Bath Firciurt Publishing Limited 1969
Seng Peter J The vocal songs in the Plays of Shakespeare a Critical History Cambridge Harvard UP 1967
Shakespeare William William Shakespeare The Complete Works Edited by Alfred Harbage Baltimore Pen~middotuin Books rev ed 1969
Smith Irwin Shakespeares Dlackfriars Playhouse Its History and Its Des~gn New York New York University Press 1964
Spink Ian English Song Dowland to Purcell New York Charles Scribnerbulls Sons 1974
Sternfeld F w Music in Shakespearean Tragedy London Routledge and Kegan Paul 1963 rev ed 1967
Stevens Denis Tudor Church t-1us ic Nev York Merlin Press 1955 bull
A History of Song New York W W Norton and Co Inc 1960~ First American Edition 1961
Stevens John Music and Poetry in the Early Tudor Court reprint ed Cambridge Cambridge University Press 1979
Traficante Frank Anthony 11 The Mansell Lyra Viol Tablature parts I and II PhD dissertation University of Pennsylvania 1965
-122-
Walker Earnest A History of Music in England New York Da Capo Press 1978
Wells Robin Headlam John Dowland and Elizabethan Melancholy Early Music 13 (Nov 1985) 514-528
Wickham Glynne Early English Stages 1300 to 1660 2 vols London Routledge and Kegan Paul New York Columbia UP 1972
Williams C F Abcty A short Historical Account of the Degrees in 1usic at Oxford and Cambridge Lonaon lovello Eivers and Co 189 3
Woodfill Walter L Musicians in English Society from Elizabeth to Charles I New York Da Capo Press 1969
ACKNOWLEDGMENTS
This paper cou l d never have been a t tempted without the
faith and assistance of many wonderful p eop l e I sincerely
pray that the results will repay your belief in me
Many thanks to Mr Richard Austin cura tor of St
Luke~s Shr ine i n Smithf i e ld Virginia It was through his
kindne ss that I was a b le to use the Bible of 1615 Mr
Richard Johnson of the New York Public Library Performing
Arts Research Cent er at Lincoln Center was of great
assistance to both my husband and myself I t is because of
the senerousity of Mr HJR Wing of Christ Church Oxford
that I am able to include the Oxford Anthem Mr Arthur
Searle Assistant Keeper The British Library was kind
enough to s e nd sources for the works of Rober t Jone s
I am especial ly thankf ul to and for t he librarians of
Christopher Newport College Mary Daniels Cathy Doyle
Maureen Humphries Trish Kearns Carol Lockwood( and Betty
Smith Their incredible support proves t here i s no place
like home
The following people can never be thanked enough Pat
Silvis for still being my friend Anne Catherine Braxton
for the most awful puns to make me laugh Dr B for his
guidance and support which stretched beyond belief Dr Bill
Stoney for supporting my dreams Dam who wil l get her mom
back soon Jimmy and most of al l my husband Steve the
ma n who killed chauvinism resurrected chivalry and who
loves me so much that he can l et me indulge my passion for
iv
an obscure Elizabethan Composer
I also wish to thank those faculty members who have
consented to read this paper Dr Elizabeth Jones Dr James
Hines and Dr Clyde Brockett May you enjoy Robert Jones
v
LIST OF ILLUSTRATIONS
Figures 1-4 The First Booke of Songes or Ayres bullbull 72 Title page Dedication Preface Table of Contents
Figures S-8 The Second Boeke of Songes or Ayres 76 Title page Dedication Preface Table of Cpontents
Figures 9-12 Ultimum Vale bull 80 Title page Dedication Preface Table of Contents
Figures 13-16 A Musicall Dreame bull 84 Title page Dedication Preface Table of Contents
Figures 17-20 The Muses Gardin for Delights 88 Title page Dedication Preface Table of Contents
Figure 21 92
Figure 22 11 Farewell dear love 94
Figure 23 Transcription from Musica Antigua 96
Figure 24 Farewell fond youth 98
Figure 25 11 In Sherwood liude stout Robin Hood 100
Figure 2 6 11 Goe to bed sweete muze 102
vi
LIST OF APPENDICES
Appendix One Sources of the Music of Robert Jones
Appendix Two Contributors to Manuscripts numbered 56 through 60 in Christ Church Oxford
Appendix Three Graduates of Oxford
Appendix Four Oxford Treatises
Appendix Five bull bull bull Baccalaureus in musica solvet
Appendix Six Word set by Jones for Leighton
vii
105
107
113
114
115
116
CHAPTER I
IDENTIFYING THE HAN
Robert Jones who flourished between 1597 and 1615 is
one of the lesser known Elizabethan composers He has been
claimed not without causing confusion to have taken to
himself a number of QUSical assignments One author asserts 1
that Jones was a composer for virginals Another calls 2
him a composer for viols He is referred to by one historian
as a prominent lutenist to be numbered with Dowland 3
Campion and Byrd He has been called song writer and
1 Kurt Adler The Art of Accompanying and Coaching
(Minneapolis The University of Minnesota Press 1965) p 12
2 Gordon Dodd A Summary of Music for Viols Early
Husic 6 2 (April 1978) 263
3 Elise Bickford Jergens ed British Library
Manuscripts Part I English Song 1600-1675 (New Yorkmiddot Garland Publishing Inc 1986) p 11
-1-
-2-
theatrical manager both controversialist and genial person
Yet some authors such as Edmund H Fellowes in English
Cathedral Music consider his accomplistooents in some areas 5
too meagre to merit mention
In extant records for the period from 1520 to 1620
there are numerous references to R Jones Richard Jones and
Robert Jones There are also references to a w Jones and
an s Jones in the same Stationers Register that lists an R 6
Jones seven times Another Jonest Luke is a
4
contributor of one of the poems in William Leighton bull s Literary
Introduction and Laudatory verses to Teares or Lamentaciones 7
of a Sorrowful Soule from approximately the same period
It is possible to reduce the Richard and Robert Jones
references to four people that is two Robert Joneses and
two Richard Joneses It is also within the realm of
possibility that these rnen were related Their paths
4 Philip Heseltine Robert Jones and His Prefaces The
Musical Times (February and March 1923) 99 171
5 Edmund H Fellowes English Cathedral Music from Edward
VI to Edward VII rev ed Edited by JA Westrup (Westport Greenwood Press Publishers 1981) Fellowes discusses Leightons Teares or Lamentaciones of a Sorrowful Soule yet never discusses Jones contribution of three anthems
6 EK Chambers The Elizabethan Stage 4 vols reprint ed
(Oxford Clarendon Press 1961) vol II pp 380-389
7 Sir William Leighton Teares or Lamentaciones of a
Sorrowful Soule Transcribed and edited by Cecil Hill (Lancon Stainer and Bell 1970) p xviii
-3-
crossed often enough and in at least one instance
scholars have confused them crediting one with the work of
the other Some historians have also preferred to gloss
over the obvious inconsistencies in dates and make no
distinction at all in their references to Jones
The first Robert Jones conceivably the grandfather of
the Elizabethan composer is said to have been a chorister in
Henry VIIs Royal Household Chapel In 1512 it is
claimed that he was a member of Henry VIII s Royal Household
Chapel This Jones furthermore is listed as a meniDer of
the Gentlemen of the Chapel at the Field of the Cloth of
Gold in 1520 Three of his compositions have survived 8
although they are incomplete Thomas Morley cites Jones 9
work in A Plain and Easy Introduction to Practical Music
8 The New Grove Dictionary of Music and Musicians 1980
ed sv Jones Robert (1) The three-part song Who shall have my fair lady is in an anthology XX Songes Gustave Reese Music in the Renaissance (New York ww Norton Co 1956) p 763 discusses this book in a footnote as one of the earlies middott examples of music printing in England which was formerly considered to be a product of the press of bullbullsynken de Warde Denis Stevens Tudor Church Music (New York Merlin Press 1955) p 50 mentions this Robert Jones Mass based on the plainchant cantus firmi Spes Nostra
9 Thomas Morley A Plain and Easy Introduction to
Practical Music R Alex Harman ec (New York ww Norton and Company Inc 1952) p 321 Robert Jones is noted here as a vJelshman active ca 1485-153 5
-4-
The dates for Richard Jones span a time period of
ninety years from 1532 to 1624 Even allowing for
extraordinary good health and ideal living conditions these
dates must at the very least be for two men The first
Richard Jones is listed as the High Master of the Grammer
School for the children of St Pauls from 1532 to 1549 He
followed John Ritwise who was said to have allowed the boys
of the grammar school to perform interludes at the court of
Henry VIII There is no indication that this practice was
continued under the headmastership of Richard Jones The
lack of reliable information in this case can be attributed
to the loss of archives in the Great Fire of 1666 and the 10
confused records of the choir school and the grammar school
It is also possible that this is the R Jones who
entered three plays in the Stationers Register from 1567 to
1569 which had been performed by the Children of the Chapel 11
The headmaster then was Richard Edwardes In 1561
Edwardes received his patent as Master fron1 Queen Elizabeth 12
and this patent was entered into the records by an R Jones
10 Chambers volII pp 8-12
11 Chambers volIV p 381
12 Chambers vol II pp 33-34
-5-
The next two Joneses Richard and Robert have caused
the most confusion They were active during the same time
period and were associated with the same group the Children
of the Revels In addition both men were musicians both
were connected with a theatre troup manager named Robert
Browne and both men travelled to Germany It is a very
real possibility that these men were brothers possibly sons
of the first Richard Jones discussed It may not even be
far-fetched to suggest that all three were related to
the Robert Jones connected with the courts of Henry VII and
Henry VIII
Richard Jones was associated with the acting companies
of the Earl of Worcester in 1583 the Lord Admiral in 1589
1594-1596 and 1597-1602 and the Earl of Pembrokesbulls Hen in
1597 He was in Germany in 1592-1593 1615 1620 and 13
1622-1624 In 1623 he was a musician to the Duke of
Wolgest At this tioe he petitioned the Duke to be allowed
to return to England In 1624 Richard Jones again
petitioned the Duke this time to be taken back into service
as a musician In 1630 he is connected with John Jones a 14
dramatist
13 Chambers vol II p 324
14 Gerald Eades Bentley The Jacobean and Caroline Stage
Dramatic Companies and Players 5 vols reprint ed (Oxford Clarendon Press 1949) val I and II pp 135 485
-6-
Richard Jones entered four plays in the Stationers 15
Register between 1578 and 1594 In 1580 he was the
enterer of the song A newe northern Dittye of ye Ladye
Green Slevesu Jones was granted a license in 1584 to print
a book really a collection of ballads printed in broadsheet
form entitled Very Pleasant Sonets and Stories in Meter by
Clement Robinson Robinson was an Elizabethan poet fl 1566-16
1584 This was in response to a popular interest in signing
to the lute This Jones was not above using the name or initials
of well-known writers to enhance the sale of his verse books
At least three of these books A Smale Handful of Fragrant
Flowers (1575) Brittons Bowre of Delights (1591) and the
The Arbor of Amorous Deuises (1594 and 1597) used the initials
of Nicholas Breton much to Bretonbulls anger These books included
poems by Breton and others used without their consent Other
collections printed by Richard Jones are A Handfull of pleasant 17
delites and A gorgious Gallery
It was this Jones erstwhile actor and printer who was
granted the patent by which the Children of Whitefriars were
once QOre entitled to call themselbulles the Children of the
Queens Revels This patent dated January 4 1610 was
15 Chambers vel IV pp 382-383
16 The Cambridge Bibliography of English Literature
ed F w Bateson 5 vols (1940 Cambridge University Press 1969) p 646
17 Winifred Maynard Elizabethan Lyric Poetry and Its
Music (Oxford Clarendon Press 1986) pp 16 14 48-50
-7-
given by James I It reads in part
Know ye that wee haue appoynted and authorised Robert Daborn Phillipp Rosseter Iohn Tarbuck Richard ones and Robert Browne from tyme to tyme to provide keep and bring vpp a convenient nomber of children and them to practice and exercise in the quality of playing by the name of Children of the Revells to the Queene within the white fryers l8
It is this patent which seems to be the source for
confusing Robert Jones and Richard Jones Several
authorities claim that the Elizabethan COQposer Robert Jones
was involved with the Children of the Revels of the Queene 19
in 1610 However he is not mentioned in their
history until five years later One historian even claims
that Robert Jones is the founder and manager in 1610 of the 20
Children of the Revels to the Queen within White Fryars
18 Chambers vol II p 56 Chambers and Bentley
Jacobean Stage discuss the various associations of Richard Jones and Robert Browne in greater detail than is within the scope of this thesis
19 Edmund H Fellowes The English t-1adrigalist 2nd ed
vol 35 A (London Stainer and Bell 1960) p 4 and Heseltine Prefaces p 171 It is interesting to note that both these works were originally published in 1923 and neither lists sources Chambers also originally published in 1923 clearly states his sources for these patents the original cocuments
20 Morrison Comegys Boyd Elizabethan Music and Musical
Criticism 2nd ed (Westport Greenwood Press Publishers 1973) p 199 Boyd has all references to Robert Jones under one index heading although be discusses the work of the Tudor composer as well as that of the Elizabethan composer No source books on Elizabethan or Jacobean Theatre are included in his bibliographies
-3-
Robert Jonesbull connection with the Children of the
Revels is clearly stated in a patent granted by James I on
June 3 1615 It gave authority for the erection of a new
theatre for the continued training of the Children of the
Revels This theatre would replace the expireci lease on
another house used by Rossiter
And whereas the said Phillipp Roset~r together with Phillipp Kingman Robert Iones and Ralphe Reeve to continue the said service for the keeping and bringing vppe of the children for the solace and pleasure of our said most deere wife bullbullbull by the name of children of the Revelles to the Queene have lately taken in lease and farme divers buildings Cellars sollers chambers and yardes for the building of a Playhouse therevpon bullbullbull All which premisses are scituate and being within the Precinct of the Blacke ffryers neere Puddlewharfe in the Suburbs of London called by the name of lady Saunders house or otherwise Porters hall and now in the occupation of the said Robert Jones Nowe knowe yee that wee of our especial grace bullbullbull doe give and graunte lycense and authoritie vnto the said Phillipp Rosseter Phillipp Kingman Robert ones and Ralphe Reeve at their proper costs and char~~~ to erect build and sett vppe in and vppon the said premisses bullbullbull one conve ient Playhouse for the said ctildren of the Revelles 21
It is interesting to note that Robert Jones is mentioned
three times in this patent
This patent and its various details are confirmed in
other sources of the period The Privy Council was
21 Chambers vol II p 473
-9-
approached by the inhabitants of the Blackfriars area They
maintained that another theatre in Puddle Wharfe would be
too close to the church of St Anne and that it would
disturb the congregation during services Because of a technical
flaw the work that was begun on the building was ordered
stopped in September of the same year (1615) Plays were
performed there as late as January 1617 The last mention of 22
Robert Jones in this instance was the Kings patent
Robert Jones had other connections with the theatre
although he is not called an actor In 1602 he was in
Germany at Frankfort where he was named as a fellow of
Robert Browne Browne was something of a theatre impresario
who specialized in bringing English actors to the continent
and was also included in the patent of 1610 with Richard 23
Jones This year was the start of a three year
publishing hiatus by Robert Jones Appendix One includes
the titles and dates of Jones work An interesting fact
which may or may not be connected with Jonesbull time in
Germany is that his third book Ultimum Vale is one of eight
22 Chambers val II pp 472-473 61 val IV pp 343-345
23 Chambers val II pp 273-282 p 56
-10-
Elizabethan Music books which used to be in the library of 24
the East-Prussian Castle of Schlobitten
This Robert Jones then is the Jones who is the subject of
this paper He was active in the latter years of
Elizabethbulls reign and the early years of the reign of James I
He may or may not have been an actor but he was
associated with actors and the Chilciren of the Revells He
was stable enough to own a house and to enter into a risky
theatre venture
24 Otto Heinrich Meis Elizabethan Music Prints in an
East-Prussian Castle Musica Disciplina III (1949) 171-172
CHAPTER II
EDUCATION A~ID SOCIETY
Robert Jones is known to have graduated from Oxford
University in 1597 It is also known that he was at St Edmund s 1
Hall and was for sixteen years a student His date of death
is unknown although a valid theory has been put forward for 2
his approximate year of birth to have been 1574 This would
have made him only twenty-three when he graduated slightly
younger than n1ost of his contemporaries A comparison may be
rMde by using Appendix Two an outline of works contained in
Christ Church rlusic Mss 56-60 Composers who graduated from
Oxford University are identified as well
Music both sacred and secular was an integral part of
university life Until the Reformation it was customary to
have Masses sung for the souls of the kings and founders of
the various colleges ~ The playing of secular music and
instruments had become so distracting that it was forbidden
at bullbullunseasonable times 11 unless after meals and there was a 3
fire in the fireplace of the hall or communal erea
1 c F Abdy Williams A Short Historical Account of the
Degrees in fiusic at Oxford and Cambridge (London 1893) p75
2 Hese1tine Prefaces p 99 Heseltine combines the fact of
Jonesbull years as a student and Jonesbull admission of practicing music since he practiced speaking to estimate the date of 1574
3 Nan Cooke Carpenter Music in the Medieval and Renaissance
Universities (1958 New York Da Capo Press 1972] p 169 81
-11-
-12-
Since the singing of Masses was required by statute some
means had to be provided for the training of choristers Many
colleges maintained choir schools These younger members of
the college community actually owed their positions at Oxford
to their musical talent and duties In 1547 the Act of
Dissolution under Edward VI closed many church schools but
not the collegiate foundations in the universities the
choirs of St George and Chapel at Windsor and the cathedral 4
schools
The young choristers were taught plainsong and pricksong
and when their voices changed they were preferred for vacancies
in the universitys scholarship lists Among these colleges
were the Schola flusicae of Queens New College Corpus Christi
College Cardinal College (later Henry VIII and nm1 Christ
Church) St Johns College and Magdalen College The statutes
of Magdalen College also provided for places for thirty indigent 5
student-- iemyes) to study plainsong
In the preface addressed to the reader in his First Booke
of Songes or Ayers Jones states that ever since he practiced 6
speaking he practiced singing By his own words it is likely
4 carpenter pp 167 88 388
5 Carpenter pp 267-171
6 F w Sternfield general editor English Lute Songs 1597-
1632 a Collections of Facsimile Reprints (Manston The Scholar Press Ltd 1971) 26 Robert Jones The First Boo~e of Songes or Ayers 1600 David Greer ed
-13-
that Jones was trained in one of these choir schools anG it is
not inconveivable that he was a recipient of a scholarship to the
university of Oxford Indeed Jones was probably at school at
Oxford rather than London and may even have been one of the
demyes of Magdalen College This is especially likely in view of
the fact that Jones had no steady patronage each of his song
books was dedicated to a different person and he was not 7
connected as household musician in the same way that John Wilbe B
and John Ward were involved at Hengrave Hall and with Sir Henry
Fanshawe
The power for presing choristers into service started in
1420 and this practice continued through Elizabeth bull s reign Im-
pressment of exceptional singers men and boys from all over 9
England into service in the Royal Chapel was commonplace
7 Sir w H Hadow English Music (London Longmans Green and
Co 1931) p 65
8 John Aplin Sir Henry Fanshawe and Two Sets of Early
Seventeenth Century Part-Books at Christ Church Oxford Music and Letters 57 (January 1976) 14
9 Carpenter p 341 Foster Watson The English Grammar
Schools to 1660 Their Curriculum and Practice Cambridge University Press 1908 Encyclopedia Britannica Library Resources Inc LEL 10880) pp 155 212 217 Watson mentions several grammar schools in London which incorporated music into their programs at this time They include the Merchant Taylors School St Paul School Thames School and Christ Church Hosshypital It was necessary to know the catechism in English or Latin read perfectly and write co~petently before acceptance at these schools Hulcaster headmaster at Nerchant Taylors claimed that extra subjects like music were studied privately by gentlemens children and that nusic itself was a part of the math curriculum
-14-
It is doubtful that Robert Jones was impressed into such service
He was both eloquent and voluble in the prefaces to his song
books and would certainly have alluded to this aspect of his
life had it been part of his own experiences
The awarding of baccalaureate and doctorate degrees in
music at Oxford was a tradition dating from the early fifteenth
century Music had been established as a separate faculty the
only liberal art so distinguished In fact the English
universities were the only ones to confer degrees in music
There is no indication that a prior arts degree was required for
the Bachelor of Music as was often the case in other fields
Many of England s most talented musicians became bachelors or 10
doctors of music at Oxford Appendix Three is a partial
listing of these musicians drawn fron information in Carpenters
and ~lilliams bull studies Furthermore the University of Oxford
was after the University of Paris the inspiration for more 11
treatises on music than any other medieval university
Appendix Four is a compilation of these treatises taken from the
work by Carpenter
The dichotomy of music that is musica practica versus
musica speculativa was reflected in the requirements placed
upon the degree seeker at Oxford It was as necessary to study
polyphonic music as to study theory Music classified within the
mathematics traditions and the text of Boethius De institutione
10 Carpenter pp 159 89 336 160
11 Carventer p 82
-15-
musica was required by statute since 1431 In 1549 after
Edward VI visited Oxford the candidates for the bachelor of
music degree were to concentrate on the disciplines of the
quadrivium Sixteen terms (four years) were to be spent in
grammar rhetoric dialectic and arithmetic and 11 in musica
Boetium Admission to the bachelor of music granted the right 12
to lecture in any of the music books of Boethius
Each student at Oxford was instructed by his own tutor until
he had obtained his first degree This meant that the musical
careers of some students were actually shaped by the methods of
their tutors Attendance was required at public lectures Aside
from the usual difficulties with student participation and indif-
ference or inability of some faculty these lectures were to be
given in Latin Dr John Bull not being proficient in Latin
was granted permission to read his lectures in English in 1597
Jones of course should have attended these lectures since John
Bull was incorporated as a Doctor of Music from Cambridge in
1592
In order to obtain a degree it was necessary to compose a
Mass song or canticum bull bull bull to be performed before the university bullbullbull 14
on the day of the Cornitia 11 This was not meant to determine
eligibility for a degree rather it was meant to add to the
12 Carpenter pp 89 77 153 159
13 Carpenter pp 154-156 163-164
14 Williams p 21
-16-
solemnity of the occasion This rule specifying a piece of music
to be performed in the university churcl1 at Act time remained un-15
changed from 1516 until 1608 when a hymn only was required
However there was a dispensation from this rule A
candidate could apply for a degree pro circuitah He would
request the Vice-chancellor and proctors to summon a Congrega-
tion On the afternoon before the Congregation the student
preceded by one or both of the bedells of his faculty and accompanied by the person who was to present him in congregation bullbullbull attired in academic dress but bareheaded went round to the schools and also called on the Vice-chancellor and both proctorsl6
Tradition always was an important part of university life
Oxford in the early sixteenth century was no exception Fre-
quently these traditions became codified in statutes Gloves
were an expensive luxury and early in Oxford 1 s history it became
obligatory for the degree seeker to give a pair to the Bedells
and other officials No man could dress above his station and
students fined for wearing silk were required to wear gowns 17
with loose sleeves and square caps in public Following is a
list of graduation fees established by statute at Oxford in 1601
taken from Carpenter Appendix Five is a copy of the original
version According to the custom Jones would have had to pay
some if not all of these fees
15 Williams p 27
16 Carpenter p 165 citing Clark in Register II p 46
17 Williams p 59
-17-
TABLE ONE
Graduation fees at Oxford in 1601
The baccalaureate in music will disburse
First for the total for gifts 6 s For the service of the room For the clerk of the university For possessions For the chamber For the six year total [tuition] 2 s For services during the present year For the clock For the right of the university For the lesser porter of Arts
Total 13 s
IE he has been subsidized by the church 7 s or by patronage he will disburse for wine
If not arranged in advance [] he will pay for the table servants to the porters of his faculty for meals
The greatest expense on this list is for wine [)
a d 6 d
12 d 12 d
4 d
12 d 2 d 2 d 6 d
4 d
4 d
9 d
-18-
It is not indicated in the available sources whether Robert
Jones composed a piece for graduation or used the pro circuitubull
option However a good case can be made for the former there
is an anthem in Christ Church Imiddot1usic Mss 56-6 0 Singe joyfully
which was composed by Jones The words are from Psalm 81 and
are identical with those in an Elizabethan Bible printed in 18
1595 This is two years before Jones graduated from Oxford
Furthermore the Christ Church lbulllus ic t-lss was compiled 11 wi th
most of the material at hand gathering together works which may 19
already have existed in worn or loose copies It was planned
as a memorial to Prince Henry and most of the composers repre-
sented were court-based friends of the composer John Ward who
was in the service of Sir Henry Fanshawe These part-books were
compiled at Fanshawes request and completed by his son before 20
1620 The Oxford anthem Singe joyfully will be discussed
further in the chapter on sacred music
As can be seen music was an important and necessary
part of the education of a gentleman and it was a necessary
18 The kindness of Mr Richard Austin of St Luke bulls Shrine
Smithfield is gratefully appreciated He allowed access to the Bibles there which proved that Jones used the Elizabethan transshylation and not the King James version of Psalm 81
19 Aplin p18
20 Aplin p 14
-19-
21 accomplisr~ent of the perfect courtier Even Morley begins
his book with a description of the embarassment caused by a lack 22
of ffiUsical knrn~ledge Furthermore a degree in music was an
invaluable asset to obtaining a post in the Chapel Royal
Neither Elizabeth nor James I gave honors such as peerages or
knighthoods to musicians rather they used offices in the
Royal Household the Chapel Royal and the Kings Musick as reward 23
for services In 1605 Jones dedicated his Ultimum Vale to
Prince Henry ~hether this earned a reward for Jones is not
known However it is likely that the Mr Jones listed as a 24
Gentleman of the Kings Chappell in 1612 is Robert Jones
It is possible that this position and not great reknown earned
a place for Jones in the Fanshawe part-books
As a Gentleman of the Chappell Jones would be expected to
be quite proficient in reading music and well-versed in plainsong
and pricksong That he could COQpose apart from performing 25
would have been the highest recommendation of all It is note-
21 Carpenter p 343
22 Morley p 9-10
23 G A Philipps Crown Musical Patronage from Elizabeth I
to Charles I Music and Letters 58 (January 1977) 29
24 Henry Cart de Lafontaine The Kingbulls Musick (New York
Da Capo Press 1973) pSO
25 John Stevens Music and Poetry in the Early Tudor Court
(1961) Cambridge Caniliridge University Press 1979) p 309-317
-20-
worthy that although Jones was actively composing in the latter
years of Elizabethbulls reign he was not associated with her court
Like many others he sought patronage elsewhere as can be seen
from the dedications of his song books His appointment as a
Gentleman of the Chappell may indeed have been a result of his
having dedicated his third song book to Prince Henry elder son
of James I Jones published no work after 1610 two years before
his name appears as a Gentleman of the Chappell It is possible
that Jones again travelled to Germany with theatre impresario
Robert Browne or he may well have decided not actively to
compose as he had implied in the prefaces of his last three song
books Records in these areas are incomplete although further
connections with the theatre will be discussed in the following
chapter
CHAPTER III
WAITS V~SQUES AID THE THEATRE
The waits were orisinally watchers at the gates and were
probably descended from the watchmen and sentinels for camps 1
castles and other fortified places In fact wait is the Saxon
word for watcher Eventually they were employed by the cities to
keep watch and guard during the night and to call out the time
and weather Their main purposes were protection order and
safety within the cities To carry out these duties the waits
were furnished with musical instruments These were used to
sound alarms and call for help when needed and were probably an
early type of shawrn or a horn made of metal In 1296 a statute
was enacted in London which required the servants who closed the
gates at night to have waits at their own expense Eventually
the term wait came to mean the man the instrument and the music 2
played on the instrument
The connection between Robert Jones and tte waits only
beco~es clear when the development of the waits and their
1 Walter L Woodfill Musicians in English Society from
Elizabeth to Charles I (New York Da Capo Press 1969) p 33
2 Henry Alastair Ferguson Crewsdon camp The
1-Jorshipful Company of -iusicians ( 19 50 London Charles Knight and Co bull Ltd bull bull 1 9 7 1 ) pp bull 16 2 -16 4 bull
-21~
-22-
place in Elizabethan and Jacobean society is discussed It was
not long after the first statute concerning the waits was passed
that they came to be considered musicians They are included
called by the nanle of wayghte and other variant spellings
among the musicians of Edward III (1327-1377 and are named in
records from Henry VI through Charles I From watchmen with
musical instruments to capable musicians is a logical development
of talent and time For a watchman with musical ability there
was time to acquire skill and thus gain employment publicly or 3
privately as a musician when not on duty
Many of the principal cities in England employed waits In
London the nunilier of groups varied from six to nine and the
number of masters and apprentices in each group was strictly con-
trolled Their places were so coveted that musicians good or
bad bargainea fought or sued for any vacancies Often a place
would pass fron1 father to son Their privileges included
monetary compensations and gifts distinctive livery status in
the city as freemen in the Company of ~usicians without charge
and the right to keep two apprentices at a time Their services
publicly and privately were much in demand by the lord mayor the
sheriffs and aldermen and the playhouses They were required
to meet regularly for rehearsals and only the 11 ancientist
3 Crewsdon pp 165-167
-23-
4 that is the eloest of their society could dispose order and
direct their music
Until 1525 the wait pipe (horn) and shawm were the only
instruments used by the waits The sackbut was added in 1526
In 1561 instrumentation was expanded with the addition of
viols and recorders and cornetts were added in 1568 and 1576
respectively In 1597 the curtal a bassoon-like instrument was
added Records indicate that portable organs keyboards and
harps were hired for special occasions In some waits the lute 5
and singing were included as early as 1555 The waits
provided the music for visiting dignitaries parades and court
masques and dancing The First Book of Consort Lessons by Thomas
Morley was meant as a guide for the groups of instruments used by 6
the waits Their music consisted of traditional wait tunes
(simple airs meant originally for wait pipes and shawms played
with cold fingers) music which may have existed only in
manuscript form written expressly for use in a masque or pageant
and music apt for viols or voyces u including madrigals
Ultimum Vale of Robert Jones contains music for colibination of 7
lute voices and viols Figures 1-20 are facsimiles of tbe
4 Woodfill pp 37-44
5 Woodfill pp 34-36
6 Wood f i 11 p bull 4 5
7 Woodfill pp 44-52 Waits and their history are more
fully discussed by both Woodfill and Crewseon A very brief outline only has been possible in this paper
-24-
title pages dedications and prefaces and tables of contents of
the song bool s of Robert Jones from Greer
Ultimum Vale is probably the book included by Gordon Doad in 8
his list of music for viols This song book is also the source
for ten of eleven songs by Jones included in the Giles Earles 9
book It is this custom of performing vocal and instrumental
music only instrumentally that forms part of the basis for early
chan~er music in England It was advocated by Thomas Morley in
his book and used not only by Jones but also by Sir William 10
Leighton in Teares or Lamentaciones of a Sorrowful Soule
It is possible that this evolutionary process in performance
practices and adaptations of popular pieces for other instruments
may be the basis for the idea that Jones composed for the
virginals Certainly no music specifically for the virginals or
instruments other than lutes has been found to have been
composed by him
When playing for the masques the waits probably performed
in a room or chamber near the pageant rather than on the street
or porch where the masque was being presented Robert Jones bull
8 Dodd p 263
9 Jergens p f 13V-f22V
10 Ernst H Meyer Early Englisn Chamber ~1usic ed Diana
Poulton (1946 Boston Marion Boyers 1982) p 135 149
-25-
11 naroe is not in the lists of appointments to the London Waits
But Jones did have so~e of his music included ill masques Everie
vloman in her Humor a masque by Maclin published in 16 09
includes two songs from The First Booke of songes or Ayres The
title My mistris was not used in notes for the masque rather
lines from the song were used thus hindering our identification
of Jones as its author Figures 21 and 22 are facsimiles of this
song This same song was used in Loves Charity by Shirley in 12
1631 and The Dutch Courtesan by John Marston The latter was
presented at Blackfriars in 1603 performed by the 11 Children of 13
her Maiesties Revels Christ Church Ms 439 which contains
four songs from The Second Boeke of Songs or Ayres is said to be 14
a compilation of songs used in masques
The dates of the songs discussed indicate that Jones was a
source for music used in masques rather than a co~poser of music
for masques This is admittedly a subtle difference but it is
a critical one since Jones is not credited with supplying tPis
music in tle published sources of the time such as the plays
themselves
11 Woodfill p 48 and Appendix A
12 John P Cutts Everie ~loman in her Humor Renaissance
News 18 (Autumn 1965) 210-212
13 Chambers vol III p 431
14 Cut t s p 212 bull
-26-
Songs used in masques were declamatory in vocal style with
rare word-repetitions except towards the end of a song The
lute accompaniment tended to be chordal with an harmonically
15 statis bass The aforementioned 11Ny mistriS 11 (see Figures
21 and 22) very clearly demonstrates this principle The masque
an offshoot of the main dramatic movement was musically con-16
nected with the great nass of songs with lute accompaniment
Robert Jones was a natural choice for the masque authors His
melodies tend to be rhythmically simple and singable By his ow~
admission in the preface to his First Booke of Songes or Ayres
Jones main concern was fitting the note to the word (See Fig-
ure 3)
Shakespeare also liked to use contemporary songs in his
works for the theatre and in the music of Jones Shakespeare
found songs to express the moods of his characters Perhaps the
best known instance of this reliance upon Jones is in the comedy
Twelfth Night The song 11 Farewell dear love bullbull is number twelve
in The First Booke of songes or Ayers
15 Ian Spink English Song Dowland to Purcell (New York
Charles Scribners Sons 1974) p ~0-41
16 Ernest Walker A His tory of Music in England (rJew York
Da Capo Press) p 153
-27-
In Twelfth Night II iii Sir Toby Belch and the clown
Peste sing a version of this song that telescopes the first and 17
second verses Malvolio warns Sir Toby and Feste that
Olivia will bid farewell to Sir Toby unless he reforms It is at
this point that these two characters alternate singing lines of 18
the song This song was set in 1600 and the date of Twelfth
Night is 1601 The obvious conclusion is that Farewell dear
heart was a popular favorite and would have been recognized no
matter how much it was condensed Another testimony to its
popularity is that the tune appears as a hymn setting in a Dutch
psalter The Dutch version is Heilgierig mensch and the 19
psalter was published at Amsterdam in 1713 That Jones himself
favored this song is shown by the fact that in his fourth book
nine years later Jones sets Farewell fond youth Its meter
is identical and its melody is similar to that of 11 Farewell dear 20
heart Farewell dear heart may be seen in Figures 23-26
and bullFarewell fond youth in Figures 27-28
17 John Stafford Smith Musica Antigua (London 1812) p 10
204
18 Peter J Seng The Vocal Songs in the Plays of
Shakespeare A Critical History (Cambridgemiddot Harvard University Press 1967) p106
19 William Shakespeare The Complete Works ed Alfred
Harbage (Baltimore Penguin Books 1969) pp 316-317
20 Edward Woodall Naylor Shakespeare and Music rev ed
(New York Da Capo Press and Benjamin Blom Inc 1969) p70
-28-
Shakespeare also turned to Jones for parts of the mad songs
for Ophelia in Hamlet IV V Although it is not a proven
fact the setting of In Sherwood liude stout Robin Hood see
Figures 29-30 from A Musicall Dreame bears close resemblance to 22
the words sung by Ophelia That it probably is this song is
due more to the nature of the scene and the impropriety of the
words words which would never have been sung by a sane Ophelia
and to the popularity of Jonesbull work rather than contemporary 21
documentation Frequently Shakespeare had his
characters sing snatches of songs or refrains and further
attributions to Jones are possible but not provable without a
shred of documentation Nor in general are Elizabethan
composers who often set the same words identifiable unless the
tune had been transcribed or the composer named in the
manuscript
21 Heseltine Prefaces p 168
22 F w Sternfield Music in Shakespearean Tragedy
rev ed (London Routledge and Kegan Paul 1967) p 57-58 71
CHAPTER IV
THE SECULAR t-1USIC
The secular works of Robert Jones consist of five books of
lute songs or ayres and one book of madrigals One or two copies
of each song book have all survived in excellent condition with
minor problems such as missing title pages The madrigals 1
however exist only in an incomplete state Possibly this is
due to the difference in publishing techniques of the two types
of song The song books include all voice parts printed on
opposite pages in such a way that tt-e performers can stand around
a table and use the same book The madrigals on the other hand
were printed in separate part books with the result that the
loss of one part book took away from the whole
Lute songs increased in popularity and availability
when the printer Peter Short acquired a font of lute tablature
This acquisition in 1597 greatly facilitated the publishing of 2
lute music William Barley had published a book The New
1 Fellowes Madrigalists p iv In the preface
Dr Fellowes describes in depth the location of various part bookst and which madrigals are complete because they were found in alternate sources
2 Spink p 15
-29-
-30-
Book of Tabliture in 1596 which contained the first solo song
with lute accompaniment published in England In the four years
between the publication of this book and the First Boeke of Songs
or Ayres by Robert Jones in 1600 books by Dowland Morley 3
Cavendish and Farnaby in this style were printed Peter
Short by the essence of Thomas Morley was the printer of the
first two song books of Jones and the first book of Dowland It
may thus only have been for practical reasons that the title
pages are virtually the same
Lute and vocal music were easily printed For the lute
tablature letters not notes were placed on a six line staff
Vocal music used about a dozen signs for clefs tempos and
accidentals and thirty individual signs for notes apportioned on
a staff of five lines each with a note on one of the lines or 4
spaces Obviously it is this setting of each individual note
with its staff which gives the music its slightly wavy
appearance
Each of Jones five song books includes twenty-one songs
although contemporaneous song books usually vary in the number of
songs Whether this really has any special significance for
Jones is impossible to know For all his loquacity he did not
3 Phillip Hes~ltine The English Ayre (1926 Westport The
Greenwood Press Publishers 1970) p 138
4 Boyd p 178 Keyboard music was not published until 1611
and tben it was engraved This was because of the difficulty of dividing the staff to print cords of two or more notes
-31-
refer to this in his prefaces All five prefaces are illustrated
as follows The First Booke of songes or Ayresw Figures 1-4
The Second Boeke of Songes or Ayres Figures 5-B Ultimun
Vale Figures 9-12 A Musicale Dreame Figures 13-16 and
A Musebulls Gardin for Delights Figures 17-20 However that it
was important to him could explain why he chose to include two
Italian songs in A Husicall Dreame They are for solo voice with
lute or bass viol accompaniment (or both) and come at the end of
a book of songs for three and four voices
The idea of performing vocal music instrumentally has
already been discussed with the performance practices of the
waits Another common practice of lute playing was to use
alternate tunings of the lute The more usual tuning is gd A 5
F C G Plternate tunings included the sixth or bass string
tunec to F not G or the tunings called the 11 leero fashion 6
These were d a f a F c This method was used by Jones in 7
The Second Book of Songs and A~res published in 1601 The
words 11 Set out to the Lute the base Viall the playne way or the
5 Edmund H Fellowes The English t-ladrigal Composers 2nd ed
(1921 London Oxford University Press 1967) pp 304-5
6 Veronika Gutmann Instrument oder Dininutionspraxis
Archiv fuer Husicwissenschaft 35 (November 1978) 189
7 Frank Anthony Traficante The Hansell Lyra Viol Tablature
Parts I and II diss University of Philadelphia 1965 pp 188-189
-32-
Base by tableture after the leero [lyra] fashion appear on the 8
title page There often was a seventh string added below the
bass string tunec to D To avoid confusion this note was not
annotated on the staff instead ledger lines were added to 9
indicate its implementation This may not have been a popular
practice Jones used it sparingly in Ultimum Vale his third
book However all songs but one in A Musical Dreame call for
the extra string That Jones was criticized for use of this
extra string in Ult1rnuro Vale can be inferred from the preface to
A Musicall Dreame This preface is not addressed to the reader
but rather to all Musicall Murmurers
Understand me thou vnskilfull descanter deriue from that Note of Plaine Song charitable numbers and thou shalt find harsh voices are often a Note aboue Ela reduced by truer iudgement which I bereaue thee of nowing thy Rules are as our new come Lutes being of many strings not easily used vnlesse in aduenture till practice put forward into deseruing Diuision
From this preface it appears that Jones was something of an
innovator often embracing ideas before their full acceptance
Jones also may have ornamented or used graces in his work
However we cannot know this because the art of ornamentation was
a live tradition passed from one player to another The second
reason is that printers of the time did not have the necessary
8 The title page of this book is misleading The correct
title appears to be The First and Second Boeke of Songs and Ayres It is usually referred to as The Second Boeke of Songs and Ayres See Figure 5
9 Fellowes Madrigal Composers p 304-305
-33-
10 signs for ornaments or graces in lute playing
The following chart of lute tablature is adapted from
Fellowes The strongs are labeled treble small mean great
mean countertenor tenor and bass All but the treble string 11
were doubled
Treble ( g I ) a b c d e f g h Small r-Iean (d ) a b c d e f g h Great Mean (A) a b c d e f g h Counter-tenor (F) a b c d e f g h Tenor (C) a b c d e f g h Bass (G) a b c d e f g h
The fingerboard of the lute has ivory frets When stopped
each fret raises the tone of a strong by a half step The small
letters bullbullabullbull bullbullbbullbull 11 C 11 and so forth indicate behind which fret the
fingers are placed to produce the desired tones The letter a
indicates an open string that is one which is not fretted or
stopped b shows to stop the string behind the first fret It
raises the string by a sernitone Each letter represents the
next semitone to be produced on a string
These signs irdicate the duration of the note 1 ~ ~ f ~ ~) and stand for semibreve minim crotchet quaver and semi-
quaver respectively The last sign used gives the duration of
10 Diana Poulton Graces of Playing Renaissance Lute Music
Early Music (April 1975) 108
11 Fellowes Madrigal Composers pp 304-305
-34-
following beats Dots of augmentation with their accepted mean-
ing are used when needed Barring follows the rhythm of the 12
music or the words and is not always indicated It must be
remembered that Jones did not always use this tuning for the lute
rather he indicated it by specific performing instructions on his
title pages
Lute songs have roots in the freemens songs Freemen bulls
could be a corruption of the Anglo-Saxon work 11 freibull meaning 13 14
fesitval or of the term three mens songs In either case
they were lively cheerful songs with the tune in the uppermost
voice the tenor They were the basis for the simple part songs
which were so popular in mid-sixteenth century England These
songs then evolved into the Elizabethan consort songs and finally 15
the lute songs
Lute songs ordinarily were published with only a word or two
of the first line printed in beneath the score The singer
12 Fellowes Madrigal Composers p 306
13 Smith p 10
14 Walker p 45 The book published by Wynken de Warde in
the early sixteenth century which contains the work of the first Robert Jones also includes freemenbulls songs~
15 Spink p 16
-35-
16 either knew the rest of the words by heart or vocalized 11
Jones however is one of the few composers whose words are
carefully and consistently placed beneath the notes in his song
books This note-to-the-word placing allowed him more control of 17
the rhythm in strophic settings of different stanzas of poetry
The lyrics of English lute songs and ayres consisted mostly
of typically short verses The sources for many of the lute
songs and ayres were the ~any Miscellanies published during
Elizabethbulls reign ~ong these The Phoenix llest and Englands
Helicon were the most popular However the collections of
Richard Jones were also used by some composers Richard Jones bull
not properly detailing the authorship of the poems in his
collections is the primary source of confusion in identifying the
authors of the poems set by composers Another problem in the
use of MiscellanieE is the resultant multiple settings of 18
favorite poetry Robert Jones set many poems of Francis
Davison Sir Philip Sidney and Thomas Campion What initially 19
may appear to be plagiarism is really an accepted practice
16 W a 1 ke r p bull 4 6 bull
17 Winifred Maynard Elizabethan Lyric Poetry in Its Music
(Oxford Clarendon Press 1986) p 71
18 Maynard pp 54-55
19 Heseltine pp 130-131
-36-
The main differences between lute songs and ayres tended to
be those of length and rhythm Ayres generally had simpler
settings were more strophic and shorter and usually were better 20
sung as a solo song with lute acconpanirnent The ayre is
normally considered a short lute song with the accompaniment
providing the clue to the difference~ Performances could vary
according to the abilities of the performers and the instru-
mentation they used Frequently this lead to harmonic 21
discrepancies in the vocal and instrumental part-settings
This perhaps is the basis for one claim which has been made
that Jones did not write these parts for what are really solo 22
songs in his last two books
The English Madrigal developed as a result of the
publication in 1588 by Nicholas Yonge of a collection of works
by Italian and Italianized Netherlands composers This book
Musica Transalpina contained fifty-five of the best Italian
madrigals translated into English and proved to be very po~ular
20 Maynard p 55
21 Walker pp 80-81
22 Edmund H Fellowes The text of the song books of Robert
Jones Music and Letters 8 (January 1927) 25-37
-37-
In 1598 ~iichael Cavendish wrote a madrigal with the nLong live
fair Oriana refrain This may have been based on a madrigal
published in Il Trionfo di Dori It was this refrain which may
have been the impetus for The Triumphs of Oriana published by
Thomas Harley in 1601 The Triumphs of Oriana contains twenty-
five madrigals by nearly all the most distinguished English 23
composers of the time 11 Robert Jones contributed Fair Oriana
seerring to wink at folly 11 to this collection
The First Set of Madrigals was published by Jones in 1607
Its being called the First Set is no proof that Jones intended to
publish more sets Rather this avpears to be a publishing
convention of the time Where this set is unique is its
containing madrigals of 3 4 5 6 7 and 8 parts tvhereas
most madrigal sets were in groups of one or two different numbers
of voices this book has six different voice groupings These
combinations alone would give rise to the idea that although
Jones experimented with the madrigal form he either was not
comfortable with it or was not proficient enough with it for
his own standards On the title page~ Jones claims that the
collection is for Viols and Voices or for voices alone~ or as
you please 11 Several of the texts included in this transcribed
edition are poews by Francis Davison and two are by Campion
23 Walker p 78
-38-
The English madrigal was something of a compromise in form
It combined the contrapuntal secular music of the Italian style 24
and the harmonies of such songs as the frottola It typically
was a single stanza of seven to eleven lines in length A line
maybe made up of seven or eleven syllables with short and long
lines in any order The rhymes were mostly feminine and in
random order For this the Italian verse setting was standard 25
but short verse ottara rima or sestina were also used
Perhaps the one concept about the secular work of Robert
Jones that should not be overlooked is that he intended his music
for pleasure He had no rigid rules about performance practices
and he was willing to experiment with new techniques He was not
tied to rules of harmony and counterpoint and he seems to have
been partial to the sounds of open fifths and false relations
He was clever and innovative in his use of rhythm and rests
formed an integral part of his control of rhythm It was an
unhappy man who composed the song Goe to bed sweet muze This
was in Ultimum Vale the book that Jones intended to be his last
He seems to be saying goodbye to his love of music and composi-
tion rather than to an unfaithful lover That music in his muse
can be found in his explanations for publishing again in the
prefaces to A Musical Dreame and A Muses Gardin for Delights
24 Walker p 77
25 Maynard p 55
CHAPTER V
THE SACRED NUSIC
In a fashion typical of the Elizabethan era one music
publication could contain ayres madrigals or religious motets
The Teares or Lamentaciones of a Sorrowfull Soule by 1
Sir William Leighton is one such book It contains eighteen
consort songs twelve songs for four voices and ten songs for
five voices The contributors of songs for this book include
Byrd Milton Bull Ferrabosco Jones Peerson Thopul
Coperario Dowland Ford Gibbons Giles Hooper Johnson
Kindersley Lupo Pilkington Ward Weelkes and vlilbye As can
be seen Jones is numbered among the finest composers of the era
Sir William Leighton was born into an influential family
He had social economic and educational advantages However
because of carelessness and misfortune in his finances he was
imprisoned In 1613 Leighton published a book of his own
poetry The Teares or Lamentaciones of a Sorrowfull Soule This
was followed the next year by a book with the same title cf
musical settings of these poems composed by himself and twenty
composers The purpose of these books was to show Leightons
1 Walker p 81 The consort in this case refers to the
accompaniment of the cantus voice with the treble viol and lute tablature The altus was accompanied by the flute and had tablature for cittern The tenor voice included tablature for the bandora and the bassus was paired with bass viol tablature This was in reality the broken consort
-39-
-40-
repentance But the laudatory verses composed by his friends
and included in the introduction of the book seem to negate
this These poems use word-plays and puns on Leightons name and
deal with his unjust imprisonment
The works in this book are on sacred themes and could be
considered appropriate for use in church However that Leighton
intended for then1 to be domestic fare is seen in the style of
printing used that is on a double folio in the same form as
that used for lute songs and in the performance practices he 2
recommended
Jones set three poems for this work The first two anthems
are included in the poems published as The Teares or
Lamentaciones of a Sorrowful Soule The third piece by Jones is 3
set to words not included in the 1613 edition and the poetry
differs in form from that of the others The words of the first
two anthems consist of six eight syllable lines rhyming ABABCC
The third anthem is a simple quatrain with an ABAB rhyme scheme
The first two anthems closely resemble the favorite form set from
The Phoenix Nest the difference being that the lines in the
2 Leighton p x
3 Leighton p xxv
-41-
4 miscellany are ten syllables long The poetry from these
anthems is included in Appendix Six
Robert Jones composed a fourth sacred work This piece
Sing Joyfully which will be referred to as the Oxford Anthem 5
is included in the Christ Church Mus Mss 56-60 The source
for this manuscript has already been discussed in Chapter II No
modern transcription exists for this anthem and may be attributed
to the fact that the bass part is missing and this anthem is one
of a few anthems in the Christ Church Mss not found in other
sources
The possibility that the Oxford anthem was the piece that
Jones composed to meet degree requirements at Oxford has been
presented in Chapter II To substantiate this claim further the
words of Psalm 81 from the Book of Common Prayer printed in 1619
and from The Bible of 1595 are included here This will
facilitate comparison with the Oxford Anthem facsimile from
Christ Church and its transcription and recreated Bass part
4 Edward Doughtie Lyrics from English Airs 1596-1622
(Cambridge Howard University Press 1970) p 25
5 This manuscript has not been recorded in RISM
-42-
6 The Book of Common Prayer 1619
Sing we merrily unto God our strength Make a cheerful noise unto the god of Jacob
Take the psalme bring hither the tabret The merrie harp with the lute
Blow up the trumpet in the new moon Even in the time appointed And on our solemne feast day
7 The Bible 1595
Sing joyfully unto God our strength Sing loud unto the God of Jaakob
Take the song and bring forth the timbrel The pleasant harpe with the viole
Blow the trumpet in the new moone Even in the time appointed At our feast day
6 The Book of Common Prayer and Administration of the
Sacraments and other Rites and Ceremonies of the Church of England with the Psalter or Psalmes of David Printed by Thomas and John Buch Printers to the University of Cambridge 1619
7 The Bible That is the Holy Scripture contained in the
Old and Newe Testament London Deputies of Christopher Barker printers to the Queenes most excellent Maiestie 1595
-43-
The bass was reconstructed after a study was made of the
style used by Jones in his two madrigals for five voices and the
one anthem for five voices in Leightonbulls work The madrigals
were used for this comparison because of the similarity of style
with the anthem
In general Jones uses the bass as a platform for the other
voices Large skips are used sparingly and the relationships of
thirds and sixths with the tenor voice is usually maintained
The frequent use of whole notes and rests and the rare use of
dotted rhythms and eighth notes emphasizes the stable voice
leading Jones rarely initiates word painting or new rhythmic
patterns in the bass However the bass is used to start an
upward scalar pattern carried through by the other voices in turn
It is hoped that the reconstructed bass for the Oxford
Anthem is in keeping with Jonesbull methods The transcription
would not have been possible without Dr Clyde Brockett It is
possible to include the anthem because of the assistance of Mr
H J R Wing of Christ Church Oxford
44
Cantus middot
( -11 ((
) L ~L I
middotmiddot~middot 0
I I
45
Cantus
------------------------------ ====~====================~ I
I ~
j-- ---====-=--=--=--=---=----=---=--=----~~----------===shy
l I
r
l t
I
~-
t ~
middot r I
(1 c I ( middoto
A ~ -1 bull T I bull 1-Jtc v I
bull
~iof~ictf ----middot-
t~L f ef a attf j az ~ E I cfft ~ fiipound wuamp J1 -------- --4----bull- - -- --
iS
l ----=-----------
47
I middot--- - -- - -- I
j It~middot~ ~~I ~CJ m bKpound fy nt-l a~ PJtttfd (Ul A ~
t Ybull T 0 A I I I
~ -t-I I I - bull I I l bull I I I bull bull J I 1 bull I I I
A - bull ~ I
1
-~-- -- ---middot-------------+
-------middot---middot~---------
1----- --------~---
48
middot- middot---- -- ------middot --~___middot---~- ~--middotmiddot ~
49
Contra tenor
middot -bullmiddota --~ilirtttwbullnbullmiddot d_rl_ mr
I ~
i-----------------------_)_
F------ --
______ _
-------middot--middot-----middot -~-- ----- middot-middot-middotmiddot --~----middot- ------- ------shy+----- ------------ -----r=-~----_____middot ~~~---~--~- ~~~-~~-~-----_ --I
I
(I
bull
middot~
I ii l
l
l Imiddot
-I
(
50
Tenor
------
fwaft qtmiddoto( tft~ tfttttt~l hF Ibull bull ~ l~~r---~-~- ~ - =13
t)tl) tfc G11 pound th (b ir th~ tf~~ v
~-f~~-~3 -----+ ~ ------middot =-==~-~-fi I 1Ppoundf ft t1 c If r 11 a h -middot qCo ~~ l-K~-
I I I
bull
51
Tenor
l ~
~ ~r--=t-~ ~ J middot~middot bull I I
13fon ~ lppt ~fie bmpt~H1 tfv1VC btpound lLi hum( Efl J A t I o bull
H-1----r~ni----=ll bull1 -----i - r~ n middot bull -~ t i ~ -J j) I l 1 bull 1 bull l
~ bull bull T _ obull bull -x I n _PI I I I T I I amp bull T 1 1 middot y tl- 1 L~t--I ----J-middot-middotmiddotmiddot1_--1-- _-~--~~--Jmiddot middotL__-1L --1-- -
- I 1 I _ 1___1 - -4-1-J - +--+1--ll- J ) 0 I 1 I I I I -~-- ----- ~ A bull bull I (I V =-
---- - --------- middot------
I he Oxford Anthem 52 Robert Jones
5 J J J ) J f r middot r I
Sing joy ful ly un to the Lord our I 1) I Js - I 0 I ) ) ]I ) 11 J bull v- l l
Sing JOY ful ly un I to the Lord Si ngl I I - _ f r
1 r t7 t r t l middot~ I I I ~ _l I I
I l I
Sing joy ful ly un to the Lord our i strength
1 6J
J I
i - ( J amp J
-plusmn=-
I Sing joy ful ly
-c un to the
r r2 c= f r F ( f z 0 r I l ~ 1
Sing joy ful - ly un to the Lord our
10 j J r
I I I l r I I 1 I f I
0 0 tJ bull middot I ~ I I I t _a l r
II I I strength Sing joy - ful -t ly un - to the ~middot Lord our I I I i
I
_I 1 I I I I l I
I ) I 0 I ~I I j l Ll I I
$ j I lfO J I - -~~ L7 t I -v - _
~ joy - ful - l y un - to the Lord our I I
~ ) _ IQoll I ~ 1 y middott I -
I I j I l r I I I -r r 1
I Sing joy - ful - ly un - 1o the I Lord our
I I I I I 1
0 0 I ~ Q - -~
- I - -~ - lord our l strength Sinmiddot] _
I I 1 - I I ) i j J middot __ ___ -- t -
strength Sing loud un-to the
I r I J () h fl e J j (~ I I II r- j 0 I v 0 i r c
53
I i
I - I - I - I r r r ( J I _J_ I 11 _l [
~ I I I
I
~
I strength Sing 1oud un-to the I
I I I I r r r J y r J - 1 v I I 1 l -l - I - -
I str ~ength Sing 1 oud un-to the j god of I la -
t I I J J l J r
11 - f~ t v I I I L y
r l I
I
strength Sing 1 oud un to the god of j I
I
- ~ ~
r r 1 r r t Igt I
J r I I I r - I
I - loud un to the god of I Jq -
I
v I () p 0 I I _ I ~
I I
god of Ja cob Ja
5
god of Ja cob
cob Sing I lou un to t e j I I
] l ~ ~ i
r - I r r r I v I I (7 I v I I I i
I t
Ja cob Sing loud to thf god of I~
- un I l
~ bull
I I L A 1 I I f- I 1 _J _I L l_ l I t I I ~ t r __ __
-fi I l I I
cob Sing loud un to the god
0 eO 0 __ =J
of j Ja cob i middot
----------~--------------------------~1---o----------~l ~ gt~ f middot
cob Sing
20
- I r j I 11
C I r
I
loud Sing un ~ - r 0
I
god of Ja
r 1 I t7 J _J
~
Ja cob -
1 -I J p 0
Ja cob
r c r f
(l
loud un to the god
I l I JI I
-1
0 l-
cob the god - y 0
I I I
the god
0
I
cob f
~ I I 1 I I J
I ~ t I J middot 0 t--1 J I
t to the g od
c9
god of
r I
to
-I
fvO
Ja
I I
l
Sing l
~~
of
I r I I
the
I
I -
---L--1 I
I J ~
54
y
god
L-
cob
I J
cob
_j
I 0
I amp
Ja
25
l 1
--of
- a I
of
Ja
0
i
I of l Ja
I 1
~ t 1 _ Q _ ~ middot
of
Ja
Ja
I I -J I I
- 0
of Ja -I -middot I
J l _ I I
rl 0 0 - -
I of Ja middot-
I j j I _ J I
~
~ (_ I ~
loud un
ampI _
j9
cob the
r
J I I -1 --11 2_ ~~~~
I
Ja - middotcob
i-1 I -f-1
I bulli cob
I
I
- j - w cob j
i l i
J I ------ I t-1 I I - I cob
cob
1n I
I I I J (7
c_ -
-Take I the
- bull- I I r 7 A_ f I r
0 I ---
j
Take the harp t the I
J ~middot
I bull I f~ [ I [ I
J -Take the harp the
1 1 -I I I _
( y
~
Take the
p f bull
Take the
35
f J J I
I 15 Z
) lt I
brell I
tym tym
I 0
CJ ) J forth the tym- 1 bre 11
I I l _ I I I 1 j I
omiddot i I I
harp and ~ bring forth the I I I
1 r
I I + and bring I
~)
r t harp and bring
55
_ -
harp
j fr
r - ti (J J ____ r
-
f ) I
v J
harp the
a
(2
harp the
f
brell
1__ J
and
0 I tl
-
)
harp
~
harp
I J
harp
harp
~ the
r bring
r [I
I I y
rJ I
11
and I bring
f I
and I
f
I ~
I
t take
___
I
I
r ta ke
J 1
tym bull
( r forth the
- _ --- r
tym - brell I j J
I I I J I r I i
_) middot forth the tym - bre 11 the
( t
f I r r-I I z
forth the tym brell the
I 1 1
amp
forth the
1 A ~
bring
I A
7
the
t )
the
I
~ I ~
I I
l
56
40 I I I I I
I t I 0 I _i I I i ~ ~ --middot
li 11 11 I -
- brell and bring forth the I tym - bre 11 tym - brel 1
I ~ - I 1 () 0 1 I r 1 - --- i
I
tym brell and brin9 forth the I - I
_ 17 - i 77 j
- r - T T _ I I J ~ I I I I
I I 1 ( bre 11 ) the tym - brell I the
i I I II
u I pound I A J ~ -1
I -
~
tym - brel l and bring I forth the tym -I
J amp Fyen tji
F l
tym brell tym brell
I I -- I I j I
I l
-J ~ I ~ ~
J
harp and the sweet the ~ I plea sant
middot - --f ) I i I e 61 0 J ( z
bull
tym - brell the tym brell ~ the ft ~middot c t r 19 ufJ f ( c t I
pleasant harp and the vi 0 ll the pleasant harp
j ) j middot99 J GJ or gt _ -5
brell bring forth the tym brel1 th ~e
9 l f~ ( __ r I ~~
-- -
Bring forth the tym brell
57
45 J
I I I [ f I C) A A I A I j l - -
-
~~ ( _
vi - I 011 t sweet vi - oll the I I
I -- 1 - l l 1 (7 I I I J 0 A I J bull
$ r - I brell I
themiddot 1 pleasant harp and the sweet i I
- p I I
r I I lt I_ c I I I r
I I and the vi - I 011
l vi - 011 I
I I I 0 I I
r I -J y v - I I I ~
p~~~~~nt harp and the sweet vi - 011
I
_ v - 0 I I r t I I II 1 I J I I
the plea sant harp and the sweet vi - oll
50 1 I I I I j tl I l bull I
I J L t- 0 J I
-
I ~
J I
pleasant harp and the sweet vi I ollll the I
~ -- _f I A middot bull 0 J i r 1 l I I
vi I oll the plea - sant p
r I i T 0 - 0 I I
I f I I - ------I I I I j
i
the ple~sant harp ~nd the vi - -
I
--- I _l I I I --1 0 I r l
C-
vmiddoti I - 011 the ~
pl ~ea sant harp - C) r 1-
~ r I I )
r ( I l r
I I t
and the sweet vi - all sweet vi ol1
58
I I I I L_ I J _l J f J
I I I
~ r
pleasant harp bull and the --_
t I I I -_j
harp and the sweet -l I
f middotv A I I I I
011 t the I plea - sant I I
I I
I I I i I J t7 Lc -I
and the sweet I
vi I -i - I -
- J
I c- -
oll and l i I
1 I J J J_ v A
I I
oll the I pleasant harp j _ k
-r= 0 I
t I
t
sweet I vi I I _I I
11 i I I I I I I 11 _j ~ C I J _lj bull
harp and th~e I J I ~
sweet vi - 011
J ~
t
the pleasant harp flnd
55 r J1
1 _r _I_
swe ~et vi - I I
- ~ I I A ~middot _t2_ I
I
vi oll I -
t I _l l
fL
harp and
t
al l
-
j_
A I I
th~ swee~ I
j_ 1 L1_
J _L _r I
I I
and the sweet l A
~
i t l I I
I
011
- I
r r the
the sweet vi
0
-0
vi 0
~
the
I t
the
-
60
0bull
vi
0
vi
-
J
pleasant
-
l I I
J bull
pleasant
-
-
amp l
I
l the
I
I
harp I
----1
59
I I
_ middot-I
- I - - __
I ---- oll I I
~~ - f r I f I J e_ I I _
011 I the plea sant harp and
0 - 11
r - - 1 v I I r l I I --~
J _L I l I
pleasant harp and th ~e sweet I vi --j 011 t I
I _I_ ) - I
_I r D I J I 0 I I
I and the sweet vi -- 011 and l the
J ~
-- -=- 7 r I
I T T r l I I 7 l I
pleasant harp and the sweet
65
- - r I
I I J I I J
I ~J ~ v I bull J cent ~
--
the pleasant harp and the sweet - _ r r ~if L) I I tJ - - I I l I I 0 -1 F _l T 0 j I J l I - -- the ~weet
vi - 0 ll t and the sweet vi -ll n middotmiddot-
I I ~middot r I - - t - f7 I I I l _ (7
j j --w
sweet vi - 011 sweet - vi -
I I I I T T - t i -- A t7 r 1 T 7 T i ~ i
_l J
I I I I
I sweet vi - 011 fhe I pleasant harp and the sweet j I I
u I l I J -1 1 0 I )
f I
vi 011 and the sweet
ou
70
-- - I I I I J
~ I I j ~ (1 77 -~
vi - oll the pleasant harp
I I - j I I I A I 410 7
-- L
- oll the plea - sant t --1
I L I I J 0
I I I I ~ ~ t r _fl_ 0 0 _ II I I
1 I - oll~ the pleasant harp and the swmiddoteet
~ I ~ ~
y JoiO c I- I l I r
I I
vi
I 011 sweet v+ 0 ll - -L
- l I I 0 J --- t 0
I
vi oll the sweet
75 I I
I I T J j I A ~
~
I - _() ] middot -- -- -- bull l I and the sweet vi - 0 ll
_l I 1 77 0 0 0 -I - 0 I y l ---- t ------ I I I
harp and the sweet I vi - 011 bull I I
0 0 C)
poundJ I - t (7
I middot-I
vi - oll sweet vi - 011
I I
~---0 J 1 I t J -middot
I _ _ bull I I 17 ~
I - -
I
f t he sweet vi - - 011 bull
- I CJ I
C if- I I
I I 0 T _ I I l I
vi oll vi
~ bull Scr-ibe error shc~AIJ b~
61
80 111
I I j t - - I - J I I y ( j r 1 bull
amplow the I
up I trum - pet I
~ - - j j I r A j J I t - 1
Blow up the trum - pet oiL - r
p r r Igt t r r r f- I I t J I I i middotp I I
I I J I I
Blow the I
i trum up trum - pet Blow up the l - pet
I I I middotr I
f r l J ~I I r- r _r j A I I I _
I i I I r I
Blow ~p the trum - pet Blow up the I trum - pet _ I bull_ _
0 ~ I I l I I I I I I
I
I I l I
Blow up the trum - middot pe~ the trum - pet
85
f 1 - I I I ~ I I I r ( J-middot I I r J J -1
I r l bull
I
trum pet the I trum pet the trum p ~et - -A - I p - - I t
~middot J I r _1 L I t
I I ~ I
the trum - p ~et 1 the I trum - pett
- i I i ~ _
-l f r r ll _r_ [ middotp t
t I I J l t I I I I l
~ I bull I bullmiddot
Blow the Bl~ ow the r bull
trum pet up trum - pet up -t I
- I t l j_ L _L A I
r r J r J I A J f ~
l I I - I bull I
bull I I
Blow up the trum pet Blm_r up the trum pet I - -I
tt) 7 - 0 _ I 0 i I I -I 7 I I I I I I l I
--J I I _J
Blow up the trum pet the trum pet
0pound
_I I I I - I I J I I I 0 -II I L J I J - j
- Jf o I J 0
ln] the new moont evn i n the time ap -
- -- I
- I t l v t -1 I I_ I l I J ~() -in the new moon the new
I I
~
[ 11 -~ - 0 J - I
I ~ l I I 1 I I
I
in the new moon in I
I I I I - I I j J l J _0 r r J p
I
gt in
I the in the new moon~ new
1 _ - r- r r r - I
I I J I I ~
1
in the new moon
A ~ I I I
r
r f cl - A I _f I I I I I
- _ 0
l I gt _ _ I
I poin - ted at our feast day at
-middot - _
-moon
I l I
_ I I J r ~middot I I J j - t 0 A A
I - r-- ~ ~
the new I moon evbulln [in) the time ap-
J I ~ 7 j I I I ~
r r T I I _I I
1 _ J J t J l - j ~
I I pol nted I sol moon I evn in the time ap at our - emn -
I I + -( _-f- i- ___ - ~middot
_ T I I I J 1 t l r 0 ~-
r I I 1 bull - I I r I I j_ I I I
r
evbulln at the time ap- poin- ted- at our feast day at
93 [ot] Ct =at II otl~ va middot
95 I I [ I l
17
J I
__ J r rJO
r---
our feast
- - I I
v_ ev 1n
0 f6 r I J l - -J I l I I I_ l J
pointed at ou~ast
1 L _ II I y _ r Cl
I r - I
feast day at our I I J
bull _) 0 [j A I _ I - t I
__- I I I
our feast
- - I I
C
evn I
- ~-
--_r r 0 ~ ~
J l I 1
our
u
day
I [ I
J _
in the ~
r I I I
poin - ted
roo -= ~5
q~
I
I r r feast dayt -oGr
- _ I
- _ I
evn I 1
I I I ~
r l l I I
~me~--I ~nted a_p_ I
J I I I I
at our fea~t day
c t ) o t h u o s [1 h) = a~ tr~J))~ribed from
altmne ~cill-ed o~~ ti
- _ _
day 1 I -I I I I
I I J r I I -J I J
in the time ap - poin-ted at
pound)- bull -J _ I j
day our I feast
- l 1 l I
~t _--tf 0 II ~ ( I
I
feast day~ ev 1 n
__ _ r I ~ r I I J
I I 1 -
day the time ap-
100 -Imiddot 6_ __ J J J I I I I J I r t _1 ) - I bull -
in the time ap- pointed at
0 _
feast day
- 0 _
r I _
bull I 1
bull jrlJ the time ap
I
~-
r T o I I I I l A _ J
a or feast day our - o---- r l - f I I I
i
1 _l 1 _ I
at our feast day
Ct VOIC~
b4
105
r r f 6J dmiddot 0 I~ j A our feast day our feast day evn I
- - ~
J I
-
l evn in the time ap- pointed at __
A 0 ~ )
y 0 J I I
poin - ted at our sol - emn
- -0 dl ~ ~- - A middotmiddotmiddotmiddot-
feast day i at our feast at L
LJ
I
- 0 - - _A
v
our feast day sol emn
l -1 I- _pound_
I -_
in the time t
ap- pointed at our feast day evn l
_ 0 1 J l ~
-- - ~ J I 1 1 - I
our feast day evn in the time ap- pointed
0 ~ _ middot- A
feast day evn
- - -d A (
at ourmiddot -f- at our ~ ~ -- 0 - ( I I
feast day evn in the time ap- poin - ted feast
I
110
J omiddot u --1 -I
lt---
in the time ap -I
poin - ted at our
0 - ---1- -I-- I
at our feast day 0middot
I - --
l
(i nJ the time ap- pointed_ at feast day
I our
l Omiddot (_) y l
I feast day
0 ap- poin - ted at o~r I
~ 7 ~bull
I v
day at our feast day in the time
115 I I -middot
I-
-- 0 bull ~ -
middotfeast day evn I in the time ap- poin ted -
I I - - 11 (7 ~ 0 -at our feast day
bull 1- t -
- A ~
I evbull n [in) the time ap-
-middot y
I
~--c CJ
feast day evn in the time pointed at
r 7- ---ap-
J ~
y -ap- pointed at our sol emn feast
iblihing Mil 414 A bullbullbullbullbull
120 -
~ y r tFU
L j _L_ y -
at our feast day at our
- - - _ (7 _ - __ -
at our feast ~ L)
a_ 1 _L r I y r1
pointed at our
feast day middotI evn UnJ th time ap -
0 1 - --I -
A middotbull -
our feast day evn r 0 0 I -- Q_
-
day our feast day feast day evn
11 - -_y 11
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feast day at our - 1 I _L_
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in the time ap - poin -ted at our
11ishing MP 454 A bullbullbullbullbull
67
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130 f A -J I 0 A
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tblishin9 MP 414 A 7
----
l I
72 ___________ ____ Ff gure 1
I I I
middot-
i
l I I r I 1 I
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IH pound
FIRST BOOK E I I ofSo11ge or q_fyftlJ of iRetiiu~
rourf parn ilh TJ 1
binsr~l tb( lbullU
paru togethcror ~lther of middot dle1Jlfhur2llynliay be toils it _ l 11l~U~~~r
to dte Lutebull Orpbad~l
or Viol de gllllbo Compoftdby Robct~ ltJ~Xto
f
----
1
l
I ~
1
I I
73
Figure 2
TO THE HO middotNORABJJE Ai~O VETt T OVS GENTLEMAN SIR ROBERT SlDNEY KNlCH -c
Gouernour nder her Mai~fi~e of the tOne f VltlbitJ1
and the CaAJe of the Jldlraquotftns In the low C oumnes and of tJtjorll ojtltf411Jt AJtntLrrpuh thtJbullrr-ifonthenmiddot
In plilctdMTftU D b~ifi~jiUitt
~~~ii~5fil Our great loue and famor Honorable Syreuer rhanifellcd toal OrthyScier ces hath ltnbdened me to offer vppe t
y~ut ~ordfiups Shrnc thefe the vr I wortht~middot labours of my uulicall trau~~middot And though in refpect or their Veake nes they ln~y perhaps leenu vntin1ely
bull=-o=====~ broughtfor[hand theremiddotbre the vnlikelrshyerlo pr~fpermiddot yet doubt I rt~t butj~ renderd by you they fl1all happclbulle find gentle cherdh~ng w h tel~ n1ar be a mea ne to make them more tlronger or elfe mtfcarrytog to etcour~ge my en~ ~ deuours to beget a better for as no arts vinclf at fever errors than muficke fo none greater enimies to thcirDvoe profeffion then Mu 1cians whowhdn in their-own ~tlguaritietheycon demne euery mans ~rkes raquo as fome wate ~duty they are cbe caufe dm an istbcmiddotldfcentc~emcJ ian~ they thuitfelues feEuted as fclfc-com e1enders tnd men man fan[aLlicll Vhcrfore if chis one cen~uringinfirm itie were remoued thefe nty ayres (free l dare fay from groffe crraurs) wauldfitde euery where mort gratious entcrtainement bull Butfince euei thofe who are betlfecneirtthis art cannacvaunt themfelueJ free from fuch de tra~ours~ ~ lhe~ leffc rega ~d irbting_fo w~ accompanie Howfaeu~r tfheretn I may gatne yout Honor~goodallOwance fuaU thinke I haae attained co the better en de of my labours (vbicb with my fdfeandthebell of my Ctruite) rcfies eaer more at your Lordihips in1ploimenc
Your LorJjh1ps lmotetl in ~tO dutifiiJfirmce
aobett lonebull
----
middotmiddot
74
Figure 3
ro THpound READER
~ gtltmiddot bull bullbull bull bull bull middot~ EntlettztnJfincem1dtireu)ourtllrtsfoulde middot ~~-- ~imiddots benlindijferentiudgtrfclllnot thin41t nt
-~~i ~ ~rflary to filalt nv trautil or nu hringing -vp ~ tbull middot 01 argtttJmts to plr[Jllade you that f haue a ~Ofd
~ op11110n of 111) feft~ only tht~ much lwzl~tJte 1n~ ~ I ot ihatJmttypretttnttherifhudgnlentsoJ[uch
bull _~~~ ~ t- ) u now n1c not E11er jinre I praflftJ fe4-- middot bull ~ kng I hat~e praRifid inging lbullauin hail not
itr qualitie tobitJder mefro1nmiddot the pifefimiddotI(TIOTPfedgt o(th~]aculu I rtue ~~~n incortngtil kr tbl lParranmiddott oj Jiucts good iugmentr that my
pt~ints herein foal 11tihe eafl proct~re_gooJii~ng if riot delight ~hich Jttfor ntineownetJtitl muflueeder Jeare 111 much 111 defi~e ~efpmiddotecialy
lien I conidtr tb Nptnes ofthu induflriousagtlhtrtillaU mtn tndeshyrwurto nol~t all Ninges I ronfefo I 1as not --nTiiUing to emhract the conctitr of fuch ge1tlemen uraquorere ear til to h11 ue me AfpbullreU thtfo ~~~ tits for them ~hihthough they intendet or their pmiddot_iuate rmeation 11eUcr meaning thfJhoultcomeintothe~tght~tre 1elf(I1Jten~ )pon inshytrtiiJ ~o ma~ thtoncouragementr of tq1s ~ jrfl di~tr~tllre 1Pkere11p~ PO f lilas ~lmrfl ~~to m4~e tnJ flfaJ ftiJt~ne lJJtbtU~OTJ pr~-shymtn~ thAt if lY ctfimiddotnnrfoilttltn( ~ M_~HJI ~~H fllghl P_eakt for theme~ts ~boTPfoeiltr 1~plt4ftth tbtm middottodlaquonunl bl~tt of thest ihen oftbeft1 0 f purp_ofo ( M -ltfiOiddfiemt)tom~t4 mehJ1eut I hm do (omething 1111 onb hope i1 thai fo~ing ntither J cold AJres A nor fheir idedties ( u thgDi[ntedtl hau t cAUthtin) hAue hithn-to Jeene foc~ttd in Ut tdrtJ of rnanie thg maierh~nttlflil)dt f~Kh enshytertllinmentJ llJ conmonlit nn~e1 aoth in tht bullorJ ~thith if I J he fo
middot ~appie~(o he11re lTtiUnoefaie my next jh11H Itt ampttirr1hut I ~a promift tO tfl~middotIJfOft f4intmiddotsroJmJ lliOt fOintsof mfiampJtwbich noJJt coufJ not JohectJuft YlitJtffcllrerPu (ofttlht (Jf~mtk~Jor~ ~~~~hen muflhe-ullJe~ connntDith e11ch IIJantlll))foU cenfurtU IjhJbe giAJ of fomt mtns vndeftrueJ fouourl
-J
--
IJ
Figure 4
~~ ~ A Table of aU the Songs contained in thir7JooJc ~~~Ul
middotImiddot AWordans LookecS middot Fertd Wlnto~ youdu ~~= Sheewhorematd)Jet1ebcaury f+- ~ Qncre did I laue ~~~ L~d ~r~Atongdcfuc l Ltc dOwne poorc bean J ~ bull n Wl I _ ~ -b _nere rngrrnguare
1 - i1 Hcroatenotchougb ~ z- middot ~ Wbcnleucandumo bull ~~ Swee(te come awa t bull -a Wmiddotomenmiddotbullhataicrtbey
EarcweHdccrc louc ~ middot gt ~ ~ 0 my paorc eiu r~ ~ a If fathers knew
bull ~e i Life is a PoeampJ phablo ~~~ Sweere Pbilomdl fi ~- ~ 9 That heart 1 ~
1 VVbit ifl feckc MymiRris
middot~ M ~ Petplcxed _ 1 ~ Can lllodca pbine dctir
I
middot 11 - 1 ~ ~ middotr_ ~ r fl~ - I
l j It I I
~ ~
-I i I
lj middot J ~t ir- I
bull Ill - -middotmiddot - B
L lL m IUL v VL vu VUL IX X XL xn
xm X1Dl-xv XVI xvn
I t
I r-middot
r --- ~ I r- ~ J
I
Figure 5
--------------~- ____ __ t
lf~ flfl TJE
B 0 0 K E 0 F S 0 N G S AND AYRES
Set out to the Lute lhe bafe Violl the pr-ynt Wdl etr tbr 84ft by
tablcturc afitr lhc lctlo ~114
CftftJJ Kobert Iones bull ~middotihl~ by Pr flaquo Afbs by bullbe
~Jm ~f11HtfNI Al~rl)l J tbull6t Cold bulll bullhe Inner l(mplc
u bullr bull 1-ot
_ +- - middot tmiddot bull
~
II
Figure 6
------middot--~ middot-------
T 0 T I-1 E It l G I-I T V E R T V 0 V S A~ D V oR T II Y K ~I G H T S 1 R
H F N It Y L f 0 N i D -middotrmiddot t ~ ~ ---middot~middot 0 R T H) Sir mJ my_ Honourablc fiicnd I giue you thi~ ~~ ~~~1 bull CIJIIJl pr~u~ gtou hnng at vp bccaufc I ttm o1 ~orc mn ami t ~ middot ~ _ can nor maanrunc bull t 1t bulluy ~ulfcc muchaducrfi u~ ~~~ my nam c
middot middot your For~u~c mnc aJ~cr llJS rtJrrcs 1_nd make h1m hJppac bull f ~ I fhopghllllbtherbe ahmiddot oe l ulltec~Uhoun Orpbanrlorpm rc
mens CbddrlfJ -are Orplano borne and more to be piuiCd d~cn they liJJt hJ11c changed thcidltl cr) lor their ltuJ ~ fud1 mlc bullai(e themfduc~hl due time we h0111C oo wJ ic to l lciglncnour being bm by lbulllothcr pomiddotNcr As Gcntlcwo- mtn pecce lhcmfdbullcs with Tij es and Co ronctsto t p flC trt mor~ per fcmablc ~nd t~ll o UltJfi woaJdc VntO OUl )ulctlCS if wew11 not De (corned iardwarfcs) rhccroYlC of Acnllc pC1fons mgtre cmincnt and hi~h Our (Lnurcs ~rc nor fct aboue d3nshygcr i WCcJuJowc hdor CUCflC footetO trcadc vpOtr OUt place IS he cround there icnodnng balc-~trwsandycr dcuil~ion _m pun n lower if wee h~uenotgood ~(reds Th~ y wiH fin_J _me~nc~ lfl digg c and In v s down~ irnu the cllth ~ nd burie yenS
bcfotc ourume Th1s 1s the nufc of pttroua~ct nnd thli ts rho p(rlecutton o( ahem tlpt wouldingroffc ~11 Gloric imo the~r owne hmds But t~cdJt UJl~ o~ rhtfe mcn they bite the truhe~ thcmfdues 01ould fee de vpon Vcrtuc would llrlng fonh mmie h1idrtfl but 1hey hold them an the wombe that lhcy due not come hut As the coshyucrolls maf~~ fi~gcth aU the hind about h1m wath fi3tuus 6ncsand b~nds i1 nd othc r (uch Iike~iumiddot 1 warre (o doth the ambitious intrap the Jinle pori ion of ante commenshydations cha m~ ic fie II bcfidcdilm And like the mercalcff- Souldicn lhe Cafilcs they cmnot t~ kc they blow vp They uc a~ f(nring of cucr ie CmUlrcJun~flc of crcdifbull ~s iflt were I aide vp in oonnnon-bmke and the more were giuco a wile the IelTe would ~orne to tl1cic nbullarcs Theya1 c mafcra~lc men) _f roill onlf br~md (htm wi1h this m rk~ and let dttmgoe Thty were Eaglci tftheyd1d not rJtch Hycsas lheY ate thcy-bullro grculhings)muchldfcthcnnoamphing For my parc)l willnotcorucoa wiJhchcm ( aeiire JlO appf~u(c or commcndadons lei ch~m haue the flmc of Ecchocs and (oundf and let me be a Bird in your C~ge fin~ to Y fclfc ~nd yo-1 Tl)is is uiy coment and this is my llmbition~ if 1 haucthis Jfiile nm in mtcxpclhton il more for rour akcth~t is my ashbntagct andl will owe you duciie for it in the m~anc time lrcfL
fl 0 Jt I ll T 1 0 H R ~
A 2
10
Figure 7
f
TO THE READER
rSI~~---11~~~ E AD E R 1 btt11t atrl moruuuttiWtJ to At~ IIgtJ oujlU rtPhul~r J b411t 6o1ft WU r no td~n( tlull
--=middot ~m~laquoh ft~inen~ rltoife thrt e~tU th4t jwiUf-1 fortify j - ~ry inrtnl toJll~rJdbtt lllll JJ 1tt btctufo
z kow tlwcwot r middot41d I IU jtlllrl ftDf gr~flJ(t D
comftlirltfto Wilrrant J tnJtutJMrs lll-bullfl o~U met~ ~ J bull JqJ it 110 fJ1J1111t tJ ()~~ Vfri~btrztQt ~~~ thttiJJkJt 1 ~~
J tntlfflt IUJtl~ AUfljt my Jrlfrof~lliJtnltt yluggbullJ ~~a~ ~~~~ iby fat~olll ~ whrrtin l t~sft rt~tiJti tJ itftritk rkJt ~D11bull
II~~~~~-~~ llllldllllorlt 1 then PJ my ownt bullfi 1 to frt 9 l4hD~ifl ~Ill (o Jbulllr The llNIIb b lllthlugh l wbull nbulll fo nilt
Jllltll J rptnpofol l~rt cA7rn t~Jt J J4n1Jt~t jl11d c tbrbbull~r~ of t~rirt~~min~tion Ttt Jwould bt ~it~J( if 1t ~IJtbi) thfl~tlt J1nJI7 tpptabat~tm mtJbtgtlltll1t mcouragtmtntto foutJJm t1Jan4rfoltJumfltt JrtlltfJJJJ rlmu t4ttJ hertJttr bull Jftb( Dtt~itr aiftk dJrlmiddot 1
1ll mjiullt- th~tt lJU fo e~DlJ til flbfffll 1J_
pri~su rt~nttnrntu(JilltrJ Gnt(tmt~ith~ut tbti~tonj~IUJ lhh ( lmiddotbPfl J nor 4middot gbullmJltbdr tltls RPtrtm if t~oN ftrJJ afllltiJmg to rnrtttfllltbmiddotrlq Jefiri rblt~k m~ jtlr th] rtltre ~uwr mr~nt tiNt~ J (nmiddotow nDJ l11w 11 ttiiIbullrt~ttmt Q(lr~IJt bullMtillllb~n~l tkrt p~NJ btn~ GtJ~thmbulln ( btn H 1tJ4j ~middot1 fo mfcb pbullrnufor fo hulltMJ) tbl wbullD n ~911middot cl11~1ht c~n 4~ ItA k bull~ loiftr bi Imiddot~~~middot 1l~~JtMjrlrJIJ g_olll bullJtiK tlritil bullfhu tNnmng JifJbulltlltmtbulltJJ tblttll) bt(t11TiflfllJ ~~JUJhlllfJ nolliIYIIJ hu tiJN)t rl1tfo Jrtlo dtjilehim Cif ht-6middott nt~~zruiiPbullP bulllirbnmiddotz ii) tb41hfmaj(J 4ctrp1tbt N6inrri DnDfiiiJ Nt1111t M 11 f~cirnl Tiflsmonit th~t J ttm wat bAiflrJ oinflrt~DJ~Il Jflhtrtifl Iter 1 iraquo94fftt~r rt~hbullffibullNJ7rll ~ ~ J~fiijitJIIjon ~so~middotrbrr~fl tb~l1fDMJj~inc in formt llltil tbtY ktofMttlhm~ Jytbur gmzt411Jtjl~ ~INtrltlbltlg J IJ n1t j11 rnbullch 41 tltfirtthtm o 6elftbulltbull ltARJf11ould hfrrbl teacluhmr At lr~tp bow tbl) IJII~ bt ttmt je F r 1hl 1Jc)Dl 1 will foit 1n1J t hHJ mMch tbtrt blllh not bttnl u~tPttt of tbil fojhitm wampicblf tha jh11l1 pron~gturt to bt blWirtbmiddottb btAtHitJ rtfl fJfifjitJ) if tlbJtit~tor Pbullrewell~
Leaftanie ntan fi1ouldfeen1e to acctlfc tneoflingularitit for expref~ fing thetimeo( myfong~s by prlcke fong Neres neuer b~reto fore vfemiddotd Ihaueforhis ~euer innruction hcr~un~o indeuoored to fatiffie him
amp t r f A Scmlbrcofe Minnum~ ChrocberQampIItr
-----
~ qA~ ~- ~ 1b [G~ ir~1
~~J ~ v 1
~ ~~ c a
c ~ ~79 - =-m
IC~~
~ p _l
9t ~ ~
ll4 ~ l
-- 79
Figure 8
-
A Table of all the Songs contain~d in thitltBook
I loue wing middotd my hopes I I Jly louc bound m~ with ~ kiffe
1 I f bull 0 how my thoughts doe be~ t me II [ Ore ames ~nd I magi Oitiom V Nfcc thought thi~other night V l IVho fo is tidmiddot= 1 II fie fie V Ill e~~utic (bndc further I X Now what is loUI X loues God it a boy X I Ouerthcfebrookcs X I ( Whither 1Unnc1h my fw cct hart X II I Once did lloue X II I 1 F1ire womtn X V D~mtic d~rling
X V l My Jouc is neither yoong nor otd X VI I Loue is a b~blo X V I I I A rife XIX Did cuerman
middot XX To lighandtohefad X X I Come fa tro-w con1e
0
I l Jl
iir 01 11 -~
~~~ ~~ ~
t~ ~1
~P J
~~8 L e
( _] middot~- - ~
v lft -amp A
l -
I
~u
Figure 9
-----------------------------~
VLTMfiM fl IILE virh a triplicity ofMuficke
W HEREOF lbt firfl p~trt ir (or t~t Llltt J tbt Voyc~ and the Vbullolc Deg1mbo The Jcflt lbt Lbulltt tfH Yllt 2J IMrt
p1ne1 to fine The third part is foe twoTtcbl~t to 1fint ~it hc 10
lbtAr n- rhll 1~ bullr t-
bull bf ~ Compofed byR obull bull T lo bullbullmiddot
fl fr1fbull1JibullJ~ ~ 4111 Priorcd It london br r~ i JIIiWd
~re robcfoJd l)yS pfn (lw J bt sJ-laquo
ttfiN C01bull1 I 6 G l bull
81
Figure 10
r~IW~- ~~~middot middot~- middot ~middot bull bull
TO THE GREAT lOY AND HOPpound OF PCZ(ESB~Tuf ~Jgt rUTUfF
Times H E N R ~ E P ri nee of lf a cr Duke Cl~r41wt1 ElJieoflhc CIJjtJirfbullibulltifttfchtjltr Knight ~fthdiDIN ribkoJenf
dl G4rUr Hcyu App rant 10 tht Rcllmcs of Elrjuntl Scotbnd France and JrdoJnd
Ojl Exrelknt Prince T Jr flrengtb of our d rt (] houJ aythrrPuaf(ncsgt) cannot endure tbc force of Soueraigne
erltlCpoundOf1tcncarcitwemay tU ncarc u to you your poundarcJ TPillyet_ be arc to deale wuhfottndes tbougb nor to
dwcU there yet to pajfe by tbcm1nd by teJiJ to learn to tune Jenjcs lJ a nper a~c c-A lmo all attr k[JlPicdge ir drallme through the ftnfirtbey arc the Saulctntclligencfrf -wbcrciy (he paffith into tbc -world a11J theTPorld into bcrttnd tJntangl ali ~(than )there is none fo learned__ a1 the tare~ none hatbobtainedfa cxccllrnt tJJJ ufrtJjodelicate1[a ablrufe fo p_irituaJ thAt itCIJtChftb rup TPifde fo undet in tbe Jitt and brin~~J tk Under tJ goucrtJC1fttnt ntJt to he expreffi1gtbut donegt and done by no sQll buf it otPn~ Thereu Mufic-k in all thinretbttt ettery tnan cannotfinde i t Ot4t)
iltampAJJjeofbilo~neurri11ghee MJlft baue 4 harmo1J_J in hiinftl[e)hat hold goe-about it and then bt u in~ good way 111 be that ht~th a gwti ~artJ in d
oudfot1llardtUJ to our focultit [ onceitc u but aTPtll tundejat~ry done in tinu ~ pLsce ~~~ ex(ellezt fintencril hut a TPell lHn~e rea(vn Dell nit ltgethtr P ollte or the fubt efl therof a [omit 1on IJ1ellltbu6utll lite I tuul middot e
Song T~htr~-allr41ltl Joettgrec ana lnccte together~ith foil C011ftneanti lJartiJOnJ one Jertung otherand cuery ont rhemfeltlet in tht Jam~ lAbour ButnolP] intrudeintoJOilr llrtin whicb 411 pnry(anJ ftc hoper)thal q oJ ~iff giucyou a oJy aru profpetOI~S k_JoIIJfedge anJ t)en aJ orhtr eJ rtCS foal profPpoundrnder it Our gracious S tll7aigt7(Tour H~h11ei dear FatJcr) hath ar11trd atul conortedjomc great prOfifiolH areaJy~ fi~eh1ittleoneJ dJ this )oo e for itgtand heg il cfw OJ4 your p ri nccb nature promi[eth it J hich m4 es nv boJJnet bopefor p4r on ltJucbfiifc tne(mojl exctllcnt Pr1nce) )ourProte8ion Ph(f1flt)on41lowJall Qtbtrs rPill conrmtnd theircenfitrer n A it fobulluoflrlikjngthst ot~~rraquoJift1Pold Jifpift me bull EN en your n meJ the forefrTJntu ll charmifor ~~talttiOHl trmgtu ThAI praJtng thatyour Htghnt IIJ aDtaet h~ttte dtJ tttre t~be te alir bulllltuJijingulj1J ~tht _fo14tuJ of lTlCth l necl tftJOUr Higbnes feet
Your Highnes in all hom blc tl~~tJt AIIJ cruice
RoaampampT
lo N s
82
Figure 11
- ~ H c ldndc A pplauf~ vherevith I hau~ been~ revardcd in n1y former A yrcs hr fuch Gcndemen as can iudg~
~~~mJ Imiddotb middot Y the e bull are~ an not other 1n~ns Echo~s hath nov du s ~ middot durd t1me gmcn n1e heart fron1 then to hope for the
like in tbcfe V hich l hauc corn ofed cuen to hew n1y
graticude rovarcles them I lulO eucry Father is paniall ouer the i ue ofhis body)and hauing his iudge1nentcorrupced by Insaffecti- onis VOn[ rofpe~J e bis Chtldrens prayfesaccordingto hisovn de fires rather the i1 I he ir de f~r ts 1 t tna y bcJ h aue thuS oucrlookcd this iffue ofn~~ br3iue whereforel wiU onely comm~nd my pur_pofceto ntakc tlus lail my bdt expcchng to reade the rruchof my fdfe out of thy reporc AnJ becaufe ant notignorancenough)to b ~egroffely taxed by any of our cunningJvlaiJlers nor bigge enouamph to beflar te~ed or c n u yed 1 hope I 01a1J not be driuen toe nq utre out my en~ 1 middotes) co heare of n1y fa~cs nor to befpeake mylriendes~uour F or ho1rvloeuer l an1 fe t in an vndetfortune thac hath need ofampicndlhip y~cit n1y Vorl e~cannot 1ufiifie n1erny wordes Htalluotl bad rather dye a be g r 1tbcn Jiue a boaler what skilltimeand mycontinuall
radifehath biucnme)hcre I gladly impantocuery wel wiUert lat gr(tuntcs me buc acc~tanae for my paines And fa I comn1it my icfe to thy cenfuse1 F arevcJI middot
7ohertloner
( middot
83
Figure 12
A TABLE CONT AI-ning all the Songs in rhis
BooK E
1 ooenotO do not prize thy be11utie 2 middot 73ea utic fote bathing h y a j pri ng ~ CjoctobedfrJJcct6lvluzcgttak thyrcjl 4Shalil loaktampoenogriifc 5 ~Pbar1jJ fpcd1t1hert 1 leafl cxpeEled 6 Slpeetcijyoulik and lotte 1ne fliJ 7 SetifetrothledrhoughtJtofgh 8 Scinrhia~cene ojSeas and Lands 9 rB la111enot tn) chee 1 I l o There is a qardci1 in hc1 forc 11 S1reete Loue my oney Trcafr4re u ~hinkft thou 1_ate to put me doUJne I) Jfhen willtltfounraineojmy tea res bedrye J+ F lye ji-o11J tbe TParld 11 Happy he botofrraquo etebomc retirdc
-Thcfc following are for z Tr~blcs
l61Jiftlaine thntjoll amph Jilfne 7 middot o) et)erchangeandjjttre not
I8SirctiuftJijJAineh 1~to ri t
19 cuftler ry hands lo vh ue lgrt~ceintreatetl ~o Oft haut fmJe the cartfe to ftn e ll J(o hAuefleamd-mithmuch4doot~tfpjl
B
84
Figure 13
ORTHE FOVRTHBOOmiddotICEOF A Y R E s
The Firlt partisfor tbe Lute poundVO Voyce s and the Viole de G ambo The Second part it for tbe ~amptte ebe Viole and joure V oices to Sing The 7 bird paramp
is for one Voycealon~ ono ~he Lumiddote the llafTe Violeot to bach if you pleaf~ VYIrrtoj~ tAlo ut ltzlitn AJrtt middot
CompufcJ by R o bull l ~ T 1 a bull s
2f trfont (intIJ J1fJJmiddotil4 iMMJifl
L o P n w lrnplintedbyloHN WI~ D T andaretobcColdcbv StCO-rt w TElSO lol inPowlcs
ChMhmiddot]tlfd)bulltlhl SlJt j lit Cfll~middot l o 9bull gt
-----
I
--- 85
Figure 14
1
- ~~
TOTHERIGHT YV 0 RmiddotS HIP F V L L AN D VV 0 R--
thy Gcndcn1nn Sir I o H N ~ E v r N T u o u r pound Knigbc pcrptlll3ll liafpinrffe and [or~tcrlt
~~)1-lpound--- -- fmiddotts not vnkncvne =nco your wcl deft ruing fdfe 0 R igh~ V Vorfhipfull that not long fince 1 cooke n-1y
V~tiltttm )a[t vith a refoluing in my ldft lHter co
put llfh aoy VOdc~sof che f1mC Natllre and Fan ion VJlereupon) betooke n1e co the eafe of n1y PJIIov
middot where SompUI -auing taken poffehionofmyeyesand u 1orphttlf the charge of my feofes it happenrd
~~~~Mmiddot~~~bull rnee to fall into aM uftcal dreame wherein Jbulldl middot nc~d - to haue many opinions and extrauagant hun1ors Lf
di uers Natures and Condttionsfome of rnodet mt rth fame of a marc llS Louc ~nd orne of mofi diuine contemplacion all (hefe I hope 1 fl1all not gue any dtilafie to the eareror d nde to the mind eyther in their words or in their r~~ ueraUfoundsalchough it is not nec~ffarie co relate or diuulge all Drean1es or PhanrafiesthatOpinioo hegcrsin lleepcor happeneth to the n1indes apparbull[i onAnd continuing long in chis my dreaming humber I btgan to avake anJ vp n my eyes v ndofin~ l bethought n1 y fclte being full a Vak~d aJu itlng n my n1ind Vhom~ to dec1 and chute as a Patrone for the lan1~ l Vas eafily in -ued to n11J~e choice of yqur V orO~ip a3 one to V hom~ I necelfarily ou ht
both lou~ and duety l nJ howfocuer l m1ght feare that you Vil not adamp0
ledge it yec in thlt Nature ha th inricheJ you Yith more chen ord1nlrie know le oe in th ~ Art~ be~inga Vi ntsofthat Lo~t~ Vbich you haue ahvaycsl ffor
ded to Mufick gtI en1boldened my fel fe the rather ro pre(ent it vntu ycu Accept itthen(good Sir) as a T oken of vnfained Loueand a e be
worthily Jue ynto middotyou for your many fauours done to him [hat is
uft)middotour lforhiju conJmaund
----
86
figure 15
Thi~ Greetin ~middot bullbull
~~~~ HoulPhofo dare itcbeJ ltJith the VJrietie of opinion h~aring thinr oraquome otlJdtJf tJc ecchqc nuerbcrtJ~ ing otfJeTJ fubflt~nCC and lmprofit4hfr ~n it
middot jtlfefhclpt s to tbe IVorld comfJrtaJie liJc though to thy orvne ~Je bttle middot~~~~pleajurcLJ retjon of)lnch-umiddotirbl~ctn[ure I fpc zlte tot bee m ujirall Mo tuusthotljimiddotcm ruboft Jucctie IUimhcrr ~1 J rajiy pafeJJ drop1 foil in tbc jhonre Dt4l
)ithlrjfiprofiufcomprutmiddotthcetothqhlt nuy Jr4l tbatjlitr int0 11UJUCJCf and ltJill twt tbcncertJithout much troubli) or tbuu rn t JJ Jfper[el iulgemeiltgt not oneamp art afo jeniru tofecing kJonde~~c hut moj fo ttlty f ct o d jcruing i~Jdamptflr]fL~~gtg 1110zte r ctU of the 111oilpurt Bilfoaud Jmoothiu~ tbt~ plztncl Citttl ~ rvben on ely thine on~ne opt 11iltJ1J it more nJrinc~lcd and more vitiotH mit ~( then grcjJcr10Yle lo tbJt 11 a brujh 111
jcFlcdlPilhfithgttbott ralbcrjomiddotlcfl theti iiMI( pebullje( 41VWl) I ha~1e jlooJ atthi11c e lho1PJ andh~arJ tbcl prop~Jtne cur a 1 dlfit c1 bcfl J(ryu and 1tJith thy lntu~zde ref 1b Jot f~rde~J rfl gnoh iy l4J1l ltJJilre~ ~nil f f~ renot g~eaty_tJat tboul~iltlay to raquo1J ciJatg t 1 111 lD vtfu111C )Oll11 ~Cttrrag1tRf 6ecaufe fft011tied a r ~nuch but 1md~rflauJ me tbou-ns ~VIitll dojcanterdtriur Ji o 11 tba t JCrue fPlaineSong charit4bletJtlm hers)and tbotl (hale fnd harb Joicr I ttr~ ojtrtl t1 J0te ahoue pound redr1c el hJ tn~er
izulgtment n bicb 1 htrc4Uc tht of tJmiddotorPinrl by RJtler are as orr nelll cmne Lutf be~ -_ ing ofrJany ftri~I(CfIJOt((ffamp tJjJJlmlcflr ~~~ ~dllefittlreti1 praf1i(tput fon~4rd it1to
dcjerurng Dst4ijtaiJ rr hH nIJ aduerJI ure I r nomiddot rtccd but drtanze) and utJat art tlrcamei poundut aiJie fCtjcfi iotJgtandjcttrall ayrc s 6reathll)~ Jarmonio111 llilijperitJgt tbongh to thee difcordlmiddotet toolbcrs indffirent 1rvill not ttY cxcellel~(~ becHfe it is 4J
othen otflce 110ttni1u 6ru let tbcm6~ as thtY arto~lmiddotcn propuu tul my p~inct _(rt forth j ar pleafurcgt uot for pw1HJIc~l poJou Jiucfl itntrginatioiJIJO but aJ a fhorPrcjt~llitiJ i1 ~urcdfuil ft~fouJ~ 7 jJtUr m fmiddotlje atlrajlaJJd wrl(ay fo et4er bY au otbmiddotrj lPhofe IJ bourfhJI vfJ(t Alujt~udl uuulu~ztt -~ Jbe rmeiy rPiug fJ IrJe courage being tl1e mofl pltttfo~~ 1luice ~(11~ 1) nmiddothotjnmiddoteet~rc J t t11chcr h 1m to hcaiHIJ itfelf~ Jt ir Jjara if a thi r pztt1cs rcpt ntgood romm~ndJti~Jniand it lf t~ttr Ulrtlll out of 11 Flint itJ the toll ith l hou ntHer rl ink (I u ell of di1J 1 Jn ~rlJ bull(rt in tb) fjto v nri(Jifi1 encr aJ l lJ Tt~tor jranJ tbr I ~ Jllol middotrc fotdtlneuct Jnn rbcc 1~1~ it~ irune be 4J thott art a h1mp of Jc(onnity lllbm I Jjhonbrcldt i11 tbe Ufvdr ampi diAI~ir~e nd 6rontht forth b1 b~n~iulr l1emiddot g~r ~ t htftt r1 11idn fc to ~til t i nc m n rt f
j i umiddotme lc u todrplrt Jmiddotor ifnd J1Ntbout it J $111 gonec rtltfic o~ til)middot crnfitrillifi arf jJ~IIy p( ~(n 1dcd thuu ca1Jjl110t thiole tlrlnd tcrefurc art crufl tiJ thy [raJie 11 IHr pound0 1e btu (rttclltJntl being 6on1c wit b rce tb irJ tly bc11dbit eucryeuronJC D47111ele t jJ tbir orwbat rijeboncfl iudujlry~nxcr th) ~111 egosip trJo
fucwdl1f thou wilt in ~in~llclfeot hoi~ tlly fClfltfitgtm1inthcr cupmg
87
Figure 16
lee Caldi fopitmiddoti Samor nfltJ c t~t du119Uc
B
lO
l~
------
88
Figure 17
Or [he tift Bookeof Ayres onelyfor rhe Lure che Bafc vyoll J and the Voyce
[ompofedb) RoBs R T IoN E s
QEe profontjingula mdta ibullmant __ _ ___________________ __ middot~-middot -middot middot--- -
L 0 N DC
rrintcd hy tlbullc Afigur~ ol ~~
Jij0ilfm lJdr ley t 6 1 o
I 89
I Figure 18
TO THE TRVE HONOVRABLE AND ESTEEM ED VVOR THIE THE
1 f q H T If 0 7 S H I P F V L L r If E LAVY vv R 0 T ll
~~~~~~On Honoured Lady my ddcfl anJ firft iiTuc hautngthr(ud fo ~middotdl vnder the protec1ion of your Right Honourable Facher blame not this my yonshygell and h1tl Babe if it dcfiroul1y fecke ampnctit~ric
~ with your fdfe as being a mopound1 vonhy branch frotn fo Noble and renov1ned a flocke It is here uarie tc I
a - your whole houfc noton ly to be trudy Honoura7 bl~ i o your feluesh ut to be the fa u ou rers and fu rd1ercrs of all hone 0 and crtuous end~uourpound in others And [hJt n1akes n1e fo farr~ daringas ro prefunle to offer rhis o~dicadon to your fJire acceptlOCP- AnJ hovfoe uermy defeCts therein may happily (or rather v1happtl y) be n1any ~t an1 I moficonfiJent(and tl1atgrow~s fion1 tbe worthinefleofyourowne nature) that your 1-Ionourable minde middotviii he plea fed (fince it cg s c fc lfc moll humbly in your annes) to giue it villin~ eqtcnain~ment and to countenance it Vith the fairc Liuca ie of your nobl~ Name It may bee flighted in ref peel of its ovne valev bur your f1uourable acceptance
wil~ bot~ grace it andmy fdfe a~ a poore Table hung vp euen tn Pnnces G lJoncs ndt for lhe VVoo ~hut for the Ptdurc
And fo (Noble ~ad y) not d~ring to bee ir~Ious of your rlonourable entercaine
menc I rcll
-I our LaJyjhip Jellcted in all dutit
I
RonERT I o Npounds
-----
~
90
Figure 19
~ )~To the friendly Cenfurcrs
- Eart jriend1 for fi I ~sJIyou ~(you pltbulltJ(e to acctpt my 7ood lllttJning i prefented yot l~fl rraquouh a Vreame i1j
middot wbich 1 doubt not ttt Ottr jJJta(ies htJue receuud fame rcafota6e contentment and now f JO~t pleaje to lee 1l9afd ortt of that VreiJJne f jhaU for your rerre JIJOIJ 1nd rcfi pound(bing guide you to tbe_1v( v s ~ s G A u ~
~=-o~-o~~ o EN Pberrytu (halljindj~cbVttrittiemiddot of Jelighn tiJt quc-ihunltfeJmiddoton n ill wilitt~Jjcnd fome time in the vien
t rrtof 1 n )Ot~r 1jentr411Ce into -which Cjardtmiddotn) yotl jhJIJ mtett ~ith Lout 1 CJr r and li6tl6ht bHt L4Jur frt foortb at lt~rge i11 biJ colourrby JFay ofdecypht t in6 bim in hit 11 ~1turt_~ ln the midfl ofzt yat4 fbaU find Lcmt rciefleJ) vpon t~rLnfu~cie 1nd b1rd mtajuteoj-ingrt~titude T ruching them that ar~lourrt gtI cr1 tumiddot tl1em to tltiro1~ne Ctl~(ure in Lout I defcripttou eJrul nowfor tht end it tf )liJn~ble UJ anorbcr ~ tur)for tbedcligbt oftht ettrf tnjamptUJjit opbull~1io1 14111
nM ft lrogant loco 1mf1Jd mi1te onme gitt neither yet fo Jegtnerate IU to be-g )Uto tdl(rartvn fftbejt d hgbtroFloftl(rt) or)4r(tico[PruittY ruaymJ
)1 ~1~Yt J -t rle _rjtng WJOffr_(ut i 1 jla1 bl gitJd Othel TPije J raquoiiJ )O)) nelIICr to J~middot t_fot~gtPluu orgraft and my ittbourJ butcrflrtb jh111l rtaft to trou61e)middot~ott
iJ Jt41)middotilln retlr lniflil r ~-tren ot will f1etunty ourctnforesl and dcfi~ your malice if you drJfe iht 1 a111 rifolute 1
ijyou11[e me r~ith rtjfe(l 1 bidJou mojl bearti_v
R I
--I
91
Figure 20
THE ry A11 L E
~Ouelouc=
middot~ tpound1 Soft Cupid fofi middot~ Alec 1 the fiUy 6th begu1c 1middotmiddote lounuhtcs ~~noake o =okin~ hy ti~( Riocr ride 1 n nnot (n 1fc but liuc 1 (mile loy in lhy Imiddotmiddot ( S
How rn~uy New yccrcs luuc grow ~n nldc There vvas lt~~ ll lcptCoJrd bull hn d~d litH The Sea h~h 1nany tbo~L~nd llnd Omiddotlmiddote dimiddotJ tnt thoHgh 5-both cLbc bullnd Sow l ~m b t~rrt ftom piuyh g th rc h 1 2] lately in a d1 came There wu 2 wil y a ddt My f~thtt fampinc would hluc me uke Mv loue harh hcr trot L ue bctro11d All roy fenC~e thy tweeuncfl~ g2incd T middot t~ CC de1fe A fpc wnh dyna voice Ddwld her I d ct like wire~ ofemn Gold 1lhouwb d1lt 1iogs ufmy ddirc h( dipt _l~ht 1 rcdccun cnln cu on witu mtnc ryet
middot
92
I Figure 21
Robert Iones bull XIX CANTVS
-~----- middot_ - ---------~- htl_ _+--=--= =- middot __ - -middot ---=---- - middot- --- -==== ramp-1==+~- - middot -~------- middot-- ---- ---___-
kt her goc
rtmiddot-w
bull And 0019 lbc rwofa dit but hu Nzyny)l moRneoctdlyou An yri I will ltis fo ( 1
A5 tlaquobelt tahha ~hen loucn IIKGC
5trt ~oma~oo tk ~ ~ Tatdl you mateilis necdldft~ I nnnt md c u hew by middotthe 1ooe And tbcnlQll chis wu ooJ~
93
Figure 22 ------~--- ---
bullsAtlV
llil 11 ~ middotl llh1J 11111 lllll t ~ I l ~ ~ I II II II I ttJ S amp I a HIH lf lll It g I J ~ I L~ Ill~ lt lll
vi i i II t middot1 ~ ~ I I II I ll
r
I l I I
l I bull
l 0 middot bl
1J 1 bull i ] _ Q
middot a middotmiddott kl U I I I I
_____~_=~=-~JIlW~ wrong bdccue htr not it wu not fo I dJd but lilfc her I did b~ Lilfc bcr aac~
-__1---------- -middot- ------middotjmiddot------ ------------- - --- -~-- middotbull - ___~__-- ~
~ ~__ - ~--- middot --~--~
----- -------------middot--------------------===-================-=-=~--middot---------
4
Figure 23
Rob~ rt lonts Xlr CANTVS
~ F 1 r ~ l ~ - ~ ~ - P r lt1 J c r bull ~ ~ r t r- r n t b c- - c
- middot (~-middot~ ~ ( - ~)7-47-~- ~ ~ amp --_-_ ---_- ~sectC-~---_---~- -(--~- --~-- -- -~ -_- - _ E - -- middot- --- --~ -L-~L-middot = middot ( -- --~middot-- f -=---~~ -77-_-C_ - t _ c ( t2 - -= ---~---- -- middot-----------
middot~ middot
n_ tt=l= -iIt~_plusmnt_~~poundltr=t=~~~=middotumiddot==---= -_ ~t=-==t=-=xtptl--~=t---=-t-x~-E~=-------
go there be many mo I fcltC nor why then let her goe 1 care DO[
---middot-------
l
Far--cwt UfJrewdllincc d1ls 1 finde it llllt 1 will not fpCod more nme in wooing you
nul I iH cce d w htre lfl mivfindhctthcrc S1=-ll l bid hct goc Vh1~ and rll Jocf
Sh~lbid her go and fparc not tll oo oo no I date noc
J Ten Lhoufand imes f1rcwcll yet fl2y I hilt Swca kilfe me onceJ t t ltdfcs limcbcguic 1
l h~ue no pow ~r lo mouc
How oow 1lt2m 1 io laue W ilr d10u nec middotbe gone Go then all is one
Viit thou need be goncoh hi~ thee Nay 01y ~nd doc no lnoampe dcwcmec
Once moce flrewcll t ~lorn rodcrrwrct Bids oamp adcw to her due holdcs Ill bm
But fcdh~ r mnR kgtof~
7hy loucwbi h ldid chufc Go rhy waies for 111t_ smiddotncc irmay nOt k
Gothywaiesfor mehucwhithcr Go oh burwhcrcl may come lhitber
r Wh~cCh~D I doe~ my laue is novvdqnr d Shccinsramiddot~ -a -c iscrucUhart d
Shcc would nor be intrc-attd Wirh pnicrs oft ~~ -J neccomc no more Shall I die ther(forc
H tb~e come no mor what c~rc II Faithlctbcr go or c-owe oa
(
95
Figure 24
---middot -- _____-- ~ -- ~
I
- --__ -----~ -------__- ~-~~ _ _ ____ ___-__ -
- middot --~~--~ ______ ------------111middotmiddot-middot ~-_--------middot ----middot---___- ___ __ _______ _ ____ ~------~--~-- ~__~___ __ _
------ -~ _~-----~- -~-middot----------------
96
Figure 25
204 SONG
CoMIOS-U uv middotnoLn nT Jor-o Js
~ - I middot middotluoted by ShakbullHiU~are - ~~~~ homiddotm tht 1 Hnukpul1lliOI
middot~ h-51 Jggff==r middot r~ Fate- ~ wtdl (l~arl loe since thou wilt needs he gem~
-=-t middot g-one
luC 111inn~ thnn wile IHls lu ()UC
J J loftgt since thou rilt nteds middot lumiddot
1 Jp4 J =-amp=imiddot------middot -r~--t-11---+-middot r=~-r=----middotJ__tJJ middot Jnine ttcs tloe tth~w my life i almost done
--
fl-=t~ -
IPg I WlH y middot t
~fLSI==r=f=lplusmna min~ eie doe _ 11hew
r nbully middot lite middot is almost douc yetmiddot J wilt
rplusmnHmiddot ~ ~ff my lilc iJ ycmiddott I will
Imiddot r--d E4 m y life ia almost yet 1 will
( -~
~__~middot--==--==t~- ~~plusmn 1
ne Vtr die HO lni1J t I ran tpit 1lumiddotnmiddot l)l- trHlll)
~- Jl==q=T-=_==~-middot- ~T~ - 11~~----e= - =r=-=ct ~middot - r--==EF~----=I-~-===+=FL0 - middotFJ==Z=c~~middotmiddotmiddot- - -
n-=- wer dit~ lon~ as I taU 51lio tlu-nmiddot ltl ny nm
~MIEF F i t~sect E tr l I c=middotreg~-~~~~-D bull v~r dit bulln oug a~ CiR hllie thn c 1-tmiddot uuuy inu
a~ t==t~~ r _ q~~~-=-~ ~= lllt - tr tlic ~ ~0 long lUI I I can illh t1wr htmiddot Utmy UIU
97
Figure 26
LO)
J t W=- --~4-~ middot thoughtlmt 5heeclre gomiddot -there he rnan u1u I If~ -1110
I I b P c ~ -B - j- -k=tJ4--t==fi=4D_ I ~middotrt thouKb that Hbec llo e Jeo fhuc be nuny mo not
not 1 _why tlnm let laer gne 1
Eamp--e - ~ - 1 r
1
uot ~middotby th~n let her gne I
1 F~nbullwell fflttbullwl1 sintmiddot tlll i I rt11ltltt li truemiddot I will 110t 11p~ml rn~bulln~ time iu wouing- )Oil~
Unt I lt~ ill fttbull(bullk tmiddotl~ wlwnbull If I m~y fhnt l1r hlaquo~tt
Shall 1 hid hlr gnf hat litnl if I de~
Sha)) 1 bid lwr gne and middotpar~
0 no no tut no 1 dare nut not
l i
Ten thnmbulland bullimt-11 lart-wllII)Lbullt 11taymiddot Jwh ile Swevt kisse me onctlfmiddotWNt kis~d t ime b(J~middotuile
l hamiddote uo flPWer to mmmiddottbull lluw uow arn I iu I on Vilt tbon n~tgtd8 be gonemiddot
Go then) all i~ onbull Wilt thnn umiddotN)~ btgt gontbulloh hie the4l Ny ~tay oUHt lintbull 11U lnonbull thmiddotuhbull lll~middotmiddotmiddot
J L IJ_ -
0
cnr-r lOt
-~ 1-e lg
care not J
JJi I 11laquo1 ) ~ar-e not -
0 IIi
ca re nut
4- middot bull ~ Onc-e more fu~wbullmiddotll~ l 5ee )Qth to dlaquo part j middot
1
llid R ull bulldew ifl lwr that l1ohtfbullbull my b umiddoth Butmiddot ~~ting I nnut )O()In~
_Thy love whkh I did chuite
Go thy wRie Jbr me _ Shlfe itnu1y not he ~ middot
(4) Uy WHit~ for me~ lu1t whithfr~ bull 0 J - f
Go oh hut wlu~re 1 mRy come th~~lur
f bull bull lmiddot I It tihaH I doer my lo~ it now middot-middot~middotpart~middotd ~ Sheto is ttll fnirr asmiddot6hee ls cruel1 harted
Slu~middot would nnt h~ intr~ated
With pra irra oft repeated ~ _ ~ If slw~ f()rne nq more middot middot ~ ~
Shnll I middot11~ thtoreforf I
lrsh6e come no mor~ batwh9t cbullr middote I~~ -1 FHifh)rt htr gnor lomfor tarry
98
Figure 27
CANT VS vI I I rCDERT loNE~
== ttf=y-=-t-===~=~~plusmni+==---=middoti--=rr~ -t=-r~==t-=t= W sect~~= - =i middot =clt=cL =~-t=- -middotr ----=i_ --~ ~-- - -middot-- middot-- --middot--- ----middot-----l- --middot----middot- ---middot middot--- -middotmiddotmiddot-
Clut no I phinrly Cu how chou wouldftbinclc~ucauurc l ~a~ t c11rll not to gofatbullu a
1 r 1 l 1 l r l lmiddot r ~ r i r --- ~---n_plusmn ______ ~ ---J middot- ~ s L -d--r--gtlt---- J LL---- J ___ c_ -------j- ~-n1l ~1~( _ _ il_il_ t_ ~----nt_L- -----_[c______ -+~~ 1--L- p ___ -L- -~--Lpound ____ _ ~-____ j__ __ + ------ l -middot~-- ~~- l --1 __ j_ ______ (__ l ~10_ -~---- -- i - -- - - middot - middot -- - ----- - ___ _ I _ __ --middot ~-~ ----- - 4l_ __ ampJLt __ --------~----P-1---~middot 3 __ c__l_J _ _r__-ltJ ___ _ _ _____ L ------
- n
--~- -~--+--middot-1--~ 1 middotmiddot---middot--middot~---- middotmiddotmiddot- -----~~-middott- =--~--- ~~ - middot~---iL-i- -~-- -- -t- r middot-~- middot -l middotjmiddot -bullmiddot I- middot -t ~--~---- -t-~~-tmiddotmiddotH- - middot -----t-~T middot ---- -l -- ~ middot-07- middot- -middot-middot bull ~-Lmiddot- J bull---- ~--- middot-t- - -- - --f -middot-- - -fi-l-L- -+- --[middotmiddot -middot-~ middot--middot--middot--1 --middot-- - -- - bull - -f- ~- --I=_ --middotmiddot---- _I __ __ _ --~- middot- _ _ - _ ______ __L _-t _ middot~_- --_middot--r~ -~~~ Q-- -
fuct 1 wlscnrfiO Jic fi~ nofwtctt lhy amp 1 w 11i leU thee why noafuc 1 wu ace urn JJol bullto goc oat bull
t f t 1 ~ lmiddot t r 1 1 t i ----middot-l~a--__ _ __ St_tLi-3---- --~(~ l-~---1~-d- a aL _ __ _ ______ Jtl a_JAi~-11---~-middot(_---+7Jk~-- - [ A--- -----__ lgt __ ~-1 ----lmiddot l _ ____ i-----middotmiddot-----~--L-----6~ - -
S-( _ 1-h_kJ--middot ----middot ~- L-----Llt-S-L----L__L ------- _______ J_ ______ ---Aplusmn- ---__ _1 ____ -middot---bull ~ ---~-~---1 ~-----L---- 3- ~_t_~- - ____ [ _ __ ~-~- -A - --J
----middot-1---r--t---------t-t-middot-----1---middot ------11-I-t=-~ middot ----L-- - -middot -plusmn --- r-middot-~--- ------middot middot --~middot--- 1--~-middot _-middot- --- ~---------===middot ~-middot-b-1_ --middot- - --- - ----- -~---f- ---fmiddot~-- L- bull - ----- --- middot--- -1-- - ----- --~middot-------~- ---- -1middot-middot1middot-middot--t- --J- -middot- -- - -middot--middot----~-----shy--- middot----~-~ ---- - --middot------------- --~ -~middot ------~- ----------middot
firnrurc I wu l lturfi 0 fie fie oegt rwct lll) uu J will tell thee why no
t I t l t lmiddot~ 1 l -L--~- - - middot-tmiddot J _______ ncU ~A ---S-A-------tl- -11- middot~-- - - --------middotbull-- middotbull----t_ _ _~_ 1 ---middot-~ - ll -o-A--AJl ___ ------middot- t------k- Jt-- -~~ ~--middot- - - - -- -middot- -r~-~ 4- ------llmiddot - middot -
-_~------ _ --~-~---t- -~-----J-- -- A- ------~ _ ----- - bull 1 --middot- -L--middot -- ------------ ~- - c --~--------~----- --------middot ---______ z_j_ _______ __ ___~~ ~-L-------a-e middot- ----middot --
J Oncr m()tdrewdllincc fiJI l 1ord lh_ lpcak
1 uJ bull 1rl bu1 (mlIJrcwcll ubull larHIWout lbullrcalt( Bbull middott bullbullo middot ltn( 1 Joe linJ 1hy loumiddot~ 1lltkt 1he -middotioampl
Wl11 1 l olo-u I Tl llcl-1 cro die
Whlll foolc- lnll u aor Y t fq 1 at l (oulc J ~~lfc nor
)
Wocnne ai~Gc h) diJ lllt[ b_im soc~ 1 hdc be the ~middotutccs of uilc fiym nbull
Now tbu hec o dfproucluchow uullhc cuct loucroe Nay bu t n he gCncbull
lhcn I am bullndunc Nay lnn i1l1c ~oneO hodliD
fl(c-uy hing lU ~CCVD oJcihua
vi gt VI V)
lt a
99
Figure 28
1 tn 1 I I I II
ll 1 I l middotI I I ll l l l tl I I i Imiddot i I i II I 1111 ll I l n I It i i Ill l I d l t I I I ~
f Hif tt I I ~~ I if t
1+1 ~ a j
thll
ALl V S
I Tl Ill i II L I I I II I I
II II I I rL ll1 I t I I
l i I I I I I I I
Iii 1middot I t
IHL IIIli
I I II 1 II l I II 111 I I I I I bull I I I I I
I bull I I ll 1 I I J
L t I llmiddot II ~ I ~ middott
I I ~~ ~ 1
I 1 t I 1
111
t 1middot II I bull
I tJ It I q I I
~~ I I I I
r
I z-1 __ 1 __ =t=-~-----1- - middot -~--~- ~ -f=middot -t=--~--~- middot~-- -===-middot~~-1 N~tsect t-~--_ _ c ~middot _--- __ _ ~-- c -=-b-- _ ~ ~ =-=-=--Xl =plusmn=
- b--- ~--_ __ -- -----middot-middot --middot--- - ~ ___ - ------------~-
nl rJ iiOr-T 1 -
ArCwtll fond )OUt h iflhcu hbulldR llOt bccnc blinCl aut cf Dline emiddotcbull thcu mi~tu n ll)Ut read my mintl ~~ J411
t==+=i =middot -=+-middot---poundmiddot _Emiddot -~ i=j ~ -ti~- -Qt=~ middot=i==- -tl-~- --~ - -~shy~t ~-i ~----+=middot = --~~ - -= bull ~ _ +=a~C -c + -~-=-middot ~ ------ -----~ --- --- --middot -~ - ----------laquo= ---- --~- middot-~ middot--
but now I plaincly fcc how thou wouldll fainc luuc mc(orc lPII~S Uturflnot hJ I)OCIC firtlft~re lu atcurflO hamp
-=t~-----------r+--tmiddot --1-1-l middot 1middotmiddot-r~--- -- middot middotmiddot- --- ~------ - )middot~-----~----- at-middot_t-~--1= 11_ ~tc=l=~ Ei middotmiddot-r- --tI +middotl =0Etmiddot plusmn middot i irlttmiddot ~ - ~-~ middot ~ --plusmnt-~ - - ----middotmiddot-middot---middot--- -middot- -middot _[ - ---- middot- middot---J -- - 1--l-- - -- - - - - -- -~---middot------middot--- - ----middot-- ---- middot---middot---middot+middot--- -~-r-4- -- --middotmiddot fic6cao fwect Aay ~nd I will cell thee why t~ofurc I w~~ accudl not JO goc at firfll(urc 1 wu accudl ~0 fie no f wcct
100
Figure 29
I
CANTVS
lt ll-rllt 1r1t 1 lmiddottl 1 1 - t4---6 A-A~ d~Apound~-fi------ ~ middot ---~
bullmiddot te_- ~I i~~I~- ___ --=~rmiddot --t=Z=j- = --Lt-- -- - middot--- --middotmiddot -- -----middot - - A-- middot - -- _ _~__ __ J ___ _ J_ - - --- - -----~ n a- L r amp_-4--- - -A I - -
~ - - -bull -middot_[- _ - - - - middot - -middotmiddot - - - lt- ~ Ll bull middot- -- ---_ middot- --- ---l~-middotmiddot -~ middot -~gmiddotr ~iiftmiddot- middot--~11--j~-middot _t~middot ~-- plusmn~~ - _-- -- ~- _ J middotmiddot~ - middot J J -- - J~ ~ - bull - ~ -- - ----= ----middot~ --- ------middot -------- J __ ___ --f ___ ~ -~----- -----middot bull middot- - - middot--middot- -bull- middot --- -- middotmiddotbull--- -1-- - middot- - -- I - bull bull --~-
I
bull A Mble d~middot ~fc wH ~ obin Jhlod - V(c l ~t be cbullJultl J ccc 1uc Jumj
yet r- ~r r middot~middotin hh br ltlt H lmiddotllOJ
C u iJ~~I hbulll hrlll bcruuc h middotlll to gr u rn ductelbulltl-hidkn wJltr ~kinmiddot
then lnauty doft lylo~l~ddn womcnt C )CI
Htf i lly jobJh
4
J An Our-b lr as 1his Rollin I lood
H1i l-1fc free and vnruly Yu [O fitc M~bullri~n boull d h~nood
Atul louu debt payed hu duel y Who111 cur be of Ctnc lmllaiyen could nor hold ia
Louc t~ri th obe)middottd~s mJ a winLt could wiltnc Heyiolly Roh
NoW~ w(nd wt l1olll r ilou1 Robi ro HooJ Lc~uc wuhc woodl bchsnd vt
_our fl ho n1 muU nor be w~lhfiood but ~~nr whelt u fi lld ll
1 h t Ill hclIbull11J h)WUC 1 bullud fo ltltd h( I otm( w r icentW~HJdbull 1 1ootlollnwcd r
lhr ullzllt~~J
v~
gt Vl V)
lt
Jlftl
litH ~~rm ~ middot II
I Imiddot~
I
II tt-1 )~
101
Figure 30
I
102
Figure 31
CANTVS bull III
W=tRW=~~~~==--=-------=--=--=--== 0 lollc is but 3 bhu~1-fwtetmiddott I en r r middot r r
~tP ltm~~-~t----~-
Mu1enorvpon hCI fmili ng lookcs Thinke thtr they ~re bttt baitcd hooka
Audu fncy Loudufranzy~
middot e( not J toy Then breed chtc foch annoy1
bur kaue to coke vpponfuch fond booka
)
L(Jtnt ro fotgct fu ch idle royn Finer for youtbcs md youd1full boya
L~ o~ one fwccte frnilc Thy rrue loue igtegllile ~flOibulltiownc
r c-ur uft theedowne- Jlopund jllmiddot to bed iathcf~ioy~
I
bull
103
Figure 32
BASSVS
---------middot--- ----- ------- ---- -- ---------- ---- -~ ------------- - ----------- _ ___ - ~ _____-------~~~------------ - ----- - - ---
- -- -- --~-- - ___ __
CJ
I
-70-
If other sacred music by Robert Jones exists 1 it has not
come to light The Reformation did much to improve English
Church music However the combined effects of Civil war
supremacy of Puritanism suppressed church services disbanded
choirs and the destruction of organs and libraries by the B
soldiers of the Commonwealth resulted in irretrievable loss
The hatred of the Puritans for the English Church and its music
was so strong they seemed to consider it their duty to root out 9
and destroy every office-book they could find lmiddotluch music has
also been lost because of errors and omissions on the part of
scribes the use of old manuscripts as waste paper and in the
binding of new books and in the practice of sending manuscripts 10
to continental bookbinders The fact that any sacred rausic by
Jones exists may possibly be attributed to its inclusion in two
sources meant for secular use
What happened to Robert Jones after the theatre difficulties
remains a mystery Loss of records because of fire or
carelessness only allows speculation in this area Since the
English style of string playing was in fashion in Germany France
8 ~Talker p 56
9 F~ Landon Hunphries The Evolution of Church Music (New
York J J Little and company 1896) p 94~
10 William Joseph King The English Anthem from the Early
Tu ~or Period t roug_ the Restor_fltj gn Era diss Boston University Graduate ~chool 1962 vol I and II (Ann Arbor university Microfilms International 1982) p 12
-71-
and Italy he may have returned to the continent It is equally
possible that he died in any of the plagues which forced the
theatres in London to close so often That his music still
exists to be enjoyed may be epitaph enough
104
Blank
Appendix One
Sources of the Husic of Robert Jones
BookSong
The First Booke of Songs or Ayres
The Pirst and Second Boeke of Songes and Ayres
Ultimum Vale
First Set of Madrigals (inc)
A Husicall Dreame
The Muses Garden for Delights
Hhat if I seeke for love of thee
There is a garden in her face
Doe not o doe not prize Beautie sate bathing 11 Goe to bed sweet museu Shall I locke to ease
griefe 11
11Jhat if I speed Cease troubled thoughts Scinthia queene of seas
and landn Thinkst thou Kate to
put rre down 11
nt1hen will the fountaine of my teares
F1ie flie flie from the world 1
Fy fy 11 (inc)
Date
1600
1601
1605
1607
1609
1610
1600
1605
1605 1605 1605
1605 1605 1605
1605
1605
1605
1605 1601
-105-
Source
British Igtluseum Folger Shakes~eare Library
British 111luseum Central Library
Hanchester
Royal College of Music
Private ownership Furst Alexander
British Nuseurn Royal Library
Brussels
San Marino British 1middotlus eurn Euing Library
Glasgow
San Harino
British Library Add Ms 15117
The First Book of Songes or Ayres
British Library Egerton ~s 2971
Ultimum Vale
British Library Add Ms 24665
Giles Earles his book taken from Ultimum Vale
u
II
fl
fl
n
The First and Second Boeke of Songes and Ayres
-106-
The love of change hath changed the world 11
What shall I render to the 1614 Lord bullbull
Let thy salvation be ~Y joy
Lament lament my soul cry 0 cry
n Sing j oyfull ybull
Arise my thoughts
11 Dreams and imaginations
uFie what a coyle Now what is love
no date
1601
1601
1601 1601
Folio ms in Folger Library
British Museum Royal App 63
The Tears or Lame tations o f a Sorrowful Soul
RISM attributes 4 songs to Jones
Christ Church Music Mss 56-60
Christ Church Husic ~1ss 439
The Second Book of Songes and Ayres
lt
-107-
APPE IDIX THO
Contributors to Manuscripts nu~beren 56 through 60 in Christ Church Oxford
SEC~~ number CC lmiddot1SS Voice 334 Hus 56 c 335 Mus 57 Q 336 Mus 58 Sx 337 Mus 59 Ct 338 Mus 60 T
Bassus lacking ca 1620
a alternate sources published b transcribed c Psalm 81 in two versions
Amner John~ 1579 1641 B r-1 Oxford 1613
Consider all ye passers by (b) 3349835803378633896 verse
I am for peace inc) (with different verse section) 33463356337~6 3386 verse
Bennet John flca 1600-ca 1615
Great God of Gods 0 God of Gods (a) 334 113 33595 33710133811 verse
To the almighty Trinity (ptll of 0 God of Gods)
Bull John ca 1562-16287 B H Oxford 1586
Almighty God who by the leading (ab) 334110 33592 33798338 108 verse
How joyful ana how glad (inc) a) 33448335483374833748 verse
Byrd William ca 1542-1623
Save me 0 God for thy name bull s sake (I) 33410 33510 33710 338 10 fS
Sing joyfully unto God our strength and Blow the trumpet parts I and II and Sing we merrily and Blow up the trumpet parts I and II not in this source from Christ Church (c)
-108-
Corkine William1 fl 1610
Praise the Lord 0 my soul (inc) 33441 335413374133841 f5
Cranford William fl early 17th c
My sinful soul (inc) 33413833512033616337126338136 verse
Daman (Damon) William ca 1540-1591
0 heavel]nly God (b) 33451335513375133851 f5
East Michael ca 1580-16481 B M Oxford 1606
Blow up the trumpet Sing we merrily (Pt II Take the psalm PT III Blov1 up the trumpet) (ab) 33420933520233698337196338214 verse
Take the Psalm
Ferrabosco Alfonso Sr~ 1543-1588
0 remember not our old sins (a) 33414133512333619337129338139 f6
Ford Thomas ca 1580-1648
Miserere my maker (inc) 334151v33513533631337141338151 f6
Gibbons Orlando 1583-1625 Phd Mus Oxford 1622
See the Word is incarnate (ab) 33495335773378333893 verse
Hooper Edmund ca 1553-1621
Hearken ye nations (a) 334211335204336100337198338216 verse
Jeffreys Matthew fl ca 1590 B M Oxford 1593
If the Lor~ himself (a) 33414833513033626337136338146 verse
-109-
Lord rernerr~er David (a) 334142 335124336120337130338140 f6
My love is crucified (inc) 334100335823378833898 fS
Out of the deep (a) 33414633512833624337134338144 verse
Sing we merr-il y (II) (a) 33414433512633622337132338142 verse
Jones Robert fl ca 1600 BM Oxford 1597
Sing joyfully unto the Lord (inc) 33412335123371233812 f5
Lupo Thomas fl 1593-1628 or fl 1605-c1660
For I knowledge my faults Have mercy upOii me (pt IIFor I nowledge my faults) (inc) (ab) 33418335183371833818 f5
Out of the deep (c) 33420335203372033820 pound5
Mundy John d 1630 B M Oxford 1586 Phd Mus Oxford 1624
0 give thanks unto the Lord for he is gracious (a) 33416335163371633816 fS
Mundy William ca 1529-ca 1591
0 Lord I bow the knees (a) 33490335723377833888 f5
Parsons Robert (I) d 1570
Deliver me from mine enemies (ab) 3348335833783388 f5
Peerson Martin ca 1572-1650 B M Oxford 1613
0 Lord in thee is all my trust (inc) 33488 335703377633886 verse
-110-
Philips Peter d ca 1635
Bow down thine ear unto my crying (a) Adapted from the motet Cantai mentre 334217 335210336106337202 338220 f6
Portman Richard~ d ca 1655
Rejoice in the Lord 0 ye righteous (I) (a)334226 verse
Ravenscroft Thomas ca 1590-ca 1633
0 let me hear thy loving kindness (a) 3343133531337 3133731 verse
0 woeful ruins (a) pt II and pt III Those sacred walls and 0 how these graceful piles not in 334-338 33440335403374033840 f5
Simmes William fl ca 1600
Awake (Away (a)) fond thoughts 33415733514233638337148338158 verse 6
Rise 0 my soul (pt II and pt III And thou my soul To theee o Jesu) (a) 3342833528 3372833828 verse And thou my soul To thee o Jesu
Stubbs Simon fl ca 1600
Father of love (a) 3348633568 33774 33884 f5
Tye Christopher ca 1500-ca 1573 Phd Mus Oxford from Cambridge 1545
Christ is risen Christ is rising again (pt II Christ is risen) (inc) 334225335218336114337212338230 f6
I lift my heart to thee (ab) 33492335743378033890 f5
-111-
Ward John fl early 17th c
Down caittiff wretch (a) (pt II Prayer is an enciless chain) 33424 amp 2633524 amp 2633724 amp 2633824 amp 26 verse
How long wilt thou forget me (a) 33422335223372233822 f5
Let God arise (a) 33411633598337104338114 verse
Praise the LordO my soul a Lord my God (a) 334219335212336108337206338224 verse
This is a joyful day (a) 33413333552336523375233852 verse
~~larwick (Warrick Warrocke) Thomas d 1660
0 God of my salvation (a 3349 335933793389 pound5
Weelkes Thornas1 -1623 B M Oxford 1602
Alleluia I heard a voice (ab) 33414335143371433814 pound5
Gloria in excelsis Deo Sing my soul to God (ab) 33415533514033636 337142338156 pound6
Hosanna to the Son of David (ab) 334214335207336103337201338219 f6
Lord to thee I make my moan (ab) 3341023358433790338100 pound5
0 Johnathan woe is me (ab) 334151v33513433630337140v338150 f6
0 my son Absolom (I) (ab) When David heard that Absolom (ab) (~t II 0 my son Absalor1) 33415033513233628337138338148 pound6
-112-
Wilkinson William Thomas
Hear my prayer 0 Lord and with thine ears (a) 3341043358633793338103 verse
Preserve me o Lord (a) 33443354 33743384 verse
Put me not to rebuke (a) 3341063358833794338107 verse
Compiled from
Nan Cooke Carpenter Music in the Medieval and Renaissance Universities
Ralph T Daniel and Peter Le Huray compilers The Source of English Church Music 1549-1660 part I and II
C F Abdy Williams A Short Historical Account of the Degrees in Music at Oxford and Cambridge
-113-
Appendix Three
Graduates of Oxford
Doctors
Robert Fairfax John Gwyneth John Merbecke John Shepeard Robert Stevenson Orlando Gibbons Nathaniel Giles John Hunday Christopher Tye John Bull
Date
1511 1531 1550 1594 1596 1622 1622 1624 1548 1592
Tye and Bull were incorporated as Doctors of Music from Cambridge
Bachelors
tathaniel Giles John Bull John t-1unday Thomas Morley John Dowland Giles Farnaby Edward Gibbons George Waterhouse Arthur Cocke Francis Pilkington Robert Jones Thomas leelkes Thomas Tomkins Richard Deering
1585 15B6 1586 1588 1588 1596 1592 1592 1593 1595 1597 1602 1607 1612
Author
Robert Grossteste
Robert Kilwardly
Roger Bacon
Bartholomaeus Anglicus
Walter Odington
Simon Tunstede
John Hanboys
John Hothby
William Bathe
John Case (attr)
William Barley
Thomas Morley
-114-
Ap~endix Four
Oxford Treatises
Date Title
ca 1175-1253 De artibus liberalibus
d 127 9
ca
ca
ca
1351
ca
1584
1600
1586 1588
1596
1597
1214
1230
1330
1450
94
De ortu et divisione philosophiae
Opus majus and opus tertium
De probrietatibus rerum
De speculatione musice
Quatuor principalia musicae
Surnma super musicam continuam et discretam
Regulae super proportionem De cantu figurate Regulae super contrapuncturn Caliopea legale
A Briefe Introduction to the True Arte of Music
A Briefe Introduction to the Skill of Song
The Praise of Musicke Apoligia musices tam vocalis quam instrumentalis et mixtae
The Pathway
A Plaine and Easie Introduction to fvlusicke
-115-
Appendix Five
Baccalaureus in musica solvet
Imprimis pro cumulatione presentatis Pro comrnuniis Pro scriba universitatis Pro circuita Pro camera Pro curnulatione sex annorum Pro anno instante Pro horolog-io Pro deric[t]o universitatis Pro inferiore bedello artiurn
Si beneficiatus vel patrimoniatus fuerit solvet pro vino
Si non praebat convivia solvet betiellis facultatis suae pro prandio
vj s
i j s
xiij s
vij s
viij d vj d
xij d xij d
iiij d
xij d ij d ij d vj d
iiij d
iiij d
ix d
116
Appendix Six
Words set by Jones for Leighton
Let thy salvation be my joy
Let thy salvation be my joy Confirm me with the spirit of grace Let sadness not my soul annoy For pensive thoughts too much take place 0 let my comfort still reside In Christ who for my sin hath died
In setting the third line Jones uses sixteenth notes on the word spirit 11 to compensate for the extra syllable
What shall I render to the Lord
What shall I render to the Lord For all his blessings poured on me My heart and soul with one accord Shall laud and praise thy majesty All praises do from thee desend Blest be thy name world without end
Lament my soul cry cry o cry
Lament my soul cry cry o cry Swe et Jesus pity pity me Help help help help for sin I die Sweet Christ come ease my misery
BIBLIOGRAPHY
Primary Sources
The Bible That is the Holy Scriptures contained in the Old and Newe Testament London Deputies of Chrlstopher Barker Printer to the Queenes most excellent Maiestie 1596
Book o f Common Prayer and Administration o f the Sacraments and Other Rites and Ceremonies of the Churchof England WiSh the Psalter or Psalms of David Printed by Thomas and John Buch Printers to University of Canbridge 1629
Fellowes Edmund H ed The English Madrigalists val 35A Revised edition edited by Thurston Dart London Stainer and Bell 1960 The First Set of Mad_ri a_l s 1607 by Robert Jones
The English Madri al School val 32 London-stainer and Bell 1923 The Triumphs of Oriana to 5 and 6 voices Compose - y D1vers several Authors published by Thomas Mor ley 1601
Jergens Elise Bickford English Song 1 600-1 67 5 Part I British Library Manuscri ts London
Pu middot- 1sh1ng Inc 1986
Leighton Sir William Th e Teares or Lamentaciones o f a Sor rowful Soule London W2 1arn Stansby 1614
The Teares or Lamentations of a ----Sorrowful Soul Transcr1bed and edited by Cecil Hill Vol ll Early English Church Music London Stainer and Bell 1970
Morley Thomas A Plaine and Easie Introdction to Practical Music Edited by R Alec Harmon New York WW Norton and Co 1952
Smith John Stafford Musica Antigua London Preston 1812
Sternfie1d FW gen ed English Lute Songs 1597-1632 A Co l lect~on o Fac s imiDelRepr ints
ress t Vol 7 edited by David Greer The First Boeke of Songes or Ayres 1600 by Robert Jones The Second Booke of Songs and Ayres 1601 by Rober ones t1mum Vale 1605 by Robert Jones A Musicall Dreame 1609 by Robert Jones The Muses Gardln for Delights 1610 by Robert Jones
-118-
Books and Articles
Abraham Gerald ed New Oxford History of Nusic vol IV uThe Age of Humanism 1540-1630 11 London Oxford UP 1968 3rd impression 1974
Adams Joseph Quincy 11 A New Song by Robert Jones bullbull Modern Language Quarterly I (March 1940) 45-48
Adler Kurt The Art of Accompanying and Coaching Minshyneapolis The University of Minnesota Press 1965
ArkmiddotJright GE P Catalogue of Music in the Library of Christ Church Oxford London Oxford UP 1915 ed 1971
Bateson fW ed The Cambridge Bibliography of English Litshyerature 4 vols Cambridge University Press 1969
Bentley Gerald Eades The Jacobean and Caroline Stage Dramat~c Companies and Players 5 vols Oxford Clarendon Press 1941 reprinted 1949 bull
The Profession of Player in Shakespearebulls Time 1590-1642 Princeton Princeton UP 1984
Blom Eric ed Groves Dictionary of Music and Musicians vol IV New York St Martins Press Inc 5th ed 19B4
Boyd rbulllorrison Comegys Elizabethan Music and Musical Criticism 2nd ed Westport Greenwood Press Publishers 1962 reprinted 1975
Brown David nJones Robert in The New Grove Dictionary of llusic and Husicians vol 9 p 703 Edited by Stanley Sadie 1980
Carpenter Nan Cooke Music in the Medieval and Renaissance Universities Norman Okla University of Oklaho~a Press 1958 reprint eo New York Da Capo Press 1972
Chambers E K The Elizabethan Stage Vol I-IV Oxford Clarendon Press 1923 ed 1961
Crewsdon Henry Alastair Ferguson TD MA comp The Worshipful Company of ~t-lusicians Loncion Constable and Co Ltd 1950 new ed London Charles Knight and Company Ltd 1971
Cutts John P 11 Everie Woman in her Humor Renaissance Nevs 18 (Autunm 1965) 209-213
-119-
Daniel Ralph T and LeHuray Peter compilers The Sources of English Church Music 1549-1660 Part I and II London Starier and Bell 1972
Dart Thurston t-1A The Interpretation of Music 4th ed London Hutchinson University Library 1960
Dodd Gordon 11 A Summary of Nusic for Viols Early flusic 6 (April 1970) 262-267
Doran T s A Dr Annals of the English Stage from Thomas Better ton to Edmund Keen Vol 1 New York bullJ J ~1 iadle ton Publishers 1865 republished St Clair Shores Mich Scholarly Press no date
Doughtie Edward ed Lyrics from English Airs 1596-1622 Cambridge Harvard University Press 1970
Einstein Alfred Essays on Music London Faber and Faber 1956 rev eng ed 1958
Feldman Martha 11 In Defense of Campion A New Look at His Aryres and Observations The Journal of Musicology v
(Spring 1987) 226
Fellowes Edmund Horace CH Mvo MA Mus D English Cathedral l~sic Edited by J A Westrup Westport Greenwood Press Publishers 1981
_________ The English Madrigal Composers 2nd edition London Oxford University Press 1921 1948 reprinted 1967
bull The Text of the Song Books of Robert Jones Music --------middot and Letters VIII (Jan 1927) 25-37
__________ Tudor Church Music Appendix ~lus D New York Brouclex Brothers reprint 1963
Greenberg Noah music ed Auoen ~middotlH and Kallman Chester text ed An Anthology of Elizabethan Lute Songs Mad rigals an Rounds Pew York ~middot1 w Norton amp Co Inc 19 55
Greer David What if a Daybull - an Examination of the Words and r~usicbullt husic and Letters 43 (Oct 1962) 304-319
Gutmann Veronika Instrument oder Diminutionspraxis 11 Archiv fuer Husikrvissenschaft 35 (1978) 187-190
Heseltine Philip and Warlock Peter The English Ayre London Oxford University Press 1926 reprinted Westport The Greenwood Press 1970
-120-
Hesel tine Philip 11 Robert Jones and His Prefaces The rmiddotusical T ime s bull ( Feb -t-1a r 19 2 3 ) 9 9 -1 0 0 16 8 -17 1 bull
Humphreys Rev F Landon ~lus Doc STD The Evolution of Church Music New York J J Little and Co 1896
Jeffrey Brian ed Elizabethan Popular Music for the Lute London Oxford UP 1966
King William Joseph The Englsh Anthem from the Early Tudor Period through the Restora t ion Era PhD dissertation Boston University 1 962 Ann Arbor Mich University Microfilms I~ternational 1982
La Fontaine Henry Cart The Kings Musick New York Oa Capo Press 1973
Lewis c s English Literature in the 16th Century excluding Drama 11 in Oxford History of English Literature p 266 Edited by F P Wilson and B Dobree Oxford Clarendon Press 1954 reprinted 1962
r1ason Dorothy E Husic in Elizabethan England Washington Folger Shakespeare Library booklet 1958
rtaynard Winifred Elizabethan Lyric Poetry and its Music Oxford Clarendon Press 1986
McGrady Richard J The English Solo Song from William Byrd to Henry Lawes 11 PhD dissertation University of Manchester 1963 This dissertation arrived to late to notate McGradys theories on Italian Monady and Jones
Meyer Ernst H Early English Chamber ~iusic ed Diane Poulton London Lawrence and Wishart Ltd 1946 Boston Marion Boyars Inc 1982
Mies Otto Heinrich PrussJan Castle
Elizabethan t1usic Prints in an East rrusica Disciplina III (1949) 171-172
Naylor Edward Noodall Shakespeare and Husic rev ed New York De Capo Press 1931 lew York Benjamin Dlom Inc 1969
Pagallelli Serpoundio Jusical Instruments from the Renaissance to the 19th Century trans Anthony Rhodes Milan Fratelli Fabbrl Editori 1966 7 London Hamlyn Publishing Group 197 0
Pattison K An Analysis of the Ayres of Robert Jones MFA thesis University of Georgia 1965 (Request for this thesis has been submitted through the inter-library loan service but has not arrived)
Phillipps G A Charles 1 11
-121-
11 Crown r1us ical Patronage from Elizabeth to Music and Letters 58 (Jan 1977) 29-42
Phillips Peter 11 Performance Practice in 16th Century English Choral Music~ Early Music 6 (april 1978) 195-199
Prior Roger Jewish Musicians at the Tudor Court The ~~sical Quarterly LXIX (Spring 1983) 253-265
Poulton Diane Graces of play in Renaissance Lute Music 11
Early Music (april 1975) 107-109
Reese Gustave Music in the Renaissance revised ed New York W w Norton and Co Inc 1959
RIS~t Einzeldrucke vor 1800 Karlheinz Schlogervolume III Basel Barenreiter Kassel 1974
RISM Recueil s Imprimis XVIe-XVIIe siecles l-1unchen G -Henle Verlag 1972
Robertson Dora H Sarum Close London Jonathan Capt 1938 Bath Firciurt Publishing Limited 1969
Seng Peter J The vocal songs in the Plays of Shakespeare a Critical History Cambridge Harvard UP 1967
Shakespeare William William Shakespeare The Complete Works Edited by Alfred Harbage Baltimore Pen~middotuin Books rev ed 1969
Smith Irwin Shakespeares Dlackfriars Playhouse Its History and Its Des~gn New York New York University Press 1964
Spink Ian English Song Dowland to Purcell New York Charles Scribnerbulls Sons 1974
Sternfeld F w Music in Shakespearean Tragedy London Routledge and Kegan Paul 1963 rev ed 1967
Stevens Denis Tudor Church t-1us ic Nev York Merlin Press 1955 bull
A History of Song New York W W Norton and Co Inc 1960~ First American Edition 1961
Stevens John Music and Poetry in the Early Tudor Court reprint ed Cambridge Cambridge University Press 1979
Traficante Frank Anthony 11 The Mansell Lyra Viol Tablature parts I and II PhD dissertation University of Pennsylvania 1965
-122-
Walker Earnest A History of Music in England New York Da Capo Press 1978
Wells Robin Headlam John Dowland and Elizabethan Melancholy Early Music 13 (Nov 1985) 514-528
Wickham Glynne Early English Stages 1300 to 1660 2 vols London Routledge and Kegan Paul New York Columbia UP 1972
Williams C F Abcty A short Historical Account of the Degrees in 1usic at Oxford and Cambridge Lonaon lovello Eivers and Co 189 3
Woodfill Walter L Musicians in English Society from Elizabeth to Charles I New York Da Capo Press 1969
an obscure Elizabethan Composer
I also wish to thank those faculty members who have
consented to read this paper Dr Elizabeth Jones Dr James
Hines and Dr Clyde Brockett May you enjoy Robert Jones
v
LIST OF ILLUSTRATIONS
Figures 1-4 The First Booke of Songes or Ayres bullbull 72 Title page Dedication Preface Table of Contents
Figures S-8 The Second Boeke of Songes or Ayres 76 Title page Dedication Preface Table of Cpontents
Figures 9-12 Ultimum Vale bull 80 Title page Dedication Preface Table of Contents
Figures 13-16 A Musicall Dreame bull 84 Title page Dedication Preface Table of Contents
Figures 17-20 The Muses Gardin for Delights 88 Title page Dedication Preface Table of Contents
Figure 21 92
Figure 22 11 Farewell dear love 94
Figure 23 Transcription from Musica Antigua 96
Figure 24 Farewell fond youth 98
Figure 25 11 In Sherwood liude stout Robin Hood 100
Figure 2 6 11 Goe to bed sweete muze 102
vi
LIST OF APPENDICES
Appendix One Sources of the Music of Robert Jones
Appendix Two Contributors to Manuscripts numbered 56 through 60 in Christ Church Oxford
Appendix Three Graduates of Oxford
Appendix Four Oxford Treatises
Appendix Five bull bull bull Baccalaureus in musica solvet
Appendix Six Word set by Jones for Leighton
vii
105
107
113
114
115
116
CHAPTER I
IDENTIFYING THE HAN
Robert Jones who flourished between 1597 and 1615 is
one of the lesser known Elizabethan composers He has been
claimed not without causing confusion to have taken to
himself a number of QUSical assignments One author asserts 1
that Jones was a composer for virginals Another calls 2
him a composer for viols He is referred to by one historian
as a prominent lutenist to be numbered with Dowland 3
Campion and Byrd He has been called song writer and
1 Kurt Adler The Art of Accompanying and Coaching
(Minneapolis The University of Minnesota Press 1965) p 12
2 Gordon Dodd A Summary of Music for Viols Early
Husic 6 2 (April 1978) 263
3 Elise Bickford Jergens ed British Library
Manuscripts Part I English Song 1600-1675 (New Yorkmiddot Garland Publishing Inc 1986) p 11
-1-
-2-
theatrical manager both controversialist and genial person
Yet some authors such as Edmund H Fellowes in English
Cathedral Music consider his accomplistooents in some areas 5
too meagre to merit mention
In extant records for the period from 1520 to 1620
there are numerous references to R Jones Richard Jones and
Robert Jones There are also references to a w Jones and
an s Jones in the same Stationers Register that lists an R 6
Jones seven times Another Jonest Luke is a
4
contributor of one of the poems in William Leighton bull s Literary
Introduction and Laudatory verses to Teares or Lamentaciones 7
of a Sorrowful Soule from approximately the same period
It is possible to reduce the Richard and Robert Jones
references to four people that is two Robert Joneses and
two Richard Joneses It is also within the realm of
possibility that these rnen were related Their paths
4 Philip Heseltine Robert Jones and His Prefaces The
Musical Times (February and March 1923) 99 171
5 Edmund H Fellowes English Cathedral Music from Edward
VI to Edward VII rev ed Edited by JA Westrup (Westport Greenwood Press Publishers 1981) Fellowes discusses Leightons Teares or Lamentaciones of a Sorrowful Soule yet never discusses Jones contribution of three anthems
6 EK Chambers The Elizabethan Stage 4 vols reprint ed
(Oxford Clarendon Press 1961) vol II pp 380-389
7 Sir William Leighton Teares or Lamentaciones of a
Sorrowful Soule Transcribed and edited by Cecil Hill (Lancon Stainer and Bell 1970) p xviii
-3-
crossed often enough and in at least one instance
scholars have confused them crediting one with the work of
the other Some historians have also preferred to gloss
over the obvious inconsistencies in dates and make no
distinction at all in their references to Jones
The first Robert Jones conceivably the grandfather of
the Elizabethan composer is said to have been a chorister in
Henry VIIs Royal Household Chapel In 1512 it is
claimed that he was a member of Henry VIII s Royal Household
Chapel This Jones furthermore is listed as a meniDer of
the Gentlemen of the Chapel at the Field of the Cloth of
Gold in 1520 Three of his compositions have survived 8
although they are incomplete Thomas Morley cites Jones 9
work in A Plain and Easy Introduction to Practical Music
8 The New Grove Dictionary of Music and Musicians 1980
ed sv Jones Robert (1) The three-part song Who shall have my fair lady is in an anthology XX Songes Gustave Reese Music in the Renaissance (New York ww Norton Co 1956) p 763 discusses this book in a footnote as one of the earlies middott examples of music printing in England which was formerly considered to be a product of the press of bullbullsynken de Warde Denis Stevens Tudor Church Music (New York Merlin Press 1955) p 50 mentions this Robert Jones Mass based on the plainchant cantus firmi Spes Nostra
9 Thomas Morley A Plain and Easy Introduction to
Practical Music R Alex Harman ec (New York ww Norton and Company Inc 1952) p 321 Robert Jones is noted here as a vJelshman active ca 1485-153 5
-4-
The dates for Richard Jones span a time period of
ninety years from 1532 to 1624 Even allowing for
extraordinary good health and ideal living conditions these
dates must at the very least be for two men The first
Richard Jones is listed as the High Master of the Grammer
School for the children of St Pauls from 1532 to 1549 He
followed John Ritwise who was said to have allowed the boys
of the grammar school to perform interludes at the court of
Henry VIII There is no indication that this practice was
continued under the headmastership of Richard Jones The
lack of reliable information in this case can be attributed
to the loss of archives in the Great Fire of 1666 and the 10
confused records of the choir school and the grammar school
It is also possible that this is the R Jones who
entered three plays in the Stationers Register from 1567 to
1569 which had been performed by the Children of the Chapel 11
The headmaster then was Richard Edwardes In 1561
Edwardes received his patent as Master fron1 Queen Elizabeth 12
and this patent was entered into the records by an R Jones
10 Chambers volII pp 8-12
11 Chambers volIV p 381
12 Chambers vol II pp 33-34
-5-
The next two Joneses Richard and Robert have caused
the most confusion They were active during the same time
period and were associated with the same group the Children
of the Revels In addition both men were musicians both
were connected with a theatre troup manager named Robert
Browne and both men travelled to Germany It is a very
real possibility that these men were brothers possibly sons
of the first Richard Jones discussed It may not even be
far-fetched to suggest that all three were related to
the Robert Jones connected with the courts of Henry VII and
Henry VIII
Richard Jones was associated with the acting companies
of the Earl of Worcester in 1583 the Lord Admiral in 1589
1594-1596 and 1597-1602 and the Earl of Pembrokesbulls Hen in
1597 He was in Germany in 1592-1593 1615 1620 and 13
1622-1624 In 1623 he was a musician to the Duke of
Wolgest At this tioe he petitioned the Duke to be allowed
to return to England In 1624 Richard Jones again
petitioned the Duke this time to be taken back into service
as a musician In 1630 he is connected with John Jones a 14
dramatist
13 Chambers vol II p 324
14 Gerald Eades Bentley The Jacobean and Caroline Stage
Dramatic Companies and Players 5 vols reprint ed (Oxford Clarendon Press 1949) val I and II pp 135 485
-6-
Richard Jones entered four plays in the Stationers 15
Register between 1578 and 1594 In 1580 he was the
enterer of the song A newe northern Dittye of ye Ladye
Green Slevesu Jones was granted a license in 1584 to print
a book really a collection of ballads printed in broadsheet
form entitled Very Pleasant Sonets and Stories in Meter by
Clement Robinson Robinson was an Elizabethan poet fl 1566-16
1584 This was in response to a popular interest in signing
to the lute This Jones was not above using the name or initials
of well-known writers to enhance the sale of his verse books
At least three of these books A Smale Handful of Fragrant
Flowers (1575) Brittons Bowre of Delights (1591) and the
The Arbor of Amorous Deuises (1594 and 1597) used the initials
of Nicholas Breton much to Bretonbulls anger These books included
poems by Breton and others used without their consent Other
collections printed by Richard Jones are A Handfull of pleasant 17
delites and A gorgious Gallery
It was this Jones erstwhile actor and printer who was
granted the patent by which the Children of Whitefriars were
once QOre entitled to call themselbulles the Children of the
Queens Revels This patent dated January 4 1610 was
15 Chambers vel IV pp 382-383
16 The Cambridge Bibliography of English Literature
ed F w Bateson 5 vols (1940 Cambridge University Press 1969) p 646
17 Winifred Maynard Elizabethan Lyric Poetry and Its
Music (Oxford Clarendon Press 1986) pp 16 14 48-50
-7-
given by James I It reads in part
Know ye that wee haue appoynted and authorised Robert Daborn Phillipp Rosseter Iohn Tarbuck Richard ones and Robert Browne from tyme to tyme to provide keep and bring vpp a convenient nomber of children and them to practice and exercise in the quality of playing by the name of Children of the Revells to the Queene within the white fryers l8
It is this patent which seems to be the source for
confusing Robert Jones and Richard Jones Several
authorities claim that the Elizabethan COQposer Robert Jones
was involved with the Children of the Revels of the Queene 19
in 1610 However he is not mentioned in their
history until five years later One historian even claims
that Robert Jones is the founder and manager in 1610 of the 20
Children of the Revels to the Queen within White Fryars
18 Chambers vol II p 56 Chambers and Bentley
Jacobean Stage discuss the various associations of Richard Jones and Robert Browne in greater detail than is within the scope of this thesis
19 Edmund H Fellowes The English t-1adrigalist 2nd ed
vol 35 A (London Stainer and Bell 1960) p 4 and Heseltine Prefaces p 171 It is interesting to note that both these works were originally published in 1923 and neither lists sources Chambers also originally published in 1923 clearly states his sources for these patents the original cocuments
20 Morrison Comegys Boyd Elizabethan Music and Musical
Criticism 2nd ed (Westport Greenwood Press Publishers 1973) p 199 Boyd has all references to Robert Jones under one index heading although be discusses the work of the Tudor composer as well as that of the Elizabethan composer No source books on Elizabethan or Jacobean Theatre are included in his bibliographies
-3-
Robert Jonesbull connection with the Children of the
Revels is clearly stated in a patent granted by James I on
June 3 1615 It gave authority for the erection of a new
theatre for the continued training of the Children of the
Revels This theatre would replace the expireci lease on
another house used by Rossiter
And whereas the said Phillipp Roset~r together with Phillipp Kingman Robert Iones and Ralphe Reeve to continue the said service for the keeping and bringing vppe of the children for the solace and pleasure of our said most deere wife bullbullbull by the name of children of the Revelles to the Queene have lately taken in lease and farme divers buildings Cellars sollers chambers and yardes for the building of a Playhouse therevpon bullbullbull All which premisses are scituate and being within the Precinct of the Blacke ffryers neere Puddlewharfe in the Suburbs of London called by the name of lady Saunders house or otherwise Porters hall and now in the occupation of the said Robert Jones Nowe knowe yee that wee of our especial grace bullbullbull doe give and graunte lycense and authoritie vnto the said Phillipp Rosseter Phillipp Kingman Robert ones and Ralphe Reeve at their proper costs and char~~~ to erect build and sett vppe in and vppon the said premisses bullbullbull one conve ient Playhouse for the said ctildren of the Revelles 21
It is interesting to note that Robert Jones is mentioned
three times in this patent
This patent and its various details are confirmed in
other sources of the period The Privy Council was
21 Chambers vol II p 473
-9-
approached by the inhabitants of the Blackfriars area They
maintained that another theatre in Puddle Wharfe would be
too close to the church of St Anne and that it would
disturb the congregation during services Because of a technical
flaw the work that was begun on the building was ordered
stopped in September of the same year (1615) Plays were
performed there as late as January 1617 The last mention of 22
Robert Jones in this instance was the Kings patent
Robert Jones had other connections with the theatre
although he is not called an actor In 1602 he was in
Germany at Frankfort where he was named as a fellow of
Robert Browne Browne was something of a theatre impresario
who specialized in bringing English actors to the continent
and was also included in the patent of 1610 with Richard 23
Jones This year was the start of a three year
publishing hiatus by Robert Jones Appendix One includes
the titles and dates of Jones work An interesting fact
which may or may not be connected with Jonesbull time in
Germany is that his third book Ultimum Vale is one of eight
22 Chambers val II pp 472-473 61 val IV pp 343-345
23 Chambers val II pp 273-282 p 56
-10-
Elizabethan Music books which used to be in the library of 24
the East-Prussian Castle of Schlobitten
This Robert Jones then is the Jones who is the subject of
this paper He was active in the latter years of
Elizabethbulls reign and the early years of the reign of James I
He may or may not have been an actor but he was
associated with actors and the Chilciren of the Revells He
was stable enough to own a house and to enter into a risky
theatre venture
24 Otto Heinrich Meis Elizabethan Music Prints in an
East-Prussian Castle Musica Disciplina III (1949) 171-172
CHAPTER II
EDUCATION A~ID SOCIETY
Robert Jones is known to have graduated from Oxford
University in 1597 It is also known that he was at St Edmund s 1
Hall and was for sixteen years a student His date of death
is unknown although a valid theory has been put forward for 2
his approximate year of birth to have been 1574 This would
have made him only twenty-three when he graduated slightly
younger than n1ost of his contemporaries A comparison may be
rMde by using Appendix Two an outline of works contained in
Christ Church rlusic Mss 56-60 Composers who graduated from
Oxford University are identified as well
Music both sacred and secular was an integral part of
university life Until the Reformation it was customary to
have Masses sung for the souls of the kings and founders of
the various colleges ~ The playing of secular music and
instruments had become so distracting that it was forbidden
at bullbullunseasonable times 11 unless after meals and there was a 3
fire in the fireplace of the hall or communal erea
1 c F Abdy Williams A Short Historical Account of the
Degrees in fiusic at Oxford and Cambridge (London 1893) p75
2 Hese1tine Prefaces p 99 Heseltine combines the fact of
Jonesbull years as a student and Jonesbull admission of practicing music since he practiced speaking to estimate the date of 1574
3 Nan Cooke Carpenter Music in the Medieval and Renaissance
Universities (1958 New York Da Capo Press 1972] p 169 81
-11-
-12-
Since the singing of Masses was required by statute some
means had to be provided for the training of choristers Many
colleges maintained choir schools These younger members of
the college community actually owed their positions at Oxford
to their musical talent and duties In 1547 the Act of
Dissolution under Edward VI closed many church schools but
not the collegiate foundations in the universities the
choirs of St George and Chapel at Windsor and the cathedral 4
schools
The young choristers were taught plainsong and pricksong
and when their voices changed they were preferred for vacancies
in the universitys scholarship lists Among these colleges
were the Schola flusicae of Queens New College Corpus Christi
College Cardinal College (later Henry VIII and nm1 Christ
Church) St Johns College and Magdalen College The statutes
of Magdalen College also provided for places for thirty indigent 5
student-- iemyes) to study plainsong
In the preface addressed to the reader in his First Booke
of Songes or Ayers Jones states that ever since he practiced 6
speaking he practiced singing By his own words it is likely
4 carpenter pp 167 88 388
5 Carpenter pp 267-171
6 F w Sternfield general editor English Lute Songs 1597-
1632 a Collections of Facsimile Reprints (Manston The Scholar Press Ltd 1971) 26 Robert Jones The First Boo~e of Songes or Ayers 1600 David Greer ed
-13-
that Jones was trained in one of these choir schools anG it is
not inconveivable that he was a recipient of a scholarship to the
university of Oxford Indeed Jones was probably at school at
Oxford rather than London and may even have been one of the
demyes of Magdalen College This is especially likely in view of
the fact that Jones had no steady patronage each of his song
books was dedicated to a different person and he was not 7
connected as household musician in the same way that John Wilbe B
and John Ward were involved at Hengrave Hall and with Sir Henry
Fanshawe
The power for presing choristers into service started in
1420 and this practice continued through Elizabeth bull s reign Im-
pressment of exceptional singers men and boys from all over 9
England into service in the Royal Chapel was commonplace
7 Sir w H Hadow English Music (London Longmans Green and
Co 1931) p 65
8 John Aplin Sir Henry Fanshawe and Two Sets of Early
Seventeenth Century Part-Books at Christ Church Oxford Music and Letters 57 (January 1976) 14
9 Carpenter p 341 Foster Watson The English Grammar
Schools to 1660 Their Curriculum and Practice Cambridge University Press 1908 Encyclopedia Britannica Library Resources Inc LEL 10880) pp 155 212 217 Watson mentions several grammar schools in London which incorporated music into their programs at this time They include the Merchant Taylors School St Paul School Thames School and Christ Church Hosshypital It was necessary to know the catechism in English or Latin read perfectly and write co~petently before acceptance at these schools Hulcaster headmaster at Nerchant Taylors claimed that extra subjects like music were studied privately by gentlemens children and that nusic itself was a part of the math curriculum
-14-
It is doubtful that Robert Jones was impressed into such service
He was both eloquent and voluble in the prefaces to his song
books and would certainly have alluded to this aspect of his
life had it been part of his own experiences
The awarding of baccalaureate and doctorate degrees in
music at Oxford was a tradition dating from the early fifteenth
century Music had been established as a separate faculty the
only liberal art so distinguished In fact the English
universities were the only ones to confer degrees in music
There is no indication that a prior arts degree was required for
the Bachelor of Music as was often the case in other fields
Many of England s most talented musicians became bachelors or 10
doctors of music at Oxford Appendix Three is a partial
listing of these musicians drawn fron information in Carpenters
and ~lilliams bull studies Furthermore the University of Oxford
was after the University of Paris the inspiration for more 11
treatises on music than any other medieval university
Appendix Four is a compilation of these treatises taken from the
work by Carpenter
The dichotomy of music that is musica practica versus
musica speculativa was reflected in the requirements placed
upon the degree seeker at Oxford It was as necessary to study
polyphonic music as to study theory Music classified within the
mathematics traditions and the text of Boethius De institutione
10 Carpenter pp 159 89 336 160
11 Carventer p 82
-15-
musica was required by statute since 1431 In 1549 after
Edward VI visited Oxford the candidates for the bachelor of
music degree were to concentrate on the disciplines of the
quadrivium Sixteen terms (four years) were to be spent in
grammar rhetoric dialectic and arithmetic and 11 in musica
Boetium Admission to the bachelor of music granted the right 12
to lecture in any of the music books of Boethius
Each student at Oxford was instructed by his own tutor until
he had obtained his first degree This meant that the musical
careers of some students were actually shaped by the methods of
their tutors Attendance was required at public lectures Aside
from the usual difficulties with student participation and indif-
ference or inability of some faculty these lectures were to be
given in Latin Dr John Bull not being proficient in Latin
was granted permission to read his lectures in English in 1597
Jones of course should have attended these lectures since John
Bull was incorporated as a Doctor of Music from Cambridge in
1592
In order to obtain a degree it was necessary to compose a
Mass song or canticum bull bull bull to be performed before the university bullbullbull 14
on the day of the Cornitia 11 This was not meant to determine
eligibility for a degree rather it was meant to add to the
12 Carpenter pp 89 77 153 159
13 Carpenter pp 154-156 163-164
14 Williams p 21
-16-
solemnity of the occasion This rule specifying a piece of music
to be performed in the university churcl1 at Act time remained un-15
changed from 1516 until 1608 when a hymn only was required
However there was a dispensation from this rule A
candidate could apply for a degree pro circuitah He would
request the Vice-chancellor and proctors to summon a Congrega-
tion On the afternoon before the Congregation the student
preceded by one or both of the bedells of his faculty and accompanied by the person who was to present him in congregation bullbullbull attired in academic dress but bareheaded went round to the schools and also called on the Vice-chancellor and both proctorsl6
Tradition always was an important part of university life
Oxford in the early sixteenth century was no exception Fre-
quently these traditions became codified in statutes Gloves
were an expensive luxury and early in Oxford 1 s history it became
obligatory for the degree seeker to give a pair to the Bedells
and other officials No man could dress above his station and
students fined for wearing silk were required to wear gowns 17
with loose sleeves and square caps in public Following is a
list of graduation fees established by statute at Oxford in 1601
taken from Carpenter Appendix Five is a copy of the original
version According to the custom Jones would have had to pay
some if not all of these fees
15 Williams p 27
16 Carpenter p 165 citing Clark in Register II p 46
17 Williams p 59
-17-
TABLE ONE
Graduation fees at Oxford in 1601
The baccalaureate in music will disburse
First for the total for gifts 6 s For the service of the room For the clerk of the university For possessions For the chamber For the six year total [tuition] 2 s For services during the present year For the clock For the right of the university For the lesser porter of Arts
Total 13 s
IE he has been subsidized by the church 7 s or by patronage he will disburse for wine
If not arranged in advance [] he will pay for the table servants to the porters of his faculty for meals
The greatest expense on this list is for wine [)
a d 6 d
12 d 12 d
4 d
12 d 2 d 2 d 6 d
4 d
4 d
9 d
-18-
It is not indicated in the available sources whether Robert
Jones composed a piece for graduation or used the pro circuitubull
option However a good case can be made for the former there
is an anthem in Christ Church Imiddot1usic Mss 56-6 0 Singe joyfully
which was composed by Jones The words are from Psalm 81 and
are identical with those in an Elizabethan Bible printed in 18
1595 This is two years before Jones graduated from Oxford
Furthermore the Christ Church lbulllus ic t-lss was compiled 11 wi th
most of the material at hand gathering together works which may 19
already have existed in worn or loose copies It was planned
as a memorial to Prince Henry and most of the composers repre-
sented were court-based friends of the composer John Ward who
was in the service of Sir Henry Fanshawe These part-books were
compiled at Fanshawes request and completed by his son before 20
1620 The Oxford anthem Singe joyfully will be discussed
further in the chapter on sacred music
As can be seen music was an important and necessary
part of the education of a gentleman and it was a necessary
18 The kindness of Mr Richard Austin of St Luke bulls Shrine
Smithfield is gratefully appreciated He allowed access to the Bibles there which proved that Jones used the Elizabethan transshylation and not the King James version of Psalm 81
19 Aplin p18
20 Aplin p 14
-19-
21 accomplisr~ent of the perfect courtier Even Morley begins
his book with a description of the embarassment caused by a lack 22
of ffiUsical knrn~ledge Furthermore a degree in music was an
invaluable asset to obtaining a post in the Chapel Royal
Neither Elizabeth nor James I gave honors such as peerages or
knighthoods to musicians rather they used offices in the
Royal Household the Chapel Royal and the Kings Musick as reward 23
for services In 1605 Jones dedicated his Ultimum Vale to
Prince Henry ~hether this earned a reward for Jones is not
known However it is likely that the Mr Jones listed as a 24
Gentleman of the Kings Chappell in 1612 is Robert Jones
It is possible that this position and not great reknown earned
a place for Jones in the Fanshawe part-books
As a Gentleman of the Chappell Jones would be expected to
be quite proficient in reading music and well-versed in plainsong
and pricksong That he could COQpose apart from performing 25
would have been the highest recommendation of all It is note-
21 Carpenter p 343
22 Morley p 9-10
23 G A Philipps Crown Musical Patronage from Elizabeth I
to Charles I Music and Letters 58 (January 1977) 29
24 Henry Cart de Lafontaine The Kingbulls Musick (New York
Da Capo Press 1973) pSO
25 John Stevens Music and Poetry in the Early Tudor Court
(1961) Cambridge Caniliridge University Press 1979) p 309-317
-20-
worthy that although Jones was actively composing in the latter
years of Elizabethbulls reign he was not associated with her court
Like many others he sought patronage elsewhere as can be seen
from the dedications of his song books His appointment as a
Gentleman of the Chappell may indeed have been a result of his
having dedicated his third song book to Prince Henry elder son
of James I Jones published no work after 1610 two years before
his name appears as a Gentleman of the Chappell It is possible
that Jones again travelled to Germany with theatre impresario
Robert Browne or he may well have decided not actively to
compose as he had implied in the prefaces of his last three song
books Records in these areas are incomplete although further
connections with the theatre will be discussed in the following
chapter
CHAPTER III
WAITS V~SQUES AID THE THEATRE
The waits were orisinally watchers at the gates and were
probably descended from the watchmen and sentinels for camps 1
castles and other fortified places In fact wait is the Saxon
word for watcher Eventually they were employed by the cities to
keep watch and guard during the night and to call out the time
and weather Their main purposes were protection order and
safety within the cities To carry out these duties the waits
were furnished with musical instruments These were used to
sound alarms and call for help when needed and were probably an
early type of shawrn or a horn made of metal In 1296 a statute
was enacted in London which required the servants who closed the
gates at night to have waits at their own expense Eventually
the term wait came to mean the man the instrument and the music 2
played on the instrument
The connection between Robert Jones and tte waits only
beco~es clear when the development of the waits and their
1 Walter L Woodfill Musicians in English Society from
Elizabeth to Charles I (New York Da Capo Press 1969) p 33
2 Henry Alastair Ferguson Crewsdon camp The
1-Jorshipful Company of -iusicians ( 19 50 London Charles Knight and Co bull Ltd bull bull 1 9 7 1 ) pp bull 16 2 -16 4 bull
-21~
-22-
place in Elizabethan and Jacobean society is discussed It was
not long after the first statute concerning the waits was passed
that they came to be considered musicians They are included
called by the nanle of wayghte and other variant spellings
among the musicians of Edward III (1327-1377 and are named in
records from Henry VI through Charles I From watchmen with
musical instruments to capable musicians is a logical development
of talent and time For a watchman with musical ability there
was time to acquire skill and thus gain employment publicly or 3
privately as a musician when not on duty
Many of the principal cities in England employed waits In
London the nunilier of groups varied from six to nine and the
number of masters and apprentices in each group was strictly con-
trolled Their places were so coveted that musicians good or
bad bargainea fought or sued for any vacancies Often a place
would pass fron1 father to son Their privileges included
monetary compensations and gifts distinctive livery status in
the city as freemen in the Company of ~usicians without charge
and the right to keep two apprentices at a time Their services
publicly and privately were much in demand by the lord mayor the
sheriffs and aldermen and the playhouses They were required
to meet regularly for rehearsals and only the 11 ancientist
3 Crewsdon pp 165-167
-23-
4 that is the eloest of their society could dispose order and
direct their music
Until 1525 the wait pipe (horn) and shawm were the only
instruments used by the waits The sackbut was added in 1526
In 1561 instrumentation was expanded with the addition of
viols and recorders and cornetts were added in 1568 and 1576
respectively In 1597 the curtal a bassoon-like instrument was
added Records indicate that portable organs keyboards and
harps were hired for special occasions In some waits the lute 5
and singing were included as early as 1555 The waits
provided the music for visiting dignitaries parades and court
masques and dancing The First Book of Consort Lessons by Thomas
Morley was meant as a guide for the groups of instruments used by 6
the waits Their music consisted of traditional wait tunes
(simple airs meant originally for wait pipes and shawms played
with cold fingers) music which may have existed only in
manuscript form written expressly for use in a masque or pageant
and music apt for viols or voyces u including madrigals
Ultimum Vale of Robert Jones contains music for colibination of 7
lute voices and viols Figures 1-20 are facsimiles of tbe
4 Woodfill pp 37-44
5 Woodfill pp 34-36
6 Wood f i 11 p bull 4 5
7 Woodfill pp 44-52 Waits and their history are more
fully discussed by both Woodfill and Crewseon A very brief outline only has been possible in this paper
-24-
title pages dedications and prefaces and tables of contents of
the song bool s of Robert Jones from Greer
Ultimum Vale is probably the book included by Gordon Doad in 8
his list of music for viols This song book is also the source
for ten of eleven songs by Jones included in the Giles Earles 9
book It is this custom of performing vocal and instrumental
music only instrumentally that forms part of the basis for early
chan~er music in England It was advocated by Thomas Morley in
his book and used not only by Jones but also by Sir William 10
Leighton in Teares or Lamentaciones of a Sorrowful Soule
It is possible that this evolutionary process in performance
practices and adaptations of popular pieces for other instruments
may be the basis for the idea that Jones composed for the
virginals Certainly no music specifically for the virginals or
instruments other than lutes has been found to have been
composed by him
When playing for the masques the waits probably performed
in a room or chamber near the pageant rather than on the street
or porch where the masque was being presented Robert Jones bull
8 Dodd p 263
9 Jergens p f 13V-f22V
10 Ernst H Meyer Early Englisn Chamber ~1usic ed Diana
Poulton (1946 Boston Marion Boyers 1982) p 135 149
-25-
11 naroe is not in the lists of appointments to the London Waits
But Jones did have so~e of his music included ill masques Everie
vloman in her Humor a masque by Maclin published in 16 09
includes two songs from The First Booke of songes or Ayres The
title My mistris was not used in notes for the masque rather
lines from the song were used thus hindering our identification
of Jones as its author Figures 21 and 22 are facsimiles of this
song This same song was used in Loves Charity by Shirley in 12
1631 and The Dutch Courtesan by John Marston The latter was
presented at Blackfriars in 1603 performed by the 11 Children of 13
her Maiesties Revels Christ Church Ms 439 which contains
four songs from The Second Boeke of Songs or Ayres is said to be 14
a compilation of songs used in masques
The dates of the songs discussed indicate that Jones was a
source for music used in masques rather than a co~poser of music
for masques This is admittedly a subtle difference but it is
a critical one since Jones is not credited with supplying tPis
music in tle published sources of the time such as the plays
themselves
11 Woodfill p 48 and Appendix A
12 John P Cutts Everie ~loman in her Humor Renaissance
News 18 (Autumn 1965) 210-212
13 Chambers vol III p 431
14 Cut t s p 212 bull
-26-
Songs used in masques were declamatory in vocal style with
rare word-repetitions except towards the end of a song The
lute accompaniment tended to be chordal with an harmonically
15 statis bass The aforementioned 11Ny mistriS 11 (see Figures
21 and 22) very clearly demonstrates this principle The masque
an offshoot of the main dramatic movement was musically con-16
nected with the great nass of songs with lute accompaniment
Robert Jones was a natural choice for the masque authors His
melodies tend to be rhythmically simple and singable By his ow~
admission in the preface to his First Booke of Songes or Ayres
Jones main concern was fitting the note to the word (See Fig-
ure 3)
Shakespeare also liked to use contemporary songs in his
works for the theatre and in the music of Jones Shakespeare
found songs to express the moods of his characters Perhaps the
best known instance of this reliance upon Jones is in the comedy
Twelfth Night The song 11 Farewell dear love bullbull is number twelve
in The First Booke of songes or Ayers
15 Ian Spink English Song Dowland to Purcell (New York
Charles Scribners Sons 1974) p ~0-41
16 Ernest Walker A His tory of Music in England (rJew York
Da Capo Press) p 153
-27-
In Twelfth Night II iii Sir Toby Belch and the clown
Peste sing a version of this song that telescopes the first and 17
second verses Malvolio warns Sir Toby and Feste that
Olivia will bid farewell to Sir Toby unless he reforms It is at
this point that these two characters alternate singing lines of 18
the song This song was set in 1600 and the date of Twelfth
Night is 1601 The obvious conclusion is that Farewell dear
heart was a popular favorite and would have been recognized no
matter how much it was condensed Another testimony to its
popularity is that the tune appears as a hymn setting in a Dutch
psalter The Dutch version is Heilgierig mensch and the 19
psalter was published at Amsterdam in 1713 That Jones himself
favored this song is shown by the fact that in his fourth book
nine years later Jones sets Farewell fond youth Its meter
is identical and its melody is similar to that of 11 Farewell dear 20
heart Farewell dear heart may be seen in Figures 23-26
and bullFarewell fond youth in Figures 27-28
17 John Stafford Smith Musica Antigua (London 1812) p 10
204
18 Peter J Seng The Vocal Songs in the Plays of
Shakespeare A Critical History (Cambridgemiddot Harvard University Press 1967) p106
19 William Shakespeare The Complete Works ed Alfred
Harbage (Baltimore Penguin Books 1969) pp 316-317
20 Edward Woodall Naylor Shakespeare and Music rev ed
(New York Da Capo Press and Benjamin Blom Inc 1969) p70
-28-
Shakespeare also turned to Jones for parts of the mad songs
for Ophelia in Hamlet IV V Although it is not a proven
fact the setting of In Sherwood liude stout Robin Hood see
Figures 29-30 from A Musicall Dreame bears close resemblance to 22
the words sung by Ophelia That it probably is this song is
due more to the nature of the scene and the impropriety of the
words words which would never have been sung by a sane Ophelia
and to the popularity of Jonesbull work rather than contemporary 21
documentation Frequently Shakespeare had his
characters sing snatches of songs or refrains and further
attributions to Jones are possible but not provable without a
shred of documentation Nor in general are Elizabethan
composers who often set the same words identifiable unless the
tune had been transcribed or the composer named in the
manuscript
21 Heseltine Prefaces p 168
22 F w Sternfield Music in Shakespearean Tragedy
rev ed (London Routledge and Kegan Paul 1967) p 57-58 71
CHAPTER IV
THE SECULAR t-1USIC
The secular works of Robert Jones consist of five books of
lute songs or ayres and one book of madrigals One or two copies
of each song book have all survived in excellent condition with
minor problems such as missing title pages The madrigals 1
however exist only in an incomplete state Possibly this is
due to the difference in publishing techniques of the two types
of song The song books include all voice parts printed on
opposite pages in such a way that tt-e performers can stand around
a table and use the same book The madrigals on the other hand
were printed in separate part books with the result that the
loss of one part book took away from the whole
Lute songs increased in popularity and availability
when the printer Peter Short acquired a font of lute tablature
This acquisition in 1597 greatly facilitated the publishing of 2
lute music William Barley had published a book The New
1 Fellowes Madrigalists p iv In the preface
Dr Fellowes describes in depth the location of various part bookst and which madrigals are complete because they were found in alternate sources
2 Spink p 15
-29-
-30-
Book of Tabliture in 1596 which contained the first solo song
with lute accompaniment published in England In the four years
between the publication of this book and the First Boeke of Songs
or Ayres by Robert Jones in 1600 books by Dowland Morley 3
Cavendish and Farnaby in this style were printed Peter
Short by the essence of Thomas Morley was the printer of the
first two song books of Jones and the first book of Dowland It
may thus only have been for practical reasons that the title
pages are virtually the same
Lute and vocal music were easily printed For the lute
tablature letters not notes were placed on a six line staff
Vocal music used about a dozen signs for clefs tempos and
accidentals and thirty individual signs for notes apportioned on
a staff of five lines each with a note on one of the lines or 4
spaces Obviously it is this setting of each individual note
with its staff which gives the music its slightly wavy
appearance
Each of Jones five song books includes twenty-one songs
although contemporaneous song books usually vary in the number of
songs Whether this really has any special significance for
Jones is impossible to know For all his loquacity he did not
3 Phillip Hes~ltine The English Ayre (1926 Westport The
Greenwood Press Publishers 1970) p 138
4 Boyd p 178 Keyboard music was not published until 1611
and tben it was engraved This was because of the difficulty of dividing the staff to print cords of two or more notes
-31-
refer to this in his prefaces All five prefaces are illustrated
as follows The First Booke of songes or Ayresw Figures 1-4
The Second Boeke of Songes or Ayres Figures 5-B Ultimun
Vale Figures 9-12 A Musicale Dreame Figures 13-16 and
A Musebulls Gardin for Delights Figures 17-20 However that it
was important to him could explain why he chose to include two
Italian songs in A Husicall Dreame They are for solo voice with
lute or bass viol accompaniment (or both) and come at the end of
a book of songs for three and four voices
The idea of performing vocal music instrumentally has
already been discussed with the performance practices of the
waits Another common practice of lute playing was to use
alternate tunings of the lute The more usual tuning is gd A 5
F C G Plternate tunings included the sixth or bass string
tunec to F not G or the tunings called the 11 leero fashion 6
These were d a f a F c This method was used by Jones in 7
The Second Book of Songs and A~res published in 1601 The
words 11 Set out to the Lute the base Viall the playne way or the
5 Edmund H Fellowes The English t-ladrigal Composers 2nd ed
(1921 London Oxford University Press 1967) pp 304-5
6 Veronika Gutmann Instrument oder Dininutionspraxis
Archiv fuer Husicwissenschaft 35 (November 1978) 189
7 Frank Anthony Traficante The Hansell Lyra Viol Tablature
Parts I and II diss University of Philadelphia 1965 pp 188-189
-32-
Base by tableture after the leero [lyra] fashion appear on the 8
title page There often was a seventh string added below the
bass string tunec to D To avoid confusion this note was not
annotated on the staff instead ledger lines were added to 9
indicate its implementation This may not have been a popular
practice Jones used it sparingly in Ultimum Vale his third
book However all songs but one in A Musical Dreame call for
the extra string That Jones was criticized for use of this
extra string in Ult1rnuro Vale can be inferred from the preface to
A Musicall Dreame This preface is not addressed to the reader
but rather to all Musicall Murmurers
Understand me thou vnskilfull descanter deriue from that Note of Plaine Song charitable numbers and thou shalt find harsh voices are often a Note aboue Ela reduced by truer iudgement which I bereaue thee of nowing thy Rules are as our new come Lutes being of many strings not easily used vnlesse in aduenture till practice put forward into deseruing Diuision
From this preface it appears that Jones was something of an
innovator often embracing ideas before their full acceptance
Jones also may have ornamented or used graces in his work
However we cannot know this because the art of ornamentation was
a live tradition passed from one player to another The second
reason is that printers of the time did not have the necessary
8 The title page of this book is misleading The correct
title appears to be The First and Second Boeke of Songs and Ayres It is usually referred to as The Second Boeke of Songs and Ayres See Figure 5
9 Fellowes Madrigal Composers p 304-305
-33-
10 signs for ornaments or graces in lute playing
The following chart of lute tablature is adapted from
Fellowes The strongs are labeled treble small mean great
mean countertenor tenor and bass All but the treble string 11
were doubled
Treble ( g I ) a b c d e f g h Small r-Iean (d ) a b c d e f g h Great Mean (A) a b c d e f g h Counter-tenor (F) a b c d e f g h Tenor (C) a b c d e f g h Bass (G) a b c d e f g h
The fingerboard of the lute has ivory frets When stopped
each fret raises the tone of a strong by a half step The small
letters bullbullabullbull bullbullbbullbull 11 C 11 and so forth indicate behind which fret the
fingers are placed to produce the desired tones The letter a
indicates an open string that is one which is not fretted or
stopped b shows to stop the string behind the first fret It
raises the string by a sernitone Each letter represents the
next semitone to be produced on a string
These signs irdicate the duration of the note 1 ~ ~ f ~ ~) and stand for semibreve minim crotchet quaver and semi-
quaver respectively The last sign used gives the duration of
10 Diana Poulton Graces of Playing Renaissance Lute Music
Early Music (April 1975) 108
11 Fellowes Madrigal Composers pp 304-305
-34-
following beats Dots of augmentation with their accepted mean-
ing are used when needed Barring follows the rhythm of the 12
music or the words and is not always indicated It must be
remembered that Jones did not always use this tuning for the lute
rather he indicated it by specific performing instructions on his
title pages
Lute songs have roots in the freemens songs Freemen bulls
could be a corruption of the Anglo-Saxon work 11 freibull meaning 13 14
fesitval or of the term three mens songs In either case
they were lively cheerful songs with the tune in the uppermost
voice the tenor They were the basis for the simple part songs
which were so popular in mid-sixteenth century England These
songs then evolved into the Elizabethan consort songs and finally 15
the lute songs
Lute songs ordinarily were published with only a word or two
of the first line printed in beneath the score The singer
12 Fellowes Madrigal Composers p 306
13 Smith p 10
14 Walker p 45 The book published by Wynken de Warde in
the early sixteenth century which contains the work of the first Robert Jones also includes freemenbulls songs~
15 Spink p 16
-35-
16 either knew the rest of the words by heart or vocalized 11
Jones however is one of the few composers whose words are
carefully and consistently placed beneath the notes in his song
books This note-to-the-word placing allowed him more control of 17
the rhythm in strophic settings of different stanzas of poetry
The lyrics of English lute songs and ayres consisted mostly
of typically short verses The sources for many of the lute
songs and ayres were the ~any Miscellanies published during
Elizabethbulls reign ~ong these The Phoenix llest and Englands
Helicon were the most popular However the collections of
Richard Jones were also used by some composers Richard Jones bull
not properly detailing the authorship of the poems in his
collections is the primary source of confusion in identifying the
authors of the poems set by composers Another problem in the
use of MiscellanieE is the resultant multiple settings of 18
favorite poetry Robert Jones set many poems of Francis
Davison Sir Philip Sidney and Thomas Campion What initially 19
may appear to be plagiarism is really an accepted practice
16 W a 1 ke r p bull 4 6 bull
17 Winifred Maynard Elizabethan Lyric Poetry in Its Music
(Oxford Clarendon Press 1986) p 71
18 Maynard pp 54-55
19 Heseltine pp 130-131
-36-
The main differences between lute songs and ayres tended to
be those of length and rhythm Ayres generally had simpler
settings were more strophic and shorter and usually were better 20
sung as a solo song with lute acconpanirnent The ayre is
normally considered a short lute song with the accompaniment
providing the clue to the difference~ Performances could vary
according to the abilities of the performers and the instru-
mentation they used Frequently this lead to harmonic 21
discrepancies in the vocal and instrumental part-settings
This perhaps is the basis for one claim which has been made
that Jones did not write these parts for what are really solo 22
songs in his last two books
The English Madrigal developed as a result of the
publication in 1588 by Nicholas Yonge of a collection of works
by Italian and Italianized Netherlands composers This book
Musica Transalpina contained fifty-five of the best Italian
madrigals translated into English and proved to be very po~ular
20 Maynard p 55
21 Walker pp 80-81
22 Edmund H Fellowes The text of the song books of Robert
Jones Music and Letters 8 (January 1927) 25-37
-37-
In 1598 ~iichael Cavendish wrote a madrigal with the nLong live
fair Oriana refrain This may have been based on a madrigal
published in Il Trionfo di Dori It was this refrain which may
have been the impetus for The Triumphs of Oriana published by
Thomas Harley in 1601 The Triumphs of Oriana contains twenty-
five madrigals by nearly all the most distinguished English 23
composers of the time 11 Robert Jones contributed Fair Oriana
seerring to wink at folly 11 to this collection
The First Set of Madrigals was published by Jones in 1607
Its being called the First Set is no proof that Jones intended to
publish more sets Rather this avpears to be a publishing
convention of the time Where this set is unique is its
containing madrigals of 3 4 5 6 7 and 8 parts tvhereas
most madrigal sets were in groups of one or two different numbers
of voices this book has six different voice groupings These
combinations alone would give rise to the idea that although
Jones experimented with the madrigal form he either was not
comfortable with it or was not proficient enough with it for
his own standards On the title page~ Jones claims that the
collection is for Viols and Voices or for voices alone~ or as
you please 11 Several of the texts included in this transcribed
edition are poews by Francis Davison and two are by Campion
23 Walker p 78
-38-
The English madrigal was something of a compromise in form
It combined the contrapuntal secular music of the Italian style 24
and the harmonies of such songs as the frottola It typically
was a single stanza of seven to eleven lines in length A line
maybe made up of seven or eleven syllables with short and long
lines in any order The rhymes were mostly feminine and in
random order For this the Italian verse setting was standard 25
but short verse ottara rima or sestina were also used
Perhaps the one concept about the secular work of Robert
Jones that should not be overlooked is that he intended his music
for pleasure He had no rigid rules about performance practices
and he was willing to experiment with new techniques He was not
tied to rules of harmony and counterpoint and he seems to have
been partial to the sounds of open fifths and false relations
He was clever and innovative in his use of rhythm and rests
formed an integral part of his control of rhythm It was an
unhappy man who composed the song Goe to bed sweet muze This
was in Ultimum Vale the book that Jones intended to be his last
He seems to be saying goodbye to his love of music and composi-
tion rather than to an unfaithful lover That music in his muse
can be found in his explanations for publishing again in the
prefaces to A Musical Dreame and A Muses Gardin for Delights
24 Walker p 77
25 Maynard p 55
CHAPTER V
THE SACRED NUSIC
In a fashion typical of the Elizabethan era one music
publication could contain ayres madrigals or religious motets
The Teares or Lamentaciones of a Sorrowfull Soule by 1
Sir William Leighton is one such book It contains eighteen
consort songs twelve songs for four voices and ten songs for
five voices The contributors of songs for this book include
Byrd Milton Bull Ferrabosco Jones Peerson Thopul
Coperario Dowland Ford Gibbons Giles Hooper Johnson
Kindersley Lupo Pilkington Ward Weelkes and vlilbye As can
be seen Jones is numbered among the finest composers of the era
Sir William Leighton was born into an influential family
He had social economic and educational advantages However
because of carelessness and misfortune in his finances he was
imprisoned In 1613 Leighton published a book of his own
poetry The Teares or Lamentaciones of a Sorrowfull Soule This
was followed the next year by a book with the same title cf
musical settings of these poems composed by himself and twenty
composers The purpose of these books was to show Leightons
1 Walker p 81 The consort in this case refers to the
accompaniment of the cantus voice with the treble viol and lute tablature The altus was accompanied by the flute and had tablature for cittern The tenor voice included tablature for the bandora and the bassus was paired with bass viol tablature This was in reality the broken consort
-39-
-40-
repentance But the laudatory verses composed by his friends
and included in the introduction of the book seem to negate
this These poems use word-plays and puns on Leightons name and
deal with his unjust imprisonment
The works in this book are on sacred themes and could be
considered appropriate for use in church However that Leighton
intended for then1 to be domestic fare is seen in the style of
printing used that is on a double folio in the same form as
that used for lute songs and in the performance practices he 2
recommended
Jones set three poems for this work The first two anthems
are included in the poems published as The Teares or
Lamentaciones of a Sorrowful Soule The third piece by Jones is 3
set to words not included in the 1613 edition and the poetry
differs in form from that of the others The words of the first
two anthems consist of six eight syllable lines rhyming ABABCC
The third anthem is a simple quatrain with an ABAB rhyme scheme
The first two anthems closely resemble the favorite form set from
The Phoenix Nest the difference being that the lines in the
2 Leighton p x
3 Leighton p xxv
-41-
4 miscellany are ten syllables long The poetry from these
anthems is included in Appendix Six
Robert Jones composed a fourth sacred work This piece
Sing Joyfully which will be referred to as the Oxford Anthem 5
is included in the Christ Church Mus Mss 56-60 The source
for this manuscript has already been discussed in Chapter II No
modern transcription exists for this anthem and may be attributed
to the fact that the bass part is missing and this anthem is one
of a few anthems in the Christ Church Mss not found in other
sources
The possibility that the Oxford anthem was the piece that
Jones composed to meet degree requirements at Oxford has been
presented in Chapter II To substantiate this claim further the
words of Psalm 81 from the Book of Common Prayer printed in 1619
and from The Bible of 1595 are included here This will
facilitate comparison with the Oxford Anthem facsimile from
Christ Church and its transcription and recreated Bass part
4 Edward Doughtie Lyrics from English Airs 1596-1622
(Cambridge Howard University Press 1970) p 25
5 This manuscript has not been recorded in RISM
-42-
6 The Book of Common Prayer 1619
Sing we merrily unto God our strength Make a cheerful noise unto the god of Jacob
Take the psalme bring hither the tabret The merrie harp with the lute
Blow up the trumpet in the new moon Even in the time appointed And on our solemne feast day
7 The Bible 1595
Sing joyfully unto God our strength Sing loud unto the God of Jaakob
Take the song and bring forth the timbrel The pleasant harpe with the viole
Blow the trumpet in the new moone Even in the time appointed At our feast day
6 The Book of Common Prayer and Administration of the
Sacraments and other Rites and Ceremonies of the Church of England with the Psalter or Psalmes of David Printed by Thomas and John Buch Printers to the University of Cambridge 1619
7 The Bible That is the Holy Scripture contained in the
Old and Newe Testament London Deputies of Christopher Barker printers to the Queenes most excellent Maiestie 1595
-43-
The bass was reconstructed after a study was made of the
style used by Jones in his two madrigals for five voices and the
one anthem for five voices in Leightonbulls work The madrigals
were used for this comparison because of the similarity of style
with the anthem
In general Jones uses the bass as a platform for the other
voices Large skips are used sparingly and the relationships of
thirds and sixths with the tenor voice is usually maintained
The frequent use of whole notes and rests and the rare use of
dotted rhythms and eighth notes emphasizes the stable voice
leading Jones rarely initiates word painting or new rhythmic
patterns in the bass However the bass is used to start an
upward scalar pattern carried through by the other voices in turn
It is hoped that the reconstructed bass for the Oxford
Anthem is in keeping with Jonesbull methods The transcription
would not have been possible without Dr Clyde Brockett It is
possible to include the anthem because of the assistance of Mr
H J R Wing of Christ Church Oxford
44
Cantus middot
( -11 ((
) L ~L I
middotmiddot~middot 0
I I
45
Cantus
------------------------------ ====~====================~ I
I ~
j-- ---====-=--=--=--=---=----=---=--=----~~----------===shy
l I
r
l t
I
~-
t ~
middot r I
(1 c I ( middoto
A ~ -1 bull T I bull 1-Jtc v I
bull
~iof~ictf ----middot-
t~L f ef a attf j az ~ E I cfft ~ fiipound wuamp J1 -------- --4----bull- - -- --
iS
l ----=-----------
47
I middot--- - -- - -- I
j It~middot~ ~~I ~CJ m bKpound fy nt-l a~ PJtttfd (Ul A ~
t Ybull T 0 A I I I
~ -t-I I I - bull I I l bull I I I bull bull J I 1 bull I I I
A - bull ~ I
1
-~-- -- ---middot-------------+
-------middot---middot~---------
1----- --------~---
48
middot- middot---- -- ------middot --~___middot---~- ~--middotmiddot ~
49
Contra tenor
middot -bullmiddota --~ilirtttwbullnbullmiddot d_rl_ mr
I ~
i-----------------------_)_
F------ --
______ _
-------middot--middot-----middot -~-- ----- middot-middot-middotmiddot --~----middot- ------- ------shy+----- ------------ -----r=-~----_____middot ~~~---~--~- ~~~-~~-~-----_ --I
I
(I
bull
middot~
I ii l
l
l Imiddot
-I
(
50
Tenor
------
fwaft qtmiddoto( tft~ tfttttt~l hF Ibull bull ~ l~~r---~-~- ~ - =13
t)tl) tfc G11 pound th (b ir th~ tf~~ v
~-f~~-~3 -----+ ~ ------middot =-==~-~-fi I 1Ppoundf ft t1 c If r 11 a h -middot qCo ~~ l-K~-
I I I
bull
51
Tenor
l ~
~ ~r--=t-~ ~ J middot~middot bull I I
13fon ~ lppt ~fie bmpt~H1 tfv1VC btpound lLi hum( Efl J A t I o bull
H-1----r~ni----=ll bull1 -----i - r~ n middot bull -~ t i ~ -J j) I l 1 bull 1 bull l
~ bull bull T _ obull bull -x I n _PI I I I T I I amp bull T 1 1 middot y tl- 1 L~t--I ----J-middot-middotmiddotmiddot1_--1-- _-~--~~--Jmiddot middotL__-1L --1-- -
- I 1 I _ 1___1 - -4-1-J - +--+1--ll- J ) 0 I 1 I I I I -~-- ----- ~ A bull bull I (I V =-
---- - --------- middot------
I he Oxford Anthem 52 Robert Jones
5 J J J ) J f r middot r I
Sing joy ful ly un to the Lord our I 1) I Js - I 0 I ) ) ]I ) 11 J bull v- l l
Sing JOY ful ly un I to the Lord Si ngl I I - _ f r
1 r t7 t r t l middot~ I I I ~ _l I I
I l I
Sing joy ful ly un to the Lord our i strength
1 6J
J I
i - ( J amp J
-plusmn=-
I Sing joy ful ly
-c un to the
r r2 c= f r F ( f z 0 r I l ~ 1
Sing joy ful - ly un to the Lord our
10 j J r
I I I l r I I 1 I f I
0 0 tJ bull middot I ~ I I I t _a l r
II I I strength Sing joy - ful -t ly un - to the ~middot Lord our I I I i
I
_I 1 I I I I l I
I ) I 0 I ~I I j l Ll I I
$ j I lfO J I - -~~ L7 t I -v - _
~ joy - ful - l y un - to the Lord our I I
~ ) _ IQoll I ~ 1 y middott I -
I I j I l r I I I -r r 1
I Sing joy - ful - ly un - 1o the I Lord our
I I I I I 1
0 0 I ~ Q - -~
- I - -~ - lord our l strength Sinmiddot] _
I I 1 - I I ) i j J middot __ ___ -- t -
strength Sing loud un-to the
I r I J () h fl e J j (~ I I II r- j 0 I v 0 i r c
53
I i
I - I - I - I r r r ( J I _J_ I 11 _l [
~ I I I
I
~
I strength Sing 1oud un-to the I
I I I I r r r J y r J - 1 v I I 1 l -l - I - -
I str ~ength Sing 1 oud un-to the j god of I la -
t I I J J l J r
11 - f~ t v I I I L y
r l I
I
strength Sing 1 oud un to the god of j I
I
- ~ ~
r r 1 r r t Igt I
J r I I I r - I
I - loud un to the god of I Jq -
I
v I () p 0 I I _ I ~
I I
god of Ja cob Ja
5
god of Ja cob
cob Sing I lou un to t e j I I
] l ~ ~ i
r - I r r r I v I I (7 I v I I I i
I t
Ja cob Sing loud to thf god of I~
- un I l
~ bull
I I L A 1 I I f- I 1 _J _I L l_ l I t I I ~ t r __ __
-fi I l I I
cob Sing loud un to the god
0 eO 0 __ =J
of j Ja cob i middot
----------~--------------------------~1---o----------~l ~ gt~ f middot
cob Sing
20
- I r j I 11
C I r
I
loud Sing un ~ - r 0
I
god of Ja
r 1 I t7 J _J
~
Ja cob -
1 -I J p 0
Ja cob
r c r f
(l
loud un to the god
I l I JI I
-1
0 l-
cob the god - y 0
I I I
the god
0
I
cob f
~ I I 1 I I J
I ~ t I J middot 0 t--1 J I
t to the g od
c9
god of
r I
to
-I
fvO
Ja
I I
l
Sing l
~~
of
I r I I
the
I
I -
---L--1 I
I J ~
54
y
god
L-
cob
I J
cob
_j
I 0
I amp
Ja
25
l 1
--of
- a I
of
Ja
0
i
I of l Ja
I 1
~ t 1 _ Q _ ~ middot
of
Ja
Ja
I I -J I I
- 0
of Ja -I -middot I
J l _ I I
rl 0 0 - -
I of Ja middot-
I j j I _ J I
~
~ (_ I ~
loud un
ampI _
j9
cob the
r
J I I -1 --11 2_ ~~~~
I
Ja - middotcob
i-1 I -f-1
I bulli cob
I
I
- j - w cob j
i l i
J I ------ I t-1 I I - I cob
cob
1n I
I I I J (7
c_ -
-Take I the
- bull- I I r 7 A_ f I r
0 I ---
j
Take the harp t the I
J ~middot
I bull I f~ [ I [ I
J -Take the harp the
1 1 -I I I _
( y
~
Take the
p f bull
Take the
35
f J J I
I 15 Z
) lt I
brell I
tym tym
I 0
CJ ) J forth the tym- 1 bre 11
I I l _ I I I 1 j I
omiddot i I I
harp and ~ bring forth the I I I
1 r
I I + and bring I
~)
r t harp and bring
55
_ -
harp
j fr
r - ti (J J ____ r
-
f ) I
v J
harp the
a
(2
harp the
f
brell
1__ J
and
0 I tl
-
)
harp
~
harp
I J
harp
harp
~ the
r bring
r [I
I I y
rJ I
11
and I bring
f I
and I
f
I ~
I
t take
___
I
I
r ta ke
J 1
tym bull
( r forth the
- _ --- r
tym - brell I j J
I I I J I r I i
_) middot forth the tym - bre 11 the
( t
f I r r-I I z
forth the tym brell the
I 1 1
amp
forth the
1 A ~
bring
I A
7
the
t )
the
I
~ I ~
I I
l
56
40 I I I I I
I t I 0 I _i I I i ~ ~ --middot
li 11 11 I -
- brell and bring forth the I tym - bre 11 tym - brel 1
I ~ - I 1 () 0 1 I r 1 - --- i
I
tym brell and brin9 forth the I - I
_ 17 - i 77 j
- r - T T _ I I J ~ I I I I
I I 1 ( bre 11 ) the tym - brell I the
i I I II
u I pound I A J ~ -1
I -
~
tym - brel l and bring I forth the tym -I
J amp Fyen tji
F l
tym brell tym brell
I I -- I I j I
I l
-J ~ I ~ ~
J
harp and the sweet the ~ I plea sant
middot - --f ) I i I e 61 0 J ( z
bull
tym - brell the tym brell ~ the ft ~middot c t r 19 ufJ f ( c t I
pleasant harp and the vi 0 ll the pleasant harp
j ) j middot99 J GJ or gt _ -5
brell bring forth the tym brel1 th ~e
9 l f~ ( __ r I ~~
-- -
Bring forth the tym brell
57
45 J
I I I [ f I C) A A I A I j l - -
-
~~ ( _
vi - I 011 t sweet vi - oll the I I
I -- 1 - l l 1 (7 I I I J 0 A I J bull
$ r - I brell I
themiddot 1 pleasant harp and the sweet i I
- p I I
r I I lt I_ c I I I r
I I and the vi - I 011
l vi - 011 I
I I I 0 I I
r I -J y v - I I I ~
p~~~~~nt harp and the sweet vi - 011
I
_ v - 0 I I r t I I II 1 I J I I
the plea sant harp and the sweet vi - oll
50 1 I I I I j tl I l bull I
I J L t- 0 J I
-
I ~
J I
pleasant harp and the sweet vi I ollll the I
~ -- _f I A middot bull 0 J i r 1 l I I
vi I oll the plea - sant p
r I i T 0 - 0 I I
I f I I - ------I I I I j
i
the ple~sant harp ~nd the vi - -
I
--- I _l I I I --1 0 I r l
C-
vmiddoti I - 011 the ~
pl ~ea sant harp - C) r 1-
~ r I I )
r ( I l r
I I t
and the sweet vi - all sweet vi ol1
58
I I I I L_ I J _l J f J
I I I
~ r
pleasant harp bull and the --_
t I I I -_j
harp and the sweet -l I
f middotv A I I I I
011 t the I plea - sant I I
I I
I I I i I J t7 Lc -I
and the sweet I
vi I -i - I -
- J
I c- -
oll and l i I
1 I J J J_ v A
I I
oll the I pleasant harp j _ k
-r= 0 I
t I
t
sweet I vi I I _I I
11 i I I I I I I 11 _j ~ C I J _lj bull
harp and th~e I J I ~
sweet vi - 011
J ~
t
the pleasant harp flnd
55 r J1
1 _r _I_
swe ~et vi - I I
- ~ I I A ~middot _t2_ I
I
vi oll I -
t I _l l
fL
harp and
t
al l
-
j_
A I I
th~ swee~ I
j_ 1 L1_
J _L _r I
I I
and the sweet l A
~
i t l I I
I
011
- I
r r the
the sweet vi
0
-0
vi 0
~
the
I t
the
-
60
0bull
vi
0
vi
-
J
pleasant
-
l I I
J bull
pleasant
-
-
amp l
I
l the
I
I
harp I
----1
59
I I
_ middot-I
- I - - __
I ---- oll I I
~~ - f r I f I J e_ I I _
011 I the plea sant harp and
0 - 11
r - - 1 v I I r l I I --~
J _L I l I
pleasant harp and th ~e sweet I vi --j 011 t I
I _I_ ) - I
_I r D I J I 0 I I
I and the sweet vi -- 011 and l the
J ~
-- -=- 7 r I
I T T r l I I 7 l I
pleasant harp and the sweet
65
- - r I
I I J I I J
I ~J ~ v I bull J cent ~
--
the pleasant harp and the sweet - _ r r ~if L) I I tJ - - I I l I I 0 -1 F _l T 0 j I J l I - -- the ~weet
vi - 0 ll t and the sweet vi -ll n middotmiddot-
I I ~middot r I - - t - f7 I I I l _ (7
j j --w
sweet vi - 011 sweet - vi -
I I I I T T - t i -- A t7 r 1 T 7 T i ~ i
_l J
I I I I
I sweet vi - 011 fhe I pleasant harp and the sweet j I I
u I l I J -1 1 0 I )
f I
vi 011 and the sweet
ou
70
-- - I I I I J
~ I I j ~ (1 77 -~
vi - oll the pleasant harp
I I - j I I I A I 410 7
-- L
- oll the plea - sant t --1
I L I I J 0
I I I I ~ ~ t r _fl_ 0 0 _ II I I
1 I - oll~ the pleasant harp and the swmiddoteet
~ I ~ ~
y JoiO c I- I l I r
I I
vi
I 011 sweet v+ 0 ll - -L
- l I I 0 J --- t 0
I
vi oll the sweet
75 I I
I I T J j I A ~
~
I - _() ] middot -- -- -- bull l I and the sweet vi - 0 ll
_l I 1 77 0 0 0 -I - 0 I y l ---- t ------ I I I
harp and the sweet I vi - 011 bull I I
0 0 C)
poundJ I - t (7
I middot-I
vi - oll sweet vi - 011
I I
~---0 J 1 I t J -middot
I _ _ bull I I 17 ~
I - -
I
f t he sweet vi - - 011 bull
- I CJ I
C if- I I
I I 0 T _ I I l I
vi oll vi
~ bull Scr-ibe error shc~AIJ b~
61
80 111
I I j t - - I - J I I y ( j r 1 bull
amplow the I
up I trum - pet I
~ - - j j I r A j J I t - 1
Blow up the trum - pet oiL - r
p r r Igt t r r r f- I I t J I I i middotp I I
I I J I I
Blow the I
i trum up trum - pet Blow up the l - pet
I I I middotr I
f r l J ~I I r- r _r j A I I I _
I i I I r I
Blow ~p the trum - pet Blow up the I trum - pet _ I bull_ _
0 ~ I I l I I I I I I
I
I I l I
Blow up the trum - middot pe~ the trum - pet
85
f 1 - I I I ~ I I I r ( J-middot I I r J J -1
I r l bull
I
trum pet the I trum pet the trum p ~et - -A - I p - - I t
~middot J I r _1 L I t
I I ~ I
the trum - p ~et 1 the I trum - pett
- i I i ~ _
-l f r r ll _r_ [ middotp t
t I I J l t I I I I l
~ I bull I bullmiddot
Blow the Bl~ ow the r bull
trum pet up trum - pet up -t I
- I t l j_ L _L A I
r r J r J I A J f ~
l I I - I bull I
bull I I
Blow up the trum pet Blm_r up the trum pet I - -I
tt) 7 - 0 _ I 0 i I I -I 7 I I I I I I l I
--J I I _J
Blow up the trum pet the trum pet
0pound
_I I I I - I I J I I I 0 -II I L J I J - j
- Jf o I J 0
ln] the new moont evn i n the time ap -
- -- I
- I t l v t -1 I I_ I l I J ~() -in the new moon the new
I I
~
[ 11 -~ - 0 J - I
I ~ l I I 1 I I
I
in the new moon in I
I I I I - I I j J l J _0 r r J p
I
gt in
I the in the new moon~ new
1 _ - r- r r r - I
I I J I I ~
1
in the new moon
A ~ I I I
r
r f cl - A I _f I I I I I
- _ 0
l I gt _ _ I
I poin - ted at our feast day at
-middot - _
-moon
I l I
_ I I J r ~middot I I J j - t 0 A A
I - r-- ~ ~
the new I moon evbulln [in) the time ap-
J I ~ 7 j I I I ~
r r T I I _I I
1 _ J J t J l - j ~
I I pol nted I sol moon I evn in the time ap at our - emn -
I I + -( _-f- i- ___ - ~middot
_ T I I I J 1 t l r 0 ~-
r I I 1 bull - I I r I I j_ I I I
r
evbulln at the time ap- poin- ted- at our feast day at
93 [ot] Ct =at II otl~ va middot
95 I I [ I l
17
J I
__ J r rJO
r---
our feast
- - I I
v_ ev 1n
0 f6 r I J l - -J I l I I I_ l J
pointed at ou~ast
1 L _ II I y _ r Cl
I r - I
feast day at our I I J
bull _) 0 [j A I _ I - t I
__- I I I
our feast
- - I I
C
evn I
- ~-
--_r r 0 ~ ~
J l I 1
our
u
day
I [ I
J _
in the ~
r I I I
poin - ted
roo -= ~5
q~
I
I r r feast dayt -oGr
- _ I
- _ I
evn I 1
I I I ~
r l l I I
~me~--I ~nted a_p_ I
J I I I I
at our fea~t day
c t ) o t h u o s [1 h) = a~ tr~J))~ribed from
altmne ~cill-ed o~~ ti
- _ _
day 1 I -I I I I
I I J r I I -J I J
in the time ap - poin-ted at
pound)- bull -J _ I j
day our I feast
- l 1 l I
~t _--tf 0 II ~ ( I
I
feast day~ ev 1 n
__ _ r I ~ r I I J
I I 1 -
day the time ap-
100 -Imiddot 6_ __ J J J I I I I J I r t _1 ) - I bull -
in the time ap- pointed at
0 _
feast day
- 0 _
r I _
bull I 1
bull jrlJ the time ap
I
~-
r T o I I I I l A _ J
a or feast day our - o---- r l - f I I I
i
1 _l 1 _ I
at our feast day
Ct VOIC~
b4
105
r r f 6J dmiddot 0 I~ j A our feast day our feast day evn I
- - ~
J I
-
l evn in the time ap- pointed at __
A 0 ~ )
y 0 J I I
poin - ted at our sol - emn
- -0 dl ~ ~- - A middotmiddotmiddotmiddot-
feast day i at our feast at L
LJ
I
- 0 - - _A
v
our feast day sol emn
l -1 I- _pound_
I -_
in the time t
ap- pointed at our feast day evn l
_ 0 1 J l ~
-- - ~ J I 1 1 - I
our feast day evn in the time ap- pointed
0 ~ _ middot- A
feast day evn
- - -d A (
at ourmiddot -f- at our ~ ~ -- 0 - ( I I
feast day evn in the time ap- poin - ted feast
I
110
J omiddot u --1 -I
lt---
in the time ap -I
poin - ted at our
0 - ---1- -I-- I
at our feast day 0middot
I - --
l
(i nJ the time ap- pointed_ at feast day
I our
l Omiddot (_) y l
I feast day
0 ap- poin - ted at o~r I
~ 7 ~bull
I v
day at our feast day in the time
115 I I -middot
I-
-- 0 bull ~ -
middotfeast day evn I in the time ap- poin ted -
I I - - 11 (7 ~ 0 -at our feast day
bull 1- t -
- A ~
I evbull n [in) the time ap-
-middot y
I
~--c CJ
feast day evn in the time pointed at
r 7- ---ap-
J ~
y -ap- pointed at our sol emn feast
iblihing Mil 414 A bullbullbullbullbull
120 -
~ y r tFU
L j _L_ y -
at our feast day at our
- - - _ (7 _ - __ -
at our feast ~ L)
a_ 1 _L r I y r1
pointed at our
feast day middotI evn UnJ th time ap -
0 1 - --I -
A middotbull -
our feast day evn r 0 0 I -- Q_
-
day our feast day feast day evn
11 - -_y 11
_V -J
- __l -
feast day at our - 1 I _L_
_Ql_ A (7 I r-i 0
daymiddot ap - poin - ted at our 0
v I y ---d I
poi n - ted at our feast day at our
____
I I - -1 v J 1
FJ Cl bO L
I I ( t-I in the time pointed at ap - our
_)_ 1 ~ ~
Ll f
_r I
in the time ap - poin -ted at our
11ishing MP 454 A bullbullbullbullbull
67
A ~ ~
Ai 0 -- C-
-feast day
I
c- _- I - -
feast day
I I --
- _ _
-- -bull
I
I
feast I
day
u -I
feast I
day
I - I
~
middot~ lt-
feast day
130 f A -J I 0 A
-7 bull - -
A - men ~
~ v j middotmiddot r I I I _ l _
A - - - - - - _ -- -- -
- j -A men
_t - - -1
0 --
I - - - - -A
I I 7
A I ~
A
i
I -I I t- 7 -t I -~
A - -
~ I I - l I
t-- 0 I A
I I
- A men I M - I
- r ~I r v t I 1 I I _t J I I T I
A - - - ~ - men
c-~ I
- -I -
mmiddoten A I I I
--- 1 I I I J
I I T J _t A - I -
men A
135 l
I I I I _I -1 I ~~I I I 1 0 -l - I I I J rj~
- _
r --- ___ A -~ - - - - -01en -
I 11 - ~ - I t _ r p
r I J I I v I l J I
- - men A - -I I - I I -p - v_
v C7 I I -- __ I
-A men A
~ J I I I
I l I J I A _ - L7 JJ J ~
~ v p
- - - - - --
I I I J y __ I T r I I
~ I I I 0 ~~ - V
men A
lblishint MP 414 A bull
I I
I --- -~
- - tf a ~ - - _ - -- - men
0 ___
- men - A _ - ~ I --- -
I - men
- i _
- -- ---men
--
~--
_
men
tblishin9 MP 414 A 7
----
l I
72 ___________ ____ Ff gure 1
I I I
middot-
i
l I I r I 1 I
I r
IH pound
FIRST BOOK E I I ofSo11ge or q_fyftlJ of iRetiiu~
rourf parn ilh TJ 1
binsr~l tb( lbullU
paru togethcror ~lther of middot dle1Jlfhur2llynliay be toils it _ l 11l~U~~~r
to dte Lutebull Orpbad~l
or Viol de gllllbo Compoftdby Robct~ ltJ~Xto
f
----
1
l
I ~
1
I I
73
Figure 2
TO THE HO middotNORABJJE Ai~O VETt T OVS GENTLEMAN SIR ROBERT SlDNEY KNlCH -c
Gouernour nder her Mai~fi~e of the tOne f VltlbitJ1
and the CaAJe of the Jldlraquotftns In the low C oumnes and of tJtjorll ojtltf411Jt AJtntLrrpuh thtJbullrr-ifonthenmiddot
In plilctdMTftU D b~ifi~jiUitt
~~~ii~5fil Our great loue and famor Honorable Syreuer rhanifellcd toal OrthyScier ces hath ltnbdened me to offer vppe t
y~ut ~ordfiups Shrnc thefe the vr I wortht~middot labours of my uulicall trau~~middot And though in refpect or their Veake nes they ln~y perhaps leenu vntin1ely
bull=-o=====~ broughtfor[hand theremiddotbre the vnlikelrshyerlo pr~fpermiddot yet doubt I rt~t butj~ renderd by you they fl1all happclbulle find gentle cherdh~ng w h tel~ n1ar be a mea ne to make them more tlronger or elfe mtfcarrytog to etcour~ge my en~ ~ deuours to beget a better for as no arts vinclf at fever errors than muficke fo none greater enimies to thcirDvoe profeffion then Mu 1cians whowhdn in their-own ~tlguaritietheycon demne euery mans ~rkes raquo as fome wate ~duty they are cbe caufe dm an istbcmiddotldfcentc~emcJ ian~ they thuitfelues feEuted as fclfc-com e1enders tnd men man fan[aLlicll Vhcrfore if chis one cen~uringinfirm itie were remoued thefe nty ayres (free l dare fay from groffe crraurs) wauldfitde euery where mort gratious entcrtainement bull Butfince euei thofe who are betlfecneirtthis art cannacvaunt themfelueJ free from fuch de tra~ours~ ~ lhe~ leffc rega ~d irbting_fo w~ accompanie Howfaeu~r tfheretn I may gatne yout Honor~goodallOwance fuaU thinke I haae attained co the better en de of my labours (vbicb with my fdfeandthebell of my Ctruite) rcfies eaer more at your Lordihips in1ploimenc
Your LorJjh1ps lmotetl in ~tO dutifiiJfirmce
aobett lonebull
----
middotmiddot
74
Figure 3
ro THpound READER
~ gtltmiddot bull bullbull bull bull bull middot~ EntlettztnJfincem1dtireu)ourtllrtsfoulde middot ~~-- ~imiddots benlindijferentiudgtrfclllnot thin41t nt
-~~i ~ ~rflary to filalt nv trautil or nu hringing -vp ~ tbull middot 01 argtttJmts to plr[Jllade you that f haue a ~Ofd
~ op11110n of 111) feft~ only tht~ much lwzl~tJte 1n~ ~ I ot ihatJmttypretttnttherifhudgnlentsoJ[uch
bull _~~~ ~ t- ) u now n1c not E11er jinre I praflftJ fe4-- middot bull ~ kng I hat~e praRifid inging lbullauin hail not
itr qualitie tobitJder mefro1nmiddot the pifefimiddotI(TIOTPfedgt o(th~]aculu I rtue ~~~n incortngtil kr tbl lParranmiddott oj Jiucts good iugmentr that my
pt~ints herein foal 11tihe eafl proct~re_gooJii~ng if riot delight ~hich Jttfor ntineownetJtitl muflueeder Jeare 111 much 111 defi~e ~efpmiddotecialy
lien I conidtr tb Nptnes ofthu induflriousagtlhtrtillaU mtn tndeshyrwurto nol~t all Ninges I ronfefo I 1as not --nTiiUing to emhract the conctitr of fuch ge1tlemen uraquorere ear til to h11 ue me AfpbullreU thtfo ~~~ tits for them ~hihthough they intendet or their pmiddot_iuate rmeation 11eUcr meaning thfJhoultcomeintothe~tght~tre 1elf(I1Jten~ )pon inshytrtiiJ ~o ma~ thtoncouragementr of tq1s ~ jrfl di~tr~tllre 1Pkere11p~ PO f lilas ~lmrfl ~~to m4~e tnJ flfaJ ftiJt~ne lJJtbtU~OTJ pr~-shymtn~ thAt if lY ctfimiddotnnrfoilttltn( ~ M_~HJI ~~H fllghl P_eakt for theme~ts ~boTPfoeiltr 1~plt4ftth tbtm middottodlaquonunl bl~tt of thest ihen oftbeft1 0 f purp_ofo ( M -ltfiOiddfiemt)tom~t4 mehJ1eut I hm do (omething 1111 onb hope i1 thai fo~ing ntither J cold AJres A nor fheir idedties ( u thgDi[ntedtl hau t cAUthtin) hAue hithn-to Jeene foc~ttd in Ut tdrtJ of rnanie thg maierh~nttlflil)dt f~Kh enshytertllinmentJ llJ conmonlit nn~e1 aoth in tht bullorJ ~thith if I J he fo
middot ~appie~(o he11re lTtiUnoefaie my next jh11H Itt ampttirr1hut I ~a promift tO tfl~middotIJfOft f4intmiddotsroJmJ lliOt fOintsof mfiampJtwbich noJJt coufJ not JohectJuft YlitJtffcllrerPu (ofttlht (Jf~mtk~Jor~ ~~~~hen muflhe-ullJe~ connntDith e11ch IIJantlll))foU cenfurtU IjhJbe giAJ of fomt mtns vndeftrueJ fouourl
-J
--
IJ
Figure 4
~~ ~ A Table of aU the Songs contained in thir7JooJc ~~~Ul
middotImiddot AWordans LookecS middot Fertd Wlnto~ youdu ~~= Sheewhorematd)Jet1ebcaury f+- ~ Qncre did I laue ~~~ L~d ~r~Atongdcfuc l Ltc dOwne poorc bean J ~ bull n Wl I _ ~ -b _nere rngrrnguare
1 - i1 Hcroatenotchougb ~ z- middot ~ Wbcnleucandumo bull ~~ Swee(te come awa t bull -a Wmiddotomenmiddotbullhataicrtbey
EarcweHdccrc louc ~ middot gt ~ ~ 0 my paorc eiu r~ ~ a If fathers knew
bull ~e i Life is a PoeampJ phablo ~~~ Sweere Pbilomdl fi ~- ~ 9 That heart 1 ~
1 VVbit ifl feckc MymiRris
middot~ M ~ Petplcxed _ 1 ~ Can lllodca pbine dctir
I
middot 11 - 1 ~ ~ middotr_ ~ r fl~ - I
l j It I I
~ ~
-I i I
lj middot J ~t ir- I
bull Ill - -middotmiddot - B
L lL m IUL v VL vu VUL IX X XL xn
xm X1Dl-xv XVI xvn
I t
I r-middot
r --- ~ I r- ~ J
I
Figure 5
--------------~- ____ __ t
lf~ flfl TJE
B 0 0 K E 0 F S 0 N G S AND AYRES
Set out to the Lute lhe bafe Violl the pr-ynt Wdl etr tbr 84ft by
tablcturc afitr lhc lctlo ~114
CftftJJ Kobert Iones bull ~middotihl~ by Pr flaquo Afbs by bullbe
~Jm ~f11HtfNI Al~rl)l J tbull6t Cold bulll bullhe Inner l(mplc
u bullr bull 1-ot
_ +- - middot tmiddot bull
~
II
Figure 6
------middot--~ middot-------
T 0 T I-1 E It l G I-I T V E R T V 0 V S A~ D V oR T II Y K ~I G H T S 1 R
H F N It Y L f 0 N i D -middotrmiddot t ~ ~ ---middot~middot 0 R T H) Sir mJ my_ Honourablc fiicnd I giue you thi~ ~~ ~~~1 bull CIJIIJl pr~u~ gtou hnng at vp bccaufc I ttm o1 ~orc mn ami t ~ middot ~ _ can nor maanrunc bull t 1t bulluy ~ulfcc muchaducrfi u~ ~~~ my nam c
middot middot your For~u~c mnc aJ~cr llJS rtJrrcs 1_nd make h1m hJppac bull f ~ I fhopghllllbtherbe ahmiddot oe l ulltec~Uhoun Orpbanrlorpm rc
mens CbddrlfJ -are Orplano borne and more to be piuiCd d~cn they liJJt hJ11c changed thcidltl cr) lor their ltuJ ~ fud1 mlc bullai(e themfduc~hl due time we h0111C oo wJ ic to l lciglncnour being bm by lbulllothcr pomiddotNcr As Gcntlcwo- mtn pecce lhcmfdbullcs with Tij es and Co ronctsto t p flC trt mor~ per fcmablc ~nd t~ll o UltJfi woaJdc VntO OUl )ulctlCS if wew11 not De (corned iardwarfcs) rhccroYlC of Acnllc pC1fons mgtre cmincnt and hi~h Our (Lnurcs ~rc nor fct aboue d3nshygcr i WCcJuJowc hdor CUCflC footetO trcadc vpOtr OUt place IS he cround there icnodnng balc-~trwsandycr dcuil~ion _m pun n lower if wee h~uenotgood ~(reds Th~ y wiH fin_J _me~nc~ lfl digg c and In v s down~ irnu the cllth ~ nd burie yenS
bcfotc ourume Th1s 1s the nufc of pttroua~ct nnd thli ts rho p(rlecutton o( ahem tlpt wouldingroffc ~11 Gloric imo the~r owne hmds But t~cdJt UJl~ o~ rhtfe mcn they bite the truhe~ thcmfdues 01ould fee de vpon Vcrtuc would llrlng fonh mmie h1idrtfl but 1hey hold them an the wombe that lhcy due not come hut As the coshyucrolls maf~~ fi~gcth aU the hind about h1m wath fi3tuus 6ncsand b~nds i1 nd othc r (uch Iike~iumiddot 1 warre (o doth the ambitious intrap the Jinle pori ion of ante commenshydations cha m~ ic fie II bcfidcdilm And like the mercalcff- Souldicn lhe Cafilcs they cmnot t~ kc they blow vp They uc a~ f(nring of cucr ie CmUlrcJun~flc of crcdifbull ~s iflt were I aide vp in oonnnon-bmke and the more were giuco a wile the IelTe would ~orne to tl1cic nbullarcs Theya1 c mafcra~lc men) _f roill onlf br~md (htm wi1h this m rk~ and let dttmgoe Thty were Eaglci tftheyd1d not rJtch Hycsas lheY ate thcy-bullro grculhings)muchldfcthcnnoamphing For my parc)l willnotcorucoa wiJhchcm ( aeiire JlO appf~u(c or commcndadons lei ch~m haue the flmc of Ecchocs and (oundf and let me be a Bird in your C~ge fin~ to Y fclfc ~nd yo-1 Tl)is is uiy coment and this is my llmbition~ if 1 haucthis Jfiile nm in mtcxpclhton il more for rour akcth~t is my ashbntagct andl will owe you duciie for it in the m~anc time lrcfL
fl 0 Jt I ll T 1 0 H R ~
A 2
10
Figure 7
f
TO THE READER
rSI~~---11~~~ E AD E R 1 btt11t atrl moruuuttiWtJ to At~ IIgtJ oujlU rtPhul~r J b411t 6o1ft WU r no td~n( tlull
--=middot ~m~laquoh ft~inen~ rltoife thrt e~tU th4t jwiUf-1 fortify j - ~ry inrtnl toJll~rJdbtt lllll JJ 1tt btctufo
z kow tlwcwot r middot41d I IU jtlllrl ftDf gr~flJ(t D
comftlirltfto Wilrrant J tnJtutJMrs lll-bullfl o~U met~ ~ J bull JqJ it 110 fJ1J1111t tJ ()~~ Vfri~btrztQt ~~~ thttiJJkJt 1 ~~
J tntlfflt IUJtl~ AUfljt my Jrlfrof~lliJtnltt yluggbullJ ~~a~ ~~~~ iby fat~olll ~ whrrtin l t~sft rt~tiJti tJ itftritk rkJt ~D11bull
II~~~~~-~~ llllldllllorlt 1 then PJ my ownt bullfi 1 to frt 9 l4hD~ifl ~Ill (o Jbulllr The llNIIb b lllthlugh l wbull nbulll fo nilt
Jllltll J rptnpofol l~rt cA7rn t~Jt J J4n1Jt~t jl11d c tbrbbull~r~ of t~rirt~~min~tion Ttt Jwould bt ~it~J( if 1t ~IJtbi) thfl~tlt J1nJI7 tpptabat~tm mtJbtgtlltll1t mcouragtmtntto foutJJm t1Jan4rfoltJumfltt JrtlltfJJJJ rlmu t4ttJ hertJttr bull Jftb( Dtt~itr aiftk dJrlmiddot 1
1ll mjiullt- th~tt lJU fo e~DlJ til flbfffll 1J_
pri~su rt~nttnrntu(JilltrJ Gnt(tmt~ith~ut tbti~tonj~IUJ lhh ( lmiddotbPfl J nor 4middot gbullmJltbdr tltls RPtrtm if t~oN ftrJJ afllltiJmg to rnrtttfllltbmiddotrlq Jefiri rblt~k m~ jtlr th] rtltre ~uwr mr~nt tiNt~ J (nmiddotow nDJ l11w 11 ttiiIbullrt~ttmt Q(lr~IJt bullMtillllb~n~l tkrt p~NJ btn~ GtJ~thmbulln ( btn H 1tJ4j ~middot1 fo mfcb pbullrnufor fo hulltMJ) tbl wbullD n ~911middot cl11~1ht c~n 4~ ItA k bull~ loiftr bi Imiddot~~~middot 1l~~JtMjrlrJIJ g_olll bullJtiK tlritil bullfhu tNnmng JifJbulltlltmtbulltJJ tblttll) bt(t11TiflfllJ ~~JUJhlllfJ nolliIYIIJ hu tiJN)t rl1tfo Jrtlo dtjilehim Cif ht-6middott nt~~zruiiPbullP bulllirbnmiddotz ii) tb41hfmaj(J 4ctrp1tbt N6inrri DnDfiiiJ Nt1111t M 11 f~cirnl Tiflsmonit th~t J ttm wat bAiflrJ oinflrt~DJ~Il Jflhtrtifl Iter 1 iraquo94fftt~r rt~hbullffibullNJ7rll ~ ~ J~fiijitJIIjon ~so~middotrbrr~fl tb~l1fDMJj~inc in formt llltil tbtY ktofMttlhm~ Jytbur gmzt411Jtjl~ ~INtrltlbltlg J IJ n1t j11 rnbullch 41 tltfirtthtm o 6elftbulltbull ltARJf11ould hfrrbl teacluhmr At lr~tp bow tbl) IJII~ bt ttmt je F r 1hl 1Jc)Dl 1 will foit 1n1J t hHJ mMch tbtrt blllh not bttnl u~tPttt of tbil fojhitm wampicblf tha jh11l1 pron~gturt to bt blWirtbmiddottb btAtHitJ rtfl fJfifjitJ) if tlbJtit~tor Pbullrewell~
Leaftanie ntan fi1ouldfeen1e to acctlfc tneoflingularitit for expref~ fing thetimeo( myfong~s by prlcke fong Neres neuer b~reto fore vfemiddotd Ihaueforhis ~euer innruction hcr~un~o indeuoored to fatiffie him
amp t r f A Scmlbrcofe Minnum~ ChrocberQampIItr
-----
~ qA~ ~- ~ 1b [G~ ir~1
~~J ~ v 1
~ ~~ c a
c ~ ~79 - =-m
IC~~
~ p _l
9t ~ ~
ll4 ~ l
-- 79
Figure 8
-
A Table of all the Songs contain~d in thitltBook
I loue wing middotd my hopes I I Jly louc bound m~ with ~ kiffe
1 I f bull 0 how my thoughts doe be~ t me II [ Ore ames ~nd I magi Oitiom V Nfcc thought thi~other night V l IVho fo is tidmiddot= 1 II fie fie V Ill e~~utic (bndc further I X Now what is loUI X loues God it a boy X I Ouerthcfebrookcs X I ( Whither 1Unnc1h my fw cct hart X II I Once did lloue X II I 1 F1ire womtn X V D~mtic d~rling
X V l My Jouc is neither yoong nor otd X VI I Loue is a b~blo X V I I I A rife XIX Did cuerman
middot XX To lighandtohefad X X I Come fa tro-w con1e
0
I l Jl
iir 01 11 -~
~~~ ~~ ~
t~ ~1
~P J
~~8 L e
( _] middot~- - ~
v lft -amp A
l -
I
~u
Figure 9
-----------------------------~
VLTMfiM fl IILE virh a triplicity ofMuficke
W HEREOF lbt firfl p~trt ir (or t~t Llltt J tbt Voyc~ and the Vbullolc Deg1mbo The Jcflt lbt Lbulltt tfH Yllt 2J IMrt
p1ne1 to fine The third part is foe twoTtcbl~t to 1fint ~it hc 10
lbtAr n- rhll 1~ bullr t-
bull bf ~ Compofed byR obull bull T lo bullbullmiddot
fl fr1fbull1JibullJ~ ~ 4111 Priorcd It london br r~ i JIIiWd
~re robcfoJd l)yS pfn (lw J bt sJ-laquo
ttfiN C01bull1 I 6 G l bull
81
Figure 10
r~IW~- ~~~middot middot~- middot ~middot bull bull
TO THE GREAT lOY AND HOPpound OF PCZ(ESB~Tuf ~Jgt rUTUfF
Times H E N R ~ E P ri nee of lf a cr Duke Cl~r41wt1 ElJieoflhc CIJjtJirfbullibulltifttfchtjltr Knight ~fthdiDIN ribkoJenf
dl G4rUr Hcyu App rant 10 tht Rcllmcs of Elrjuntl Scotbnd France and JrdoJnd
Ojl Exrelknt Prince T Jr flrengtb of our d rt (] houJ aythrrPuaf(ncsgt) cannot endure tbc force of Soueraigne
erltlCpoundOf1tcncarcitwemay tU ncarc u to you your poundarcJ TPillyet_ be arc to deale wuhfottndes tbougb nor to
dwcU there yet to pajfe by tbcm1nd by teJiJ to learn to tune Jenjcs lJ a nper a~c c-A lmo all attr k[JlPicdge ir drallme through the ftnfirtbey arc the Saulctntclligencfrf -wbcrciy (he paffith into tbc -world a11J theTPorld into bcrttnd tJntangl ali ~(than )there is none fo learned__ a1 the tare~ none hatbobtainedfa cxccllrnt tJJJ ufrtJjodelicate1[a ablrufe fo p_irituaJ thAt itCIJtChftb rup TPifde fo undet in tbe Jitt and brin~~J tk Under tJ goucrtJC1fttnt ntJt to he expreffi1gtbut donegt and done by no sQll buf it otPn~ Thereu Mufic-k in all thinretbttt ettery tnan cannotfinde i t Ot4t)
iltampAJJjeofbilo~neurri11ghee MJlft baue 4 harmo1J_J in hiinftl[e)hat hold goe-about it and then bt u in~ good way 111 be that ht~th a gwti ~artJ in d
oudfot1llardtUJ to our focultit [ onceitc u but aTPtll tundejat~ry done in tinu ~ pLsce ~~~ ex(ellezt fintencril hut a TPell lHn~e rea(vn Dell nit ltgethtr P ollte or the fubt efl therof a [omit 1on IJ1ellltbu6utll lite I tuul middot e
Song T~htr~-allr41ltl Joettgrec ana lnccte together~ith foil C011ftneanti lJartiJOnJ one Jertung otherand cuery ont rhemfeltlet in tht Jam~ lAbour ButnolP] intrudeintoJOilr llrtin whicb 411 pnry(anJ ftc hoper)thal q oJ ~iff giucyou a oJy aru profpetOI~S k_JoIIJfedge anJ t)en aJ orhtr eJ rtCS foal profPpoundrnder it Our gracious S tll7aigt7(Tour H~h11ei dear FatJcr) hath ar11trd atul conortedjomc great prOfifiolH areaJy~ fi~eh1ittleoneJ dJ this )oo e for itgtand heg il cfw OJ4 your p ri nccb nature promi[eth it J hich m4 es nv boJJnet bopefor p4r on ltJucbfiifc tne(mojl exctllcnt Pr1nce) )ourProte8ion Ph(f1flt)on41lowJall Qtbtrs rPill conrmtnd theircenfitrer n A it fobulluoflrlikjngthst ot~~rraquoJift1Pold Jifpift me bull EN en your n meJ the forefrTJntu ll charmifor ~~talttiOHl trmgtu ThAI praJtng thatyour Htghnt IIJ aDtaet h~ttte dtJ tttre t~be te alir bulllltuJijingulj1J ~tht _fo14tuJ of lTlCth l necl tftJOUr Higbnes feet
Your Highnes in all hom blc tl~~tJt AIIJ cruice
RoaampampT
lo N s
82
Figure 11
- ~ H c ldndc A pplauf~ vherevith I hau~ been~ revardcd in n1y former A yrcs hr fuch Gcndemen as can iudg~
~~~mJ Imiddotb middot Y the e bull are~ an not other 1n~ns Echo~s hath nov du s ~ middot durd t1me gmcn n1e heart fron1 then to hope for the
like in tbcfe V hich l hauc corn ofed cuen to hew n1y
graticude rovarcles them I lulO eucry Father is paniall ouer the i ue ofhis body)and hauing his iudge1nentcorrupced by Insaffecti- onis VOn[ rofpe~J e bis Chtldrens prayfesaccordingto hisovn de fires rather the i1 I he ir de f~r ts 1 t tna y bcJ h aue thuS oucrlookcd this iffue ofn~~ br3iue whereforel wiU onely comm~nd my pur_pofceto ntakc tlus lail my bdt expcchng to reade the rruchof my fdfe out of thy reporc AnJ becaufe ant notignorancenough)to b ~egroffely taxed by any of our cunningJvlaiJlers nor bigge enouamph to beflar te~ed or c n u yed 1 hope I 01a1J not be driuen toe nq utre out my en~ 1 middotes) co heare of n1y fa~cs nor to befpeake mylriendes~uour F or ho1rvloeuer l an1 fe t in an vndetfortune thac hath need ofampicndlhip y~cit n1y Vorl e~cannot 1ufiifie n1erny wordes Htalluotl bad rather dye a be g r 1tbcn Jiue a boaler what skilltimeand mycontinuall
radifehath biucnme)hcre I gladly impantocuery wel wiUert lat gr(tuntcs me buc acc~tanae for my paines And fa I comn1it my icfe to thy cenfuse1 F arevcJI middot
7ohertloner
( middot
83
Figure 12
A TABLE CONT AI-ning all the Songs in rhis
BooK E
1 ooenotO do not prize thy be11utie 2 middot 73ea utic fote bathing h y a j pri ng ~ CjoctobedfrJJcct6lvluzcgttak thyrcjl 4Shalil loaktampoenogriifc 5 ~Pbar1jJ fpcd1t1hert 1 leafl cxpeEled 6 Slpeetcijyoulik and lotte 1ne fliJ 7 SetifetrothledrhoughtJtofgh 8 Scinrhia~cene ojSeas and Lands 9 rB la111enot tn) chee 1 I l o There is a qardci1 in hc1 forc 11 S1reete Loue my oney Trcafr4re u ~hinkft thou 1_ate to put me doUJne I) Jfhen willtltfounraineojmy tea res bedrye J+ F lye ji-o11J tbe TParld 11 Happy he botofrraquo etebomc retirdc
-Thcfc following are for z Tr~blcs
l61Jiftlaine thntjoll amph Jilfne 7 middot o) et)erchangeandjjttre not
I8SirctiuftJijJAineh 1~to ri t
19 cuftler ry hands lo vh ue lgrt~ceintreatetl ~o Oft haut fmJe the cartfe to ftn e ll J(o hAuefleamd-mithmuch4doot~tfpjl
B
84
Figure 13
ORTHE FOVRTHBOOmiddotICEOF A Y R E s
The Firlt partisfor tbe Lute poundVO Voyce s and the Viole de G ambo The Second part it for tbe ~amptte ebe Viole and joure V oices to Sing The 7 bird paramp
is for one Voycealon~ ono ~he Lumiddote the llafTe Violeot to bach if you pleaf~ VYIrrtoj~ tAlo ut ltzlitn AJrtt middot
CompufcJ by R o bull l ~ T 1 a bull s
2f trfont (intIJ J1fJJmiddotil4 iMMJifl
L o P n w lrnplintedbyloHN WI~ D T andaretobcColdcbv StCO-rt w TElSO lol inPowlcs
ChMhmiddot]tlfd)bulltlhl SlJt j lit Cfll~middot l o 9bull gt
-----
I
--- 85
Figure 14
1
- ~~
TOTHERIGHT YV 0 RmiddotS HIP F V L L AN D VV 0 R--
thy Gcndcn1nn Sir I o H N ~ E v r N T u o u r pound Knigbc pcrptlll3ll liafpinrffe and [or~tcrlt
~~)1-lpound--- -- fmiddotts not vnkncvne =nco your wcl deft ruing fdfe 0 R igh~ V Vorfhipfull that not long fince 1 cooke n-1y
V~tiltttm )a[t vith a refoluing in my ldft lHter co
put llfh aoy VOdc~sof che f1mC Natllre and Fan ion VJlereupon) betooke n1e co the eafe of n1y PJIIov
middot where SompUI -auing taken poffehionofmyeyesand u 1orphttlf the charge of my feofes it happenrd
~~~~Mmiddot~~~bull rnee to fall into aM uftcal dreame wherein Jbulldl middot nc~d - to haue many opinions and extrauagant hun1ors Lf
di uers Natures and Condttionsfome of rnodet mt rth fame of a marc llS Louc ~nd orne of mofi diuine contemplacion all (hefe I hope 1 fl1all not gue any dtilafie to the eareror d nde to the mind eyther in their words or in their r~~ ueraUfoundsalchough it is not nec~ffarie co relate or diuulge all Drean1es or PhanrafiesthatOpinioo hegcrsin lleepcor happeneth to the n1indes apparbull[i onAnd continuing long in chis my dreaming humber I btgan to avake anJ vp n my eyes v ndofin~ l bethought n1 y fclte being full a Vak~d aJu itlng n my n1ind Vhom~ to dec1 and chute as a Patrone for the lan1~ l Vas eafily in -ued to n11J~e choice of yqur V orO~ip a3 one to V hom~ I necelfarily ou ht
both lou~ and duety l nJ howfocuer l m1ght feare that you Vil not adamp0
ledge it yec in thlt Nature ha th inricheJ you Yith more chen ord1nlrie know le oe in th ~ Art~ be~inga Vi ntsofthat Lo~t~ Vbich you haue ahvaycsl ffor
ded to Mufick gtI en1boldened my fel fe the rather ro pre(ent it vntu ycu Accept itthen(good Sir) as a T oken of vnfained Loueand a e be
worthily Jue ynto middotyou for your many fauours done to him [hat is
uft)middotour lforhiju conJmaund
----
86
figure 15
Thi~ Greetin ~middot bullbull
~~~~ HoulPhofo dare itcbeJ ltJith the VJrietie of opinion h~aring thinr oraquome otlJdtJf tJc ecchqc nuerbcrtJ~ ing otfJeTJ fubflt~nCC and lmprofit4hfr ~n it
middot jtlfefhclpt s to tbe IVorld comfJrtaJie liJc though to thy orvne ~Je bttle middot~~~~pleajurcLJ retjon of)lnch-umiddotirbl~ctn[ure I fpc zlte tot bee m ujirall Mo tuusthotljimiddotcm ruboft Jucctie IUimhcrr ~1 J rajiy pafeJJ drop1 foil in tbc jhonre Dt4l
)ithlrjfiprofiufcomprutmiddotthcetothqhlt nuy Jr4l tbatjlitr int0 11UJUCJCf and ltJill twt tbcncertJithout much troubli) or tbuu rn t JJ Jfper[el iulgemeiltgt not oneamp art afo jeniru tofecing kJonde~~c hut moj fo ttlty f ct o d jcruing i~Jdamptflr]fL~~gtg 1110zte r ctU of the 111oilpurt Bilfoaud Jmoothiu~ tbt~ plztncl Citttl ~ rvben on ely thine on~ne opt 11iltJ1J it more nJrinc~lcd and more vitiotH mit ~( then grcjJcr10Yle lo tbJt 11 a brujh 111
jcFlcdlPilhfithgttbott ralbcrjomiddotlcfl theti iiMI( pebullje( 41VWl) I ha~1e jlooJ atthi11c e lho1PJ andh~arJ tbcl prop~Jtne cur a 1 dlfit c1 bcfl J(ryu and 1tJith thy lntu~zde ref 1b Jot f~rde~J rfl gnoh iy l4J1l ltJJilre~ ~nil f f~ renot g~eaty_tJat tboul~iltlay to raquo1J ciJatg t 1 111 lD vtfu111C )Oll11 ~Cttrrag1tRf 6ecaufe fft011tied a r ~nuch but 1md~rflauJ me tbou-ns ~VIitll dojcanterdtriur Ji o 11 tba t JCrue fPlaineSong charit4bletJtlm hers)and tbotl (hale fnd harb Joicr I ttr~ ojtrtl t1 J0te ahoue pound redr1c el hJ tn~er
izulgtment n bicb 1 htrc4Uc tht of tJmiddotorPinrl by RJtler are as orr nelll cmne Lutf be~ -_ ing ofrJany ftri~I(CfIJOt((ffamp tJjJJlmlcflr ~~~ ~dllefittlreti1 praf1i(tput fon~4rd it1to
dcjerurng Dst4ijtaiJ rr hH nIJ aduerJI ure I r nomiddot rtccd but drtanze) and utJat art tlrcamei poundut aiJie fCtjcfi iotJgtandjcttrall ayrc s 6reathll)~ Jarmonio111 llilijperitJgt tbongh to thee difcordlmiddotet toolbcrs indffirent 1rvill not ttY cxcellel~(~ becHfe it is 4J
othen otflce 110ttni1u 6ru let tbcm6~ as thtY arto~lmiddotcn propuu tul my p~inct _(rt forth j ar pleafurcgt uot for pw1HJIc~l poJou Jiucfl itntrginatioiJIJO but aJ a fhorPrcjt~llitiJ i1 ~urcdfuil ft~fouJ~ 7 jJtUr m fmiddotlje atlrajlaJJd wrl(ay fo et4er bY au otbmiddotrj lPhofe IJ bourfhJI vfJ(t Alujt~udl uuulu~ztt -~ Jbe rmeiy rPiug fJ IrJe courage being tl1e mofl pltttfo~~ 1luice ~(11~ 1) nmiddothotjnmiddoteet~rc J t t11chcr h 1m to hcaiHIJ itfelf~ Jt ir Jjara if a thi r pztt1cs rcpt ntgood romm~ndJti~Jniand it lf t~ttr Ulrtlll out of 11 Flint itJ the toll ith l hou ntHer rl ink (I u ell of di1J 1 Jn ~rlJ bull(rt in tb) fjto v nri(Jifi1 encr aJ l lJ Tt~tor jranJ tbr I ~ Jllol middotrc fotdtlneuct Jnn rbcc 1~1~ it~ irune be 4J thott art a h1mp of Jc(onnity lllbm I Jjhonbrcldt i11 tbe Ufvdr ampi diAI~ir~e nd 6rontht forth b1 b~n~iulr l1emiddot g~r ~ t htftt r1 11idn fc to ~til t i nc m n rt f
j i umiddotme lc u todrplrt Jmiddotor ifnd J1Ntbout it J $111 gonec rtltfic o~ til)middot crnfitrillifi arf jJ~IIy p( ~(n 1dcd thuu ca1Jjl110t thiole tlrlnd tcrefurc art crufl tiJ thy [raJie 11 IHr pound0 1e btu (rttclltJntl being 6on1c wit b rce tb irJ tly bc11dbit eucryeuronJC D47111ele t jJ tbir orwbat rijeboncfl iudujlry~nxcr th) ~111 egosip trJo
fucwdl1f thou wilt in ~in~llclfeot hoi~ tlly fClfltfitgtm1inthcr cupmg
87
Figure 16
lee Caldi fopitmiddoti Samor nfltJ c t~t du119Uc
B
lO
l~
------
88
Figure 17
Or [he tift Bookeof Ayres onelyfor rhe Lure che Bafc vyoll J and the Voyce
[ompofedb) RoBs R T IoN E s
QEe profontjingula mdta ibullmant __ _ ___________________ __ middot~-middot -middot middot--- -
L 0 N DC
rrintcd hy tlbullc Afigur~ ol ~~
Jij0ilfm lJdr ley t 6 1 o
I 89
I Figure 18
TO THE TRVE HONOVRABLE AND ESTEEM ED VVOR THIE THE
1 f q H T If 0 7 S H I P F V L L r If E LAVY vv R 0 T ll
~~~~~~On Honoured Lady my ddcfl anJ firft iiTuc hautngthr(ud fo ~middotdl vnder the protec1ion of your Right Honourable Facher blame not this my yonshygell and h1tl Babe if it dcfiroul1y fecke ampnctit~ric
~ with your fdfe as being a mopound1 vonhy branch frotn fo Noble and renov1ned a flocke It is here uarie tc I
a - your whole houfc noton ly to be trudy Honoura7 bl~ i o your feluesh ut to be the fa u ou rers and fu rd1ercrs of all hone 0 and crtuous end~uourpound in others And [hJt n1akes n1e fo farr~ daringas ro prefunle to offer rhis o~dicadon to your fJire acceptlOCP- AnJ hovfoe uermy defeCts therein may happily (or rather v1happtl y) be n1any ~t an1 I moficonfiJent(and tl1atgrow~s fion1 tbe worthinefleofyourowne nature) that your 1-Ionourable minde middotviii he plea fed (fince it cg s c fc lfc moll humbly in your annes) to giue it villin~ eqtcnain~ment and to countenance it Vith the fairc Liuca ie of your nobl~ Name It may bee flighted in ref peel of its ovne valev bur your f1uourable acceptance
wil~ bot~ grace it andmy fdfe a~ a poore Table hung vp euen tn Pnnces G lJoncs ndt for lhe VVoo ~hut for the Ptdurc
And fo (Noble ~ad y) not d~ring to bee ir~Ious of your rlonourable entercaine
menc I rcll
-I our LaJyjhip Jellcted in all dutit
I
RonERT I o Npounds
-----
~
90
Figure 19
~ )~To the friendly Cenfurcrs
- Eart jriend1 for fi I ~sJIyou ~(you pltbulltJ(e to acctpt my 7ood lllttJning i prefented yot l~fl rraquouh a Vreame i1j
middot wbich 1 doubt not ttt Ottr jJJta(ies htJue receuud fame rcafota6e contentment and now f JO~t pleaje to lee 1l9afd ortt of that VreiJJne f jhaU for your rerre JIJOIJ 1nd rcfi pound(bing guide you to tbe_1v( v s ~ s G A u ~
~=-o~-o~~ o EN Pberrytu (halljindj~cbVttrittiemiddot of Jelighn tiJt quc-ihunltfeJmiddoton n ill wilitt~Jjcnd fome time in the vien
t rrtof 1 n )Ot~r 1jentr411Ce into -which Cjardtmiddotn) yotl jhJIJ mtett ~ith Lout 1 CJr r and li6tl6ht bHt L4Jur frt foortb at lt~rge i11 biJ colourrby JFay ofdecypht t in6 bim in hit 11 ~1turt_~ ln the midfl ofzt yat4 fbaU find Lcmt rciefleJ) vpon t~rLnfu~cie 1nd b1rd mtajuteoj-ingrt~titude T ruching them that ar~lourrt gtI cr1 tumiddot tl1em to tltiro1~ne Ctl~(ure in Lout I defcripttou eJrul nowfor tht end it tf )liJn~ble UJ anorbcr ~ tur)for tbedcligbt oftht ettrf tnjamptUJjit opbull~1io1 14111
nM ft lrogant loco 1mf1Jd mi1te onme gitt neither yet fo Jegtnerate IU to be-g )Uto tdl(rartvn fftbejt d hgbtroFloftl(rt) or)4r(tico[PruittY ruaymJ
)1 ~1~Yt J -t rle _rjtng WJOffr_(ut i 1 jla1 bl gitJd Othel TPije J raquoiiJ )O)) nelIICr to J~middot t_fot~gtPluu orgraft and my ittbourJ butcrflrtb jh111l rtaft to trou61e)middot~ott
iJ Jt41)middotilln retlr lniflil r ~-tren ot will f1etunty ourctnforesl and dcfi~ your malice if you drJfe iht 1 a111 rifolute 1
ijyou11[e me r~ith rtjfe(l 1 bidJou mojl bearti_v
R I
--I
91
Figure 20
THE ry A11 L E
~Ouelouc=
middot~ tpound1 Soft Cupid fofi middot~ Alec 1 the fiUy 6th begu1c 1middotmiddote lounuhtcs ~~noake o =okin~ hy ti~( Riocr ride 1 n nnot (n 1fc but liuc 1 (mile loy in lhy Imiddotmiddot ( S
How rn~uy New yccrcs luuc grow ~n nldc There vvas lt~~ ll lcptCoJrd bull hn d~d litH The Sea h~h 1nany tbo~L~nd llnd Omiddotlmiddote dimiddotJ tnt thoHgh 5-both cLbc bullnd Sow l ~m b t~rrt ftom piuyh g th rc h 1 2] lately in a d1 came There wu 2 wil y a ddt My f~thtt fampinc would hluc me uke Mv loue harh hcr trot L ue bctro11d All roy fenC~e thy tweeuncfl~ g2incd T middot t~ CC de1fe A fpc wnh dyna voice Ddwld her I d ct like wire~ ofemn Gold 1lhouwb d1lt 1iogs ufmy ddirc h( dipt _l~ht 1 rcdccun cnln cu on witu mtnc ryet
middot
92
I Figure 21
Robert Iones bull XIX CANTVS
-~----- middot_ - ---------~- htl_ _+--=--= =- middot __ - -middot ---=---- - middot- --- -==== ramp-1==+~- - middot -~------- middot-- ---- ---___-
kt her goc
rtmiddot-w
bull And 0019 lbc rwofa dit but hu Nzyny)l moRneoctdlyou An yri I will ltis fo ( 1
A5 tlaquobelt tahha ~hen loucn IIKGC
5trt ~oma~oo tk ~ ~ Tatdl you mateilis necdldft~ I nnnt md c u hew by middotthe 1ooe And tbcnlQll chis wu ooJ~
93
Figure 22 ------~--- ---
bullsAtlV
llil 11 ~ middotl llh1J 11111 lllll t ~ I l ~ ~ I II II II I ttJ S amp I a HIH lf lll It g I J ~ I L~ Ill~ lt lll
vi i i II t middot1 ~ ~ I I II I ll
r
I l I I
l I bull
l 0 middot bl
1J 1 bull i ] _ Q
middot a middotmiddott kl U I I I I
_____~_=~=-~JIlW~ wrong bdccue htr not it wu not fo I dJd but lilfc her I did b~ Lilfc bcr aac~
-__1---------- -middot- ------middotjmiddot------ ------------- - --- -~-- middotbull - ___~__-- ~
~ ~__ - ~--- middot --~--~
----- -------------middot--------------------===-================-=-=~--middot---------
4
Figure 23
Rob~ rt lonts Xlr CANTVS
~ F 1 r ~ l ~ - ~ ~ - P r lt1 J c r bull ~ ~ r t r- r n t b c- - c
- middot (~-middot~ ~ ( - ~)7-47-~- ~ ~ amp --_-_ ---_- ~sectC-~---_---~- -(--~- --~-- -- -~ -_- - _ E - -- middot- --- --~ -L-~L-middot = middot ( -- --~middot-- f -=---~~ -77-_-C_ - t _ c ( t2 - -= ---~---- -- middot-----------
middot~ middot
n_ tt=l= -iIt~_plusmnt_~~poundltr=t=~~~=middotumiddot==---= -_ ~t=-==t=-=xtptl--~=t---=-t-x~-E~=-------
go there be many mo I fcltC nor why then let her goe 1 care DO[
---middot-------
l
Far--cwt UfJrewdllincc d1ls 1 finde it llllt 1 will not fpCod more nme in wooing you
nul I iH cce d w htre lfl mivfindhctthcrc S1=-ll l bid hct goc Vh1~ and rll Jocf
Sh~lbid her go and fparc not tll oo oo no I date noc
J Ten Lhoufand imes f1rcwcll yet fl2y I hilt Swca kilfe me onceJ t t ltdfcs limcbcguic 1
l h~ue no pow ~r lo mouc
How oow 1lt2m 1 io laue W ilr d10u nec middotbe gone Go then all is one
Viit thou need be goncoh hi~ thee Nay 01y ~nd doc no lnoampe dcwcmec
Once moce flrewcll t ~lorn rodcrrwrct Bids oamp adcw to her due holdcs Ill bm
But fcdh~ r mnR kgtof~
7hy loucwbi h ldid chufc Go rhy waies for 111t_ smiddotncc irmay nOt k
Gothywaiesfor mehucwhithcr Go oh burwhcrcl may come lhitber
r Wh~cCh~D I doe~ my laue is novvdqnr d Shccinsramiddot~ -a -c iscrucUhart d
Shcc would nor be intrc-attd Wirh pnicrs oft ~~ -J neccomc no more Shall I die ther(forc
H tb~e come no mor what c~rc II Faithlctbcr go or c-owe oa
(
95
Figure 24
---middot -- _____-- ~ -- ~
I
- --__ -----~ -------__- ~-~~ _ _ ____ ___-__ -
- middot --~~--~ ______ ------------111middotmiddot-middot ~-_--------middot ----middot---___- ___ __ _______ _ ____ ~------~--~-- ~__~___ __ _
------ -~ _~-----~- -~-middot----------------
96
Figure 25
204 SONG
CoMIOS-U uv middotnoLn nT Jor-o Js
~ - I middot middotluoted by ShakbullHiU~are - ~~~~ homiddotm tht 1 Hnukpul1lliOI
middot~ h-51 Jggff==r middot r~ Fate- ~ wtdl (l~arl loe since thou wilt needs he gem~
-=-t middot g-one
luC 111inn~ thnn wile IHls lu ()UC
J J loftgt since thou rilt nteds middot lumiddot
1 Jp4 J =-amp=imiddot------middot -r~--t-11---+-middot r=~-r=----middotJ__tJJ middot Jnine ttcs tloe tth~w my life i almost done
--
fl-=t~ -
IPg I WlH y middot t
~fLSI==r=f=lplusmna min~ eie doe _ 11hew
r nbully middot lite middot is almost douc yetmiddot J wilt
rplusmnHmiddot ~ ~ff my lilc iJ ycmiddott I will
Imiddot r--d E4 m y life ia almost yet 1 will
( -~
~__~middot--==--==t~- ~~plusmn 1
ne Vtr die HO lni1J t I ran tpit 1lumiddotnmiddot l)l- trHlll)
~- Jl==q=T-=_==~-middot- ~T~ - 11~~----e= - =r=-=ct ~middot - r--==EF~----=I-~-===+=FL0 - middotFJ==Z=c~~middotmiddotmiddot- - -
n-=- wer dit~ lon~ as I taU 51lio tlu-nmiddot ltl ny nm
~MIEF F i t~sect E tr l I c=middotreg~-~~~~-D bull v~r dit bulln oug a~ CiR hllie thn c 1-tmiddot uuuy inu
a~ t==t~~ r _ q~~~-=-~ ~= lllt - tr tlic ~ ~0 long lUI I I can illh t1wr htmiddot Utmy UIU
97
Figure 26
LO)
J t W=- --~4-~ middot thoughtlmt 5heeclre gomiddot -there he rnan u1u I If~ -1110
I I b P c ~ -B - j- -k=tJ4--t==fi=4D_ I ~middotrt thouKb that Hbec llo e Jeo fhuc be nuny mo not
not 1 _why tlnm let laer gne 1
Eamp--e - ~ - 1 r
1
uot ~middotby th~n let her gne I
1 F~nbullwell fflttbullwl1 sintmiddot tlll i I rt11ltltt li truemiddot I will 110t 11p~ml rn~bulln~ time iu wouing- )Oil~
Unt I lt~ ill fttbull(bullk tmiddotl~ wlwnbull If I m~y fhnt l1r hlaquo~tt
Shall 1 hid hlr gnf hat litnl if I de~
Sha)) 1 bid lwr gne and middotpar~
0 no no tut no 1 dare nut not
l i
Ten thnmbulland bullimt-11 lart-wllII)Lbullt 11taymiddot Jwh ile Swevt kisse me onctlfmiddotWNt kis~d t ime b(J~middotuile
l hamiddote uo flPWer to mmmiddottbull lluw uow arn I iu I on Vilt tbon n~tgtd8 be gonemiddot
Go then) all i~ onbull Wilt thnn umiddotN)~ btgt gontbulloh hie the4l Ny ~tay oUHt lintbull 11U lnonbull thmiddotuhbull lll~middotmiddotmiddot
J L IJ_ -
0
cnr-r lOt
-~ 1-e lg
care not J
JJi I 11laquo1 ) ~ar-e not -
0 IIi
ca re nut
4- middot bull ~ Onc-e more fu~wbullmiddotll~ l 5ee )Qth to dlaquo part j middot
1
llid R ull bulldew ifl lwr that l1ohtfbullbull my b umiddoth Butmiddot ~~ting I nnut )O()In~
_Thy love whkh I did chuite
Go thy wRie Jbr me _ Shlfe itnu1y not he ~ middot
(4) Uy WHit~ for me~ lu1t whithfr~ bull 0 J - f
Go oh hut wlu~re 1 mRy come th~~lur
f bull bull lmiddot I It tihaH I doer my lo~ it now middot-middot~middotpart~middotd ~ Sheto is ttll fnirr asmiddot6hee ls cruel1 harted
Slu~middot would nnt h~ intr~ated
With pra irra oft repeated ~ _ ~ If slw~ f()rne nq more middot middot ~ ~
Shnll I middot11~ thtoreforf I
lrsh6e come no mor~ batwh9t cbullr middote I~~ -1 FHifh)rt htr gnor lomfor tarry
98
Figure 27
CANT VS vI I I rCDERT loNE~
== ttf=y-=-t-===~=~~plusmni+==---=middoti--=rr~ -t=-r~==t-=t= W sect~~= - =i middot =clt=cL =~-t=- -middotr ----=i_ --~ ~-- - -middot-- middot-- --middot--- ----middot-----l- --middot----middot- ---middot middot--- -middotmiddotmiddot-
Clut no I phinrly Cu how chou wouldftbinclc~ucauurc l ~a~ t c11rll not to gofatbullu a
1 r 1 l 1 l r l lmiddot r ~ r i r --- ~---n_plusmn ______ ~ ---J middot- ~ s L -d--r--gtlt---- J LL---- J ___ c_ -------j- ~-n1l ~1~( _ _ il_il_ t_ ~----nt_L- -----_[c______ -+~~ 1--L- p ___ -L- -~--Lpound ____ _ ~-____ j__ __ + ------ l -middot~-- ~~- l --1 __ j_ ______ (__ l ~10_ -~---- -- i - -- - - middot - middot -- - ----- - ___ _ I _ __ --middot ~-~ ----- - 4l_ __ ampJLt __ --------~----P-1---~middot 3 __ c__l_J _ _r__-ltJ ___ _ _ _____ L ------
- n
--~- -~--+--middot-1--~ 1 middotmiddot---middot--middot~---- middotmiddotmiddot- -----~~-middott- =--~--- ~~ - middot~---iL-i- -~-- -- -t- r middot-~- middot -l middotjmiddot -bullmiddot I- middot -t ~--~---- -t-~~-tmiddotmiddotH- - middot -----t-~T middot ---- -l -- ~ middot-07- middot- -middot-middot bull ~-Lmiddot- J bull---- ~--- middot-t- - -- - --f -middot-- - -fi-l-L- -+- --[middotmiddot -middot-~ middot--middot--middot--1 --middot-- - -- - bull - -f- ~- --I=_ --middotmiddot---- _I __ __ _ --~- middot- _ _ - _ ______ __L _-t _ middot~_- --_middot--r~ -~~~ Q-- -
fuct 1 wlscnrfiO Jic fi~ nofwtctt lhy amp 1 w 11i leU thee why noafuc 1 wu ace urn JJol bullto goc oat bull
t f t 1 ~ lmiddot t r 1 1 t i ----middot-l~a--__ _ __ St_tLi-3---- --~(~ l-~---1~-d- a aL _ __ _ ______ Jtl a_JAi~-11---~-middot(_---+7Jk~-- - [ A--- -----__ lgt __ ~-1 ----lmiddot l _ ____ i-----middotmiddot-----~--L-----6~ - -
S-( _ 1-h_kJ--middot ----middot ~- L-----Llt-S-L----L__L ------- _______ J_ ______ ---Aplusmn- ---__ _1 ____ -middot---bull ~ ---~-~---1 ~-----L---- 3- ~_t_~- - ____ [ _ __ ~-~- -A - --J
----middot-1---r--t---------t-t-middot-----1---middot ------11-I-t=-~ middot ----L-- - -middot -plusmn --- r-middot-~--- ------middot middot --~middot--- 1--~-middot _-middot- --- ~---------===middot ~-middot-b-1_ --middot- - --- - ----- -~---f- ---fmiddot~-- L- bull - ----- --- middot--- -1-- - ----- --~middot-------~- ---- -1middot-middot1middot-middot--t- --J- -middot- -- - -middot--middot----~-----shy--- middot----~-~ ---- - --middot------------- --~ -~middot ------~- ----------middot
firnrurc I wu l lturfi 0 fie fie oegt rwct lll) uu J will tell thee why no
t I t l t lmiddot~ 1 l -L--~- - - middot-tmiddot J _______ ncU ~A ---S-A-------tl- -11- middot~-- - - --------middotbull-- middotbull----t_ _ _~_ 1 ---middot-~ - ll -o-A--AJl ___ ------middot- t------k- Jt-- -~~ ~--middot- - - - -- -middot- -r~-~ 4- ------llmiddot - middot -
-_~------ _ --~-~---t- -~-----J-- -- A- ------~ _ ----- - bull 1 --middot- -L--middot -- ------------ ~- - c --~--------~----- --------middot ---______ z_j_ _______ __ ___~~ ~-L-------a-e middot- ----middot --
J Oncr m()tdrewdllincc fiJI l 1ord lh_ lpcak
1 uJ bull 1rl bu1 (mlIJrcwcll ubull larHIWout lbullrcalt( Bbull middott bullbullo middot ltn( 1 Joe linJ 1hy loumiddot~ 1lltkt 1he -middotioampl
Wl11 1 l olo-u I Tl llcl-1 cro die
Whlll foolc- lnll u aor Y t fq 1 at l (oulc J ~~lfc nor
)
Wocnne ai~Gc h) diJ lllt[ b_im soc~ 1 hdc be the ~middotutccs of uilc fiym nbull
Now tbu hec o dfproucluchow uullhc cuct loucroe Nay bu t n he gCncbull
lhcn I am bullndunc Nay lnn i1l1c ~oneO hodliD
fl(c-uy hing lU ~CCVD oJcihua
vi gt VI V)
lt a
99
Figure 28
1 tn 1 I I I II
ll 1 I l middotI I I ll l l l tl I I i Imiddot i I i II I 1111 ll I l n I It i i Ill l I d l t I I I ~
f Hif tt I I ~~ I if t
1+1 ~ a j
thll
ALl V S
I Tl Ill i II L I I I II I I
II II I I rL ll1 I t I I
l i I I I I I I I
Iii 1middot I t
IHL IIIli
I I II 1 II l I II 111 I I I I I bull I I I I I
I bull I I ll 1 I I J
L t I llmiddot II ~ I ~ middott
I I ~~ ~ 1
I 1 t I 1
111
t 1middot II I bull
I tJ It I q I I
~~ I I I I
r
I z-1 __ 1 __ =t=-~-----1- - middot -~--~- ~ -f=middot -t=--~--~- middot~-- -===-middot~~-1 N~tsect t-~--_ _ c ~middot _--- __ _ ~-- c -=-b-- _ ~ ~ =-=-=--Xl =plusmn=
- b--- ~--_ __ -- -----middot-middot --middot--- - ~ ___ - ------------~-
nl rJ iiOr-T 1 -
ArCwtll fond )OUt h iflhcu hbulldR llOt bccnc blinCl aut cf Dline emiddotcbull thcu mi~tu n ll)Ut read my mintl ~~ J411
t==+=i =middot -=+-middot---poundmiddot _Emiddot -~ i=j ~ -ti~- -Qt=~ middot=i==- -tl-~- --~ - -~shy~t ~-i ~----+=middot = --~~ - -= bull ~ _ +=a~C -c + -~-=-middot ~ ------ -----~ --- --- --middot -~ - ----------laquo= ---- --~- middot-~ middot--
but now I plaincly fcc how thou wouldll fainc luuc mc(orc lPII~S Uturflnot hJ I)OCIC firtlft~re lu atcurflO hamp
-=t~-----------r+--tmiddot --1-1-l middot 1middotmiddot-r~--- -- middot middotmiddot- --- ~------ - )middot~-----~----- at-middot_t-~--1= 11_ ~tc=l=~ Ei middotmiddot-r- --tI +middotl =0Etmiddot plusmn middot i irlttmiddot ~ - ~-~ middot ~ --plusmnt-~ - - ----middotmiddot-middot---middot--- -middot- -middot _[ - ---- middot- middot---J -- - 1--l-- - -- - - - - -- -~---middot------middot--- - ----middot-- ---- middot---middot---middot+middot--- -~-r-4- -- --middotmiddot fic6cao fwect Aay ~nd I will cell thee why t~ofurc I w~~ accudl not JO goc at firfll(urc 1 wu accudl ~0 fie no f wcct
100
Figure 29
I
CANTVS
lt ll-rllt 1r1t 1 lmiddottl 1 1 - t4---6 A-A~ d~Apound~-fi------ ~ middot ---~
bullmiddot te_- ~I i~~I~- ___ --=~rmiddot --t=Z=j- = --Lt-- -- - middot--- --middotmiddot -- -----middot - - A-- middot - -- _ _~__ __ J ___ _ J_ - - --- - -----~ n a- L r amp_-4--- - -A I - -
~ - - -bull -middot_[- _ - - - - middot - -middotmiddot - - - lt- ~ Ll bull middot- -- ---_ middot- --- ---l~-middotmiddot -~ middot -~gmiddotr ~iiftmiddot- middot--~11--j~-middot _t~middot ~-- plusmn~~ - _-- -- ~- _ J middotmiddot~ - middot J J -- - J~ ~ - bull - ~ -- - ----= ----middot~ --- ------middot -------- J __ ___ --f ___ ~ -~----- -----middot bull middot- - - middot--middot- -bull- middot --- -- middotmiddotbull--- -1-- - middot- - -- I - bull bull --~-
I
bull A Mble d~middot ~fc wH ~ obin Jhlod - V(c l ~t be cbullJultl J ccc 1uc Jumj
yet r- ~r r middot~middotin hh br ltlt H lmiddotllOJ
C u iJ~~I hbulll hrlll bcruuc h middotlll to gr u rn ductelbulltl-hidkn wJltr ~kinmiddot
then lnauty doft lylo~l~ddn womcnt C )CI
Htf i lly jobJh
4
J An Our-b lr as 1his Rollin I lood
H1i l-1fc free and vnruly Yu [O fitc M~bullri~n boull d h~nood
Atul louu debt payed hu duel y Who111 cur be of Ctnc lmllaiyen could nor hold ia
Louc t~ri th obe)middottd~s mJ a winLt could wiltnc Heyiolly Roh
NoW~ w(nd wt l1olll r ilou1 Robi ro HooJ Lc~uc wuhc woodl bchsnd vt
_our fl ho n1 muU nor be w~lhfiood but ~~nr whelt u fi lld ll
1 h t Ill hclIbull11J h)WUC 1 bullud fo ltltd h( I otm( w r icentW~HJdbull 1 1ootlollnwcd r
lhr ullzllt~~J
v~
gt Vl V)
lt
Jlftl
litH ~~rm ~ middot II
I Imiddot~
I
II tt-1 )~
101
Figure 30
I
102
Figure 31
CANTVS bull III
W=tRW=~~~~==--=-------=--=--=--== 0 lollc is but 3 bhu~1-fwtetmiddott I en r r middot r r
~tP ltm~~-~t----~-
Mu1enorvpon hCI fmili ng lookcs Thinke thtr they ~re bttt baitcd hooka
Audu fncy Loudufranzy~
middot e( not J toy Then breed chtc foch annoy1
bur kaue to coke vpponfuch fond booka
)
L(Jtnt ro fotgct fu ch idle royn Finer for youtbcs md youd1full boya
L~ o~ one fwccte frnilc Thy rrue loue igtegllile ~flOibulltiownc
r c-ur uft theedowne- Jlopund jllmiddot to bed iathcf~ioy~
I
bull
103
Figure 32
BASSVS
---------middot--- ----- ------- ---- -- ---------- ---- -~ ------------- - ----------- _ ___ - ~ _____-------~~~------------ - ----- - - ---
- -- -- --~-- - ___ __
CJ
I
-70-
If other sacred music by Robert Jones exists 1 it has not
come to light The Reformation did much to improve English
Church music However the combined effects of Civil war
supremacy of Puritanism suppressed church services disbanded
choirs and the destruction of organs and libraries by the B
soldiers of the Commonwealth resulted in irretrievable loss
The hatred of the Puritans for the English Church and its music
was so strong they seemed to consider it their duty to root out 9
and destroy every office-book they could find lmiddotluch music has
also been lost because of errors and omissions on the part of
scribes the use of old manuscripts as waste paper and in the
binding of new books and in the practice of sending manuscripts 10
to continental bookbinders The fact that any sacred rausic by
Jones exists may possibly be attributed to its inclusion in two
sources meant for secular use
What happened to Robert Jones after the theatre difficulties
remains a mystery Loss of records because of fire or
carelessness only allows speculation in this area Since the
English style of string playing was in fashion in Germany France
8 ~Talker p 56
9 F~ Landon Hunphries The Evolution of Church Music (New
York J J Little and company 1896) p 94~
10 William Joseph King The English Anthem from the Early
Tu ~or Period t roug_ the Restor_fltj gn Era diss Boston University Graduate ~chool 1962 vol I and II (Ann Arbor university Microfilms International 1982) p 12
-71-
and Italy he may have returned to the continent It is equally
possible that he died in any of the plagues which forced the
theatres in London to close so often That his music still
exists to be enjoyed may be epitaph enough
104
Blank
Appendix One
Sources of the Husic of Robert Jones
BookSong
The First Booke of Songs or Ayres
The Pirst and Second Boeke of Songes and Ayres
Ultimum Vale
First Set of Madrigals (inc)
A Husicall Dreame
The Muses Garden for Delights
Hhat if I seeke for love of thee
There is a garden in her face
Doe not o doe not prize Beautie sate bathing 11 Goe to bed sweet museu Shall I locke to ease
griefe 11
11Jhat if I speed Cease troubled thoughts Scinthia queene of seas
and landn Thinkst thou Kate to
put rre down 11
nt1hen will the fountaine of my teares
F1ie flie flie from the world 1
Fy fy 11 (inc)
Date
1600
1601
1605
1607
1609
1610
1600
1605
1605 1605 1605
1605 1605 1605
1605
1605
1605
1605 1601
-105-
Source
British Igtluseum Folger Shakes~eare Library
British 111luseum Central Library
Hanchester
Royal College of Music
Private ownership Furst Alexander
British Nuseurn Royal Library
Brussels
San Marino British 1middotlus eurn Euing Library
Glasgow
San Harino
British Library Add Ms 15117
The First Book of Songes or Ayres
British Library Egerton ~s 2971
Ultimum Vale
British Library Add Ms 24665
Giles Earles his book taken from Ultimum Vale
u
II
fl
fl
n
The First and Second Boeke of Songes and Ayres
-106-
The love of change hath changed the world 11
What shall I render to the 1614 Lord bullbull
Let thy salvation be ~Y joy
Lament lament my soul cry 0 cry
n Sing j oyfull ybull
Arise my thoughts
11 Dreams and imaginations
uFie what a coyle Now what is love
no date
1601
1601
1601 1601
Folio ms in Folger Library
British Museum Royal App 63
The Tears or Lame tations o f a Sorrowful Soul
RISM attributes 4 songs to Jones
Christ Church Music Mss 56-60
Christ Church Husic ~1ss 439
The Second Book of Songes and Ayres
lt
-107-
APPE IDIX THO
Contributors to Manuscripts nu~beren 56 through 60 in Christ Church Oxford
SEC~~ number CC lmiddot1SS Voice 334 Hus 56 c 335 Mus 57 Q 336 Mus 58 Sx 337 Mus 59 Ct 338 Mus 60 T
Bassus lacking ca 1620
a alternate sources published b transcribed c Psalm 81 in two versions
Amner John~ 1579 1641 B r-1 Oxford 1613
Consider all ye passers by (b) 3349835803378633896 verse
I am for peace inc) (with different verse section) 33463356337~6 3386 verse
Bennet John flca 1600-ca 1615
Great God of Gods 0 God of Gods (a) 334 113 33595 33710133811 verse
To the almighty Trinity (ptll of 0 God of Gods)
Bull John ca 1562-16287 B H Oxford 1586
Almighty God who by the leading (ab) 334110 33592 33798338 108 verse
How joyful ana how glad (inc) a) 33448335483374833748 verse
Byrd William ca 1542-1623
Save me 0 God for thy name bull s sake (I) 33410 33510 33710 338 10 fS
Sing joyfully unto God our strength and Blow the trumpet parts I and II and Sing we merrily and Blow up the trumpet parts I and II not in this source from Christ Church (c)
-108-
Corkine William1 fl 1610
Praise the Lord 0 my soul (inc) 33441 335413374133841 f5
Cranford William fl early 17th c
My sinful soul (inc) 33413833512033616337126338136 verse
Daman (Damon) William ca 1540-1591
0 heavel]nly God (b) 33451335513375133851 f5
East Michael ca 1580-16481 B M Oxford 1606
Blow up the trumpet Sing we merrily (Pt II Take the psalm PT III Blov1 up the trumpet) (ab) 33420933520233698337196338214 verse
Take the Psalm
Ferrabosco Alfonso Sr~ 1543-1588
0 remember not our old sins (a) 33414133512333619337129338139 f6
Ford Thomas ca 1580-1648
Miserere my maker (inc) 334151v33513533631337141338151 f6
Gibbons Orlando 1583-1625 Phd Mus Oxford 1622
See the Word is incarnate (ab) 33495335773378333893 verse
Hooper Edmund ca 1553-1621
Hearken ye nations (a) 334211335204336100337198338216 verse
Jeffreys Matthew fl ca 1590 B M Oxford 1593
If the Lor~ himself (a) 33414833513033626337136338146 verse
-109-
Lord rernerr~er David (a) 334142 335124336120337130338140 f6
My love is crucified (inc) 334100335823378833898 fS
Out of the deep (a) 33414633512833624337134338144 verse
Sing we merr-il y (II) (a) 33414433512633622337132338142 verse
Jones Robert fl ca 1600 BM Oxford 1597
Sing joyfully unto the Lord (inc) 33412335123371233812 f5
Lupo Thomas fl 1593-1628 or fl 1605-c1660
For I knowledge my faults Have mercy upOii me (pt IIFor I nowledge my faults) (inc) (ab) 33418335183371833818 f5
Out of the deep (c) 33420335203372033820 pound5
Mundy John d 1630 B M Oxford 1586 Phd Mus Oxford 1624
0 give thanks unto the Lord for he is gracious (a) 33416335163371633816 fS
Mundy William ca 1529-ca 1591
0 Lord I bow the knees (a) 33490335723377833888 f5
Parsons Robert (I) d 1570
Deliver me from mine enemies (ab) 3348335833783388 f5
Peerson Martin ca 1572-1650 B M Oxford 1613
0 Lord in thee is all my trust (inc) 33488 335703377633886 verse
-110-
Philips Peter d ca 1635
Bow down thine ear unto my crying (a) Adapted from the motet Cantai mentre 334217 335210336106337202 338220 f6
Portman Richard~ d ca 1655
Rejoice in the Lord 0 ye righteous (I) (a)334226 verse
Ravenscroft Thomas ca 1590-ca 1633
0 let me hear thy loving kindness (a) 3343133531337 3133731 verse
0 woeful ruins (a) pt II and pt III Those sacred walls and 0 how these graceful piles not in 334-338 33440335403374033840 f5
Simmes William fl ca 1600
Awake (Away (a)) fond thoughts 33415733514233638337148338158 verse 6
Rise 0 my soul (pt II and pt III And thou my soul To theee o Jesu) (a) 3342833528 3372833828 verse And thou my soul To thee o Jesu
Stubbs Simon fl ca 1600
Father of love (a) 3348633568 33774 33884 f5
Tye Christopher ca 1500-ca 1573 Phd Mus Oxford from Cambridge 1545
Christ is risen Christ is rising again (pt II Christ is risen) (inc) 334225335218336114337212338230 f6
I lift my heart to thee (ab) 33492335743378033890 f5
-111-
Ward John fl early 17th c
Down caittiff wretch (a) (pt II Prayer is an enciless chain) 33424 amp 2633524 amp 2633724 amp 2633824 amp 26 verse
How long wilt thou forget me (a) 33422335223372233822 f5
Let God arise (a) 33411633598337104338114 verse
Praise the LordO my soul a Lord my God (a) 334219335212336108337206338224 verse
This is a joyful day (a) 33413333552336523375233852 verse
~~larwick (Warrick Warrocke) Thomas d 1660
0 God of my salvation (a 3349 335933793389 pound5
Weelkes Thornas1 -1623 B M Oxford 1602
Alleluia I heard a voice (ab) 33414335143371433814 pound5
Gloria in excelsis Deo Sing my soul to God (ab) 33415533514033636 337142338156 pound6
Hosanna to the Son of David (ab) 334214335207336103337201338219 f6
Lord to thee I make my moan (ab) 3341023358433790338100 pound5
0 Johnathan woe is me (ab) 334151v33513433630337140v338150 f6
0 my son Absolom (I) (ab) When David heard that Absolom (ab) (~t II 0 my son Absalor1) 33415033513233628337138338148 pound6
-112-
Wilkinson William Thomas
Hear my prayer 0 Lord and with thine ears (a) 3341043358633793338103 verse
Preserve me o Lord (a) 33443354 33743384 verse
Put me not to rebuke (a) 3341063358833794338107 verse
Compiled from
Nan Cooke Carpenter Music in the Medieval and Renaissance Universities
Ralph T Daniel and Peter Le Huray compilers The Source of English Church Music 1549-1660 part I and II
C F Abdy Williams A Short Historical Account of the Degrees in Music at Oxford and Cambridge
-113-
Appendix Three
Graduates of Oxford
Doctors
Robert Fairfax John Gwyneth John Merbecke John Shepeard Robert Stevenson Orlando Gibbons Nathaniel Giles John Hunday Christopher Tye John Bull
Date
1511 1531 1550 1594 1596 1622 1622 1624 1548 1592
Tye and Bull were incorporated as Doctors of Music from Cambridge
Bachelors
tathaniel Giles John Bull John t-1unday Thomas Morley John Dowland Giles Farnaby Edward Gibbons George Waterhouse Arthur Cocke Francis Pilkington Robert Jones Thomas leelkes Thomas Tomkins Richard Deering
1585 15B6 1586 1588 1588 1596 1592 1592 1593 1595 1597 1602 1607 1612
Author
Robert Grossteste
Robert Kilwardly
Roger Bacon
Bartholomaeus Anglicus
Walter Odington
Simon Tunstede
John Hanboys
John Hothby
William Bathe
John Case (attr)
William Barley
Thomas Morley
-114-
Ap~endix Four
Oxford Treatises
Date Title
ca 1175-1253 De artibus liberalibus
d 127 9
ca
ca
ca
1351
ca
1584
1600
1586 1588
1596
1597
1214
1230
1330
1450
94
De ortu et divisione philosophiae
Opus majus and opus tertium
De probrietatibus rerum
De speculatione musice
Quatuor principalia musicae
Surnma super musicam continuam et discretam
Regulae super proportionem De cantu figurate Regulae super contrapuncturn Caliopea legale
A Briefe Introduction to the True Arte of Music
A Briefe Introduction to the Skill of Song
The Praise of Musicke Apoligia musices tam vocalis quam instrumentalis et mixtae
The Pathway
A Plaine and Easie Introduction to fvlusicke
-115-
Appendix Five
Baccalaureus in musica solvet
Imprimis pro cumulatione presentatis Pro comrnuniis Pro scriba universitatis Pro circuita Pro camera Pro curnulatione sex annorum Pro anno instante Pro horolog-io Pro deric[t]o universitatis Pro inferiore bedello artiurn
Si beneficiatus vel patrimoniatus fuerit solvet pro vino
Si non praebat convivia solvet betiellis facultatis suae pro prandio
vj s
i j s
xiij s
vij s
viij d vj d
xij d xij d
iiij d
xij d ij d ij d vj d
iiij d
iiij d
ix d
116
Appendix Six
Words set by Jones for Leighton
Let thy salvation be my joy
Let thy salvation be my joy Confirm me with the spirit of grace Let sadness not my soul annoy For pensive thoughts too much take place 0 let my comfort still reside In Christ who for my sin hath died
In setting the third line Jones uses sixteenth notes on the word spirit 11 to compensate for the extra syllable
What shall I render to the Lord
What shall I render to the Lord For all his blessings poured on me My heart and soul with one accord Shall laud and praise thy majesty All praises do from thee desend Blest be thy name world without end
Lament my soul cry cry o cry
Lament my soul cry cry o cry Swe et Jesus pity pity me Help help help help for sin I die Sweet Christ come ease my misery
BIBLIOGRAPHY
Primary Sources
The Bible That is the Holy Scriptures contained in the Old and Newe Testament London Deputies of Chrlstopher Barker Printer to the Queenes most excellent Maiestie 1596
Book o f Common Prayer and Administration o f the Sacraments and Other Rites and Ceremonies of the Churchof England WiSh the Psalter or Psalms of David Printed by Thomas and John Buch Printers to University of Canbridge 1629
Fellowes Edmund H ed The English Madrigalists val 35A Revised edition edited by Thurston Dart London Stainer and Bell 1960 The First Set of Mad_ri a_l s 1607 by Robert Jones
The English Madri al School val 32 London-stainer and Bell 1923 The Triumphs of Oriana to 5 and 6 voices Compose - y D1vers several Authors published by Thomas Mor ley 1601
Jergens Elise Bickford English Song 1 600-1 67 5 Part I British Library Manuscri ts London
Pu middot- 1sh1ng Inc 1986
Leighton Sir William Th e Teares or Lamentaciones o f a Sor rowful Soule London W2 1arn Stansby 1614
The Teares or Lamentations of a ----Sorrowful Soul Transcr1bed and edited by Cecil Hill Vol ll Early English Church Music London Stainer and Bell 1970
Morley Thomas A Plaine and Easie Introdction to Practical Music Edited by R Alec Harmon New York WW Norton and Co 1952
Smith John Stafford Musica Antigua London Preston 1812
Sternfie1d FW gen ed English Lute Songs 1597-1632 A Co l lect~on o Fac s imiDelRepr ints
ress t Vol 7 edited by David Greer The First Boeke of Songes or Ayres 1600 by Robert Jones The Second Booke of Songs and Ayres 1601 by Rober ones t1mum Vale 1605 by Robert Jones A Musicall Dreame 1609 by Robert Jones The Muses Gardln for Delights 1610 by Robert Jones
-118-
Books and Articles
Abraham Gerald ed New Oxford History of Nusic vol IV uThe Age of Humanism 1540-1630 11 London Oxford UP 1968 3rd impression 1974
Adams Joseph Quincy 11 A New Song by Robert Jones bullbull Modern Language Quarterly I (March 1940) 45-48
Adler Kurt The Art of Accompanying and Coaching Minshyneapolis The University of Minnesota Press 1965
ArkmiddotJright GE P Catalogue of Music in the Library of Christ Church Oxford London Oxford UP 1915 ed 1971
Bateson fW ed The Cambridge Bibliography of English Litshyerature 4 vols Cambridge University Press 1969
Bentley Gerald Eades The Jacobean and Caroline Stage Dramat~c Companies and Players 5 vols Oxford Clarendon Press 1941 reprinted 1949 bull
The Profession of Player in Shakespearebulls Time 1590-1642 Princeton Princeton UP 1984
Blom Eric ed Groves Dictionary of Music and Musicians vol IV New York St Martins Press Inc 5th ed 19B4
Boyd rbulllorrison Comegys Elizabethan Music and Musical Criticism 2nd ed Westport Greenwood Press Publishers 1962 reprinted 1975
Brown David nJones Robert in The New Grove Dictionary of llusic and Husicians vol 9 p 703 Edited by Stanley Sadie 1980
Carpenter Nan Cooke Music in the Medieval and Renaissance Universities Norman Okla University of Oklaho~a Press 1958 reprint eo New York Da Capo Press 1972
Chambers E K The Elizabethan Stage Vol I-IV Oxford Clarendon Press 1923 ed 1961
Crewsdon Henry Alastair Ferguson TD MA comp The Worshipful Company of ~t-lusicians Loncion Constable and Co Ltd 1950 new ed London Charles Knight and Company Ltd 1971
Cutts John P 11 Everie Woman in her Humor Renaissance Nevs 18 (Autunm 1965) 209-213
-119-
Daniel Ralph T and LeHuray Peter compilers The Sources of English Church Music 1549-1660 Part I and II London Starier and Bell 1972
Dart Thurston t-1A The Interpretation of Music 4th ed London Hutchinson University Library 1960
Dodd Gordon 11 A Summary of Nusic for Viols Early flusic 6 (April 1970) 262-267
Doran T s A Dr Annals of the English Stage from Thomas Better ton to Edmund Keen Vol 1 New York bullJ J ~1 iadle ton Publishers 1865 republished St Clair Shores Mich Scholarly Press no date
Doughtie Edward ed Lyrics from English Airs 1596-1622 Cambridge Harvard University Press 1970
Einstein Alfred Essays on Music London Faber and Faber 1956 rev eng ed 1958
Feldman Martha 11 In Defense of Campion A New Look at His Aryres and Observations The Journal of Musicology v
(Spring 1987) 226
Fellowes Edmund Horace CH Mvo MA Mus D English Cathedral l~sic Edited by J A Westrup Westport Greenwood Press Publishers 1981
_________ The English Madrigal Composers 2nd edition London Oxford University Press 1921 1948 reprinted 1967
bull The Text of the Song Books of Robert Jones Music --------middot and Letters VIII (Jan 1927) 25-37
__________ Tudor Church Music Appendix ~lus D New York Brouclex Brothers reprint 1963
Greenberg Noah music ed Auoen ~middotlH and Kallman Chester text ed An Anthology of Elizabethan Lute Songs Mad rigals an Rounds Pew York ~middot1 w Norton amp Co Inc 19 55
Greer David What if a Daybull - an Examination of the Words and r~usicbullt husic and Letters 43 (Oct 1962) 304-319
Gutmann Veronika Instrument oder Diminutionspraxis 11 Archiv fuer Husikrvissenschaft 35 (1978) 187-190
Heseltine Philip and Warlock Peter The English Ayre London Oxford University Press 1926 reprinted Westport The Greenwood Press 1970
-120-
Hesel tine Philip 11 Robert Jones and His Prefaces The rmiddotusical T ime s bull ( Feb -t-1a r 19 2 3 ) 9 9 -1 0 0 16 8 -17 1 bull
Humphreys Rev F Landon ~lus Doc STD The Evolution of Church Music New York J J Little and Co 1896
Jeffrey Brian ed Elizabethan Popular Music for the Lute London Oxford UP 1966
King William Joseph The Englsh Anthem from the Early Tudor Period through the Restora t ion Era PhD dissertation Boston University 1 962 Ann Arbor Mich University Microfilms I~ternational 1982
La Fontaine Henry Cart The Kings Musick New York Oa Capo Press 1973
Lewis c s English Literature in the 16th Century excluding Drama 11 in Oxford History of English Literature p 266 Edited by F P Wilson and B Dobree Oxford Clarendon Press 1954 reprinted 1962
r1ason Dorothy E Husic in Elizabethan England Washington Folger Shakespeare Library booklet 1958
rtaynard Winifred Elizabethan Lyric Poetry and its Music Oxford Clarendon Press 1986
McGrady Richard J The English Solo Song from William Byrd to Henry Lawes 11 PhD dissertation University of Manchester 1963 This dissertation arrived to late to notate McGradys theories on Italian Monady and Jones
Meyer Ernst H Early English Chamber ~iusic ed Diane Poulton London Lawrence and Wishart Ltd 1946 Boston Marion Boyars Inc 1982
Mies Otto Heinrich PrussJan Castle
Elizabethan t1usic Prints in an East rrusica Disciplina III (1949) 171-172
Naylor Edward Noodall Shakespeare and Husic rev ed New York De Capo Press 1931 lew York Benjamin Dlom Inc 1969
Pagallelli Serpoundio Jusical Instruments from the Renaissance to the 19th Century trans Anthony Rhodes Milan Fratelli Fabbrl Editori 1966 7 London Hamlyn Publishing Group 197 0
Pattison K An Analysis of the Ayres of Robert Jones MFA thesis University of Georgia 1965 (Request for this thesis has been submitted through the inter-library loan service but has not arrived)
Phillipps G A Charles 1 11
-121-
11 Crown r1us ical Patronage from Elizabeth to Music and Letters 58 (Jan 1977) 29-42
Phillips Peter 11 Performance Practice in 16th Century English Choral Music~ Early Music 6 (april 1978) 195-199
Prior Roger Jewish Musicians at the Tudor Court The ~~sical Quarterly LXIX (Spring 1983) 253-265
Poulton Diane Graces of play in Renaissance Lute Music 11
Early Music (april 1975) 107-109
Reese Gustave Music in the Renaissance revised ed New York W w Norton and Co Inc 1959
RIS~t Einzeldrucke vor 1800 Karlheinz Schlogervolume III Basel Barenreiter Kassel 1974
RISM Recueil s Imprimis XVIe-XVIIe siecles l-1unchen G -Henle Verlag 1972
Robertson Dora H Sarum Close London Jonathan Capt 1938 Bath Firciurt Publishing Limited 1969
Seng Peter J The vocal songs in the Plays of Shakespeare a Critical History Cambridge Harvard UP 1967
Shakespeare William William Shakespeare The Complete Works Edited by Alfred Harbage Baltimore Pen~middotuin Books rev ed 1969
Smith Irwin Shakespeares Dlackfriars Playhouse Its History and Its Des~gn New York New York University Press 1964
Spink Ian English Song Dowland to Purcell New York Charles Scribnerbulls Sons 1974
Sternfeld F w Music in Shakespearean Tragedy London Routledge and Kegan Paul 1963 rev ed 1967
Stevens Denis Tudor Church t-1us ic Nev York Merlin Press 1955 bull
A History of Song New York W W Norton and Co Inc 1960~ First American Edition 1961
Stevens John Music and Poetry in the Early Tudor Court reprint ed Cambridge Cambridge University Press 1979
Traficante Frank Anthony 11 The Mansell Lyra Viol Tablature parts I and II PhD dissertation University of Pennsylvania 1965
-122-
Walker Earnest A History of Music in England New York Da Capo Press 1978
Wells Robin Headlam John Dowland and Elizabethan Melancholy Early Music 13 (Nov 1985) 514-528
Wickham Glynne Early English Stages 1300 to 1660 2 vols London Routledge and Kegan Paul New York Columbia UP 1972
Williams C F Abcty A short Historical Account of the Degrees in 1usic at Oxford and Cambridge Lonaon lovello Eivers and Co 189 3
Woodfill Walter L Musicians in English Society from Elizabeth to Charles I New York Da Capo Press 1969
LIST OF ILLUSTRATIONS
Figures 1-4 The First Booke of Songes or Ayres bullbull 72 Title page Dedication Preface Table of Contents
Figures S-8 The Second Boeke of Songes or Ayres 76 Title page Dedication Preface Table of Cpontents
Figures 9-12 Ultimum Vale bull 80 Title page Dedication Preface Table of Contents
Figures 13-16 A Musicall Dreame bull 84 Title page Dedication Preface Table of Contents
Figures 17-20 The Muses Gardin for Delights 88 Title page Dedication Preface Table of Contents
Figure 21 92
Figure 22 11 Farewell dear love 94
Figure 23 Transcription from Musica Antigua 96
Figure 24 Farewell fond youth 98
Figure 25 11 In Sherwood liude stout Robin Hood 100
Figure 2 6 11 Goe to bed sweete muze 102
vi
LIST OF APPENDICES
Appendix One Sources of the Music of Robert Jones
Appendix Two Contributors to Manuscripts numbered 56 through 60 in Christ Church Oxford
Appendix Three Graduates of Oxford
Appendix Four Oxford Treatises
Appendix Five bull bull bull Baccalaureus in musica solvet
Appendix Six Word set by Jones for Leighton
vii
105
107
113
114
115
116
CHAPTER I
IDENTIFYING THE HAN
Robert Jones who flourished between 1597 and 1615 is
one of the lesser known Elizabethan composers He has been
claimed not without causing confusion to have taken to
himself a number of QUSical assignments One author asserts 1
that Jones was a composer for virginals Another calls 2
him a composer for viols He is referred to by one historian
as a prominent lutenist to be numbered with Dowland 3
Campion and Byrd He has been called song writer and
1 Kurt Adler The Art of Accompanying and Coaching
(Minneapolis The University of Minnesota Press 1965) p 12
2 Gordon Dodd A Summary of Music for Viols Early
Husic 6 2 (April 1978) 263
3 Elise Bickford Jergens ed British Library
Manuscripts Part I English Song 1600-1675 (New Yorkmiddot Garland Publishing Inc 1986) p 11
-1-
-2-
theatrical manager both controversialist and genial person
Yet some authors such as Edmund H Fellowes in English
Cathedral Music consider his accomplistooents in some areas 5
too meagre to merit mention
In extant records for the period from 1520 to 1620
there are numerous references to R Jones Richard Jones and
Robert Jones There are also references to a w Jones and
an s Jones in the same Stationers Register that lists an R 6
Jones seven times Another Jonest Luke is a
4
contributor of one of the poems in William Leighton bull s Literary
Introduction and Laudatory verses to Teares or Lamentaciones 7
of a Sorrowful Soule from approximately the same period
It is possible to reduce the Richard and Robert Jones
references to four people that is two Robert Joneses and
two Richard Joneses It is also within the realm of
possibility that these rnen were related Their paths
4 Philip Heseltine Robert Jones and His Prefaces The
Musical Times (February and March 1923) 99 171
5 Edmund H Fellowes English Cathedral Music from Edward
VI to Edward VII rev ed Edited by JA Westrup (Westport Greenwood Press Publishers 1981) Fellowes discusses Leightons Teares or Lamentaciones of a Sorrowful Soule yet never discusses Jones contribution of three anthems
6 EK Chambers The Elizabethan Stage 4 vols reprint ed
(Oxford Clarendon Press 1961) vol II pp 380-389
7 Sir William Leighton Teares or Lamentaciones of a
Sorrowful Soule Transcribed and edited by Cecil Hill (Lancon Stainer and Bell 1970) p xviii
-3-
crossed often enough and in at least one instance
scholars have confused them crediting one with the work of
the other Some historians have also preferred to gloss
over the obvious inconsistencies in dates and make no
distinction at all in their references to Jones
The first Robert Jones conceivably the grandfather of
the Elizabethan composer is said to have been a chorister in
Henry VIIs Royal Household Chapel In 1512 it is
claimed that he was a member of Henry VIII s Royal Household
Chapel This Jones furthermore is listed as a meniDer of
the Gentlemen of the Chapel at the Field of the Cloth of
Gold in 1520 Three of his compositions have survived 8
although they are incomplete Thomas Morley cites Jones 9
work in A Plain and Easy Introduction to Practical Music
8 The New Grove Dictionary of Music and Musicians 1980
ed sv Jones Robert (1) The three-part song Who shall have my fair lady is in an anthology XX Songes Gustave Reese Music in the Renaissance (New York ww Norton Co 1956) p 763 discusses this book in a footnote as one of the earlies middott examples of music printing in England which was formerly considered to be a product of the press of bullbullsynken de Warde Denis Stevens Tudor Church Music (New York Merlin Press 1955) p 50 mentions this Robert Jones Mass based on the plainchant cantus firmi Spes Nostra
9 Thomas Morley A Plain and Easy Introduction to
Practical Music R Alex Harman ec (New York ww Norton and Company Inc 1952) p 321 Robert Jones is noted here as a vJelshman active ca 1485-153 5
-4-
The dates for Richard Jones span a time period of
ninety years from 1532 to 1624 Even allowing for
extraordinary good health and ideal living conditions these
dates must at the very least be for two men The first
Richard Jones is listed as the High Master of the Grammer
School for the children of St Pauls from 1532 to 1549 He
followed John Ritwise who was said to have allowed the boys
of the grammar school to perform interludes at the court of
Henry VIII There is no indication that this practice was
continued under the headmastership of Richard Jones The
lack of reliable information in this case can be attributed
to the loss of archives in the Great Fire of 1666 and the 10
confused records of the choir school and the grammar school
It is also possible that this is the R Jones who
entered three plays in the Stationers Register from 1567 to
1569 which had been performed by the Children of the Chapel 11
The headmaster then was Richard Edwardes In 1561
Edwardes received his patent as Master fron1 Queen Elizabeth 12
and this patent was entered into the records by an R Jones
10 Chambers volII pp 8-12
11 Chambers volIV p 381
12 Chambers vol II pp 33-34
-5-
The next two Joneses Richard and Robert have caused
the most confusion They were active during the same time
period and were associated with the same group the Children
of the Revels In addition both men were musicians both
were connected with a theatre troup manager named Robert
Browne and both men travelled to Germany It is a very
real possibility that these men were brothers possibly sons
of the first Richard Jones discussed It may not even be
far-fetched to suggest that all three were related to
the Robert Jones connected with the courts of Henry VII and
Henry VIII
Richard Jones was associated with the acting companies
of the Earl of Worcester in 1583 the Lord Admiral in 1589
1594-1596 and 1597-1602 and the Earl of Pembrokesbulls Hen in
1597 He was in Germany in 1592-1593 1615 1620 and 13
1622-1624 In 1623 he was a musician to the Duke of
Wolgest At this tioe he petitioned the Duke to be allowed
to return to England In 1624 Richard Jones again
petitioned the Duke this time to be taken back into service
as a musician In 1630 he is connected with John Jones a 14
dramatist
13 Chambers vol II p 324
14 Gerald Eades Bentley The Jacobean and Caroline Stage
Dramatic Companies and Players 5 vols reprint ed (Oxford Clarendon Press 1949) val I and II pp 135 485
-6-
Richard Jones entered four plays in the Stationers 15
Register between 1578 and 1594 In 1580 he was the
enterer of the song A newe northern Dittye of ye Ladye
Green Slevesu Jones was granted a license in 1584 to print
a book really a collection of ballads printed in broadsheet
form entitled Very Pleasant Sonets and Stories in Meter by
Clement Robinson Robinson was an Elizabethan poet fl 1566-16
1584 This was in response to a popular interest in signing
to the lute This Jones was not above using the name or initials
of well-known writers to enhance the sale of his verse books
At least three of these books A Smale Handful of Fragrant
Flowers (1575) Brittons Bowre of Delights (1591) and the
The Arbor of Amorous Deuises (1594 and 1597) used the initials
of Nicholas Breton much to Bretonbulls anger These books included
poems by Breton and others used without their consent Other
collections printed by Richard Jones are A Handfull of pleasant 17
delites and A gorgious Gallery
It was this Jones erstwhile actor and printer who was
granted the patent by which the Children of Whitefriars were
once QOre entitled to call themselbulles the Children of the
Queens Revels This patent dated January 4 1610 was
15 Chambers vel IV pp 382-383
16 The Cambridge Bibliography of English Literature
ed F w Bateson 5 vols (1940 Cambridge University Press 1969) p 646
17 Winifred Maynard Elizabethan Lyric Poetry and Its
Music (Oxford Clarendon Press 1986) pp 16 14 48-50
-7-
given by James I It reads in part
Know ye that wee haue appoynted and authorised Robert Daborn Phillipp Rosseter Iohn Tarbuck Richard ones and Robert Browne from tyme to tyme to provide keep and bring vpp a convenient nomber of children and them to practice and exercise in the quality of playing by the name of Children of the Revells to the Queene within the white fryers l8
It is this patent which seems to be the source for
confusing Robert Jones and Richard Jones Several
authorities claim that the Elizabethan COQposer Robert Jones
was involved with the Children of the Revels of the Queene 19
in 1610 However he is not mentioned in their
history until five years later One historian even claims
that Robert Jones is the founder and manager in 1610 of the 20
Children of the Revels to the Queen within White Fryars
18 Chambers vol II p 56 Chambers and Bentley
Jacobean Stage discuss the various associations of Richard Jones and Robert Browne in greater detail than is within the scope of this thesis
19 Edmund H Fellowes The English t-1adrigalist 2nd ed
vol 35 A (London Stainer and Bell 1960) p 4 and Heseltine Prefaces p 171 It is interesting to note that both these works were originally published in 1923 and neither lists sources Chambers also originally published in 1923 clearly states his sources for these patents the original cocuments
20 Morrison Comegys Boyd Elizabethan Music and Musical
Criticism 2nd ed (Westport Greenwood Press Publishers 1973) p 199 Boyd has all references to Robert Jones under one index heading although be discusses the work of the Tudor composer as well as that of the Elizabethan composer No source books on Elizabethan or Jacobean Theatre are included in his bibliographies
-3-
Robert Jonesbull connection with the Children of the
Revels is clearly stated in a patent granted by James I on
June 3 1615 It gave authority for the erection of a new
theatre for the continued training of the Children of the
Revels This theatre would replace the expireci lease on
another house used by Rossiter
And whereas the said Phillipp Roset~r together with Phillipp Kingman Robert Iones and Ralphe Reeve to continue the said service for the keeping and bringing vppe of the children for the solace and pleasure of our said most deere wife bullbullbull by the name of children of the Revelles to the Queene have lately taken in lease and farme divers buildings Cellars sollers chambers and yardes for the building of a Playhouse therevpon bullbullbull All which premisses are scituate and being within the Precinct of the Blacke ffryers neere Puddlewharfe in the Suburbs of London called by the name of lady Saunders house or otherwise Porters hall and now in the occupation of the said Robert Jones Nowe knowe yee that wee of our especial grace bullbullbull doe give and graunte lycense and authoritie vnto the said Phillipp Rosseter Phillipp Kingman Robert ones and Ralphe Reeve at their proper costs and char~~~ to erect build and sett vppe in and vppon the said premisses bullbullbull one conve ient Playhouse for the said ctildren of the Revelles 21
It is interesting to note that Robert Jones is mentioned
three times in this patent
This patent and its various details are confirmed in
other sources of the period The Privy Council was
21 Chambers vol II p 473
-9-
approached by the inhabitants of the Blackfriars area They
maintained that another theatre in Puddle Wharfe would be
too close to the church of St Anne and that it would
disturb the congregation during services Because of a technical
flaw the work that was begun on the building was ordered
stopped in September of the same year (1615) Plays were
performed there as late as January 1617 The last mention of 22
Robert Jones in this instance was the Kings patent
Robert Jones had other connections with the theatre
although he is not called an actor In 1602 he was in
Germany at Frankfort where he was named as a fellow of
Robert Browne Browne was something of a theatre impresario
who specialized in bringing English actors to the continent
and was also included in the patent of 1610 with Richard 23
Jones This year was the start of a three year
publishing hiatus by Robert Jones Appendix One includes
the titles and dates of Jones work An interesting fact
which may or may not be connected with Jonesbull time in
Germany is that his third book Ultimum Vale is one of eight
22 Chambers val II pp 472-473 61 val IV pp 343-345
23 Chambers val II pp 273-282 p 56
-10-
Elizabethan Music books which used to be in the library of 24
the East-Prussian Castle of Schlobitten
This Robert Jones then is the Jones who is the subject of
this paper He was active in the latter years of
Elizabethbulls reign and the early years of the reign of James I
He may or may not have been an actor but he was
associated with actors and the Chilciren of the Revells He
was stable enough to own a house and to enter into a risky
theatre venture
24 Otto Heinrich Meis Elizabethan Music Prints in an
East-Prussian Castle Musica Disciplina III (1949) 171-172
CHAPTER II
EDUCATION A~ID SOCIETY
Robert Jones is known to have graduated from Oxford
University in 1597 It is also known that he was at St Edmund s 1
Hall and was for sixteen years a student His date of death
is unknown although a valid theory has been put forward for 2
his approximate year of birth to have been 1574 This would
have made him only twenty-three when he graduated slightly
younger than n1ost of his contemporaries A comparison may be
rMde by using Appendix Two an outline of works contained in
Christ Church rlusic Mss 56-60 Composers who graduated from
Oxford University are identified as well
Music both sacred and secular was an integral part of
university life Until the Reformation it was customary to
have Masses sung for the souls of the kings and founders of
the various colleges ~ The playing of secular music and
instruments had become so distracting that it was forbidden
at bullbullunseasonable times 11 unless after meals and there was a 3
fire in the fireplace of the hall or communal erea
1 c F Abdy Williams A Short Historical Account of the
Degrees in fiusic at Oxford and Cambridge (London 1893) p75
2 Hese1tine Prefaces p 99 Heseltine combines the fact of
Jonesbull years as a student and Jonesbull admission of practicing music since he practiced speaking to estimate the date of 1574
3 Nan Cooke Carpenter Music in the Medieval and Renaissance
Universities (1958 New York Da Capo Press 1972] p 169 81
-11-
-12-
Since the singing of Masses was required by statute some
means had to be provided for the training of choristers Many
colleges maintained choir schools These younger members of
the college community actually owed their positions at Oxford
to their musical talent and duties In 1547 the Act of
Dissolution under Edward VI closed many church schools but
not the collegiate foundations in the universities the
choirs of St George and Chapel at Windsor and the cathedral 4
schools
The young choristers were taught plainsong and pricksong
and when their voices changed they were preferred for vacancies
in the universitys scholarship lists Among these colleges
were the Schola flusicae of Queens New College Corpus Christi
College Cardinal College (later Henry VIII and nm1 Christ
Church) St Johns College and Magdalen College The statutes
of Magdalen College also provided for places for thirty indigent 5
student-- iemyes) to study plainsong
In the preface addressed to the reader in his First Booke
of Songes or Ayers Jones states that ever since he practiced 6
speaking he practiced singing By his own words it is likely
4 carpenter pp 167 88 388
5 Carpenter pp 267-171
6 F w Sternfield general editor English Lute Songs 1597-
1632 a Collections of Facsimile Reprints (Manston The Scholar Press Ltd 1971) 26 Robert Jones The First Boo~e of Songes or Ayers 1600 David Greer ed
-13-
that Jones was trained in one of these choir schools anG it is
not inconveivable that he was a recipient of a scholarship to the
university of Oxford Indeed Jones was probably at school at
Oxford rather than London and may even have been one of the
demyes of Magdalen College This is especially likely in view of
the fact that Jones had no steady patronage each of his song
books was dedicated to a different person and he was not 7
connected as household musician in the same way that John Wilbe B
and John Ward were involved at Hengrave Hall and with Sir Henry
Fanshawe
The power for presing choristers into service started in
1420 and this practice continued through Elizabeth bull s reign Im-
pressment of exceptional singers men and boys from all over 9
England into service in the Royal Chapel was commonplace
7 Sir w H Hadow English Music (London Longmans Green and
Co 1931) p 65
8 John Aplin Sir Henry Fanshawe and Two Sets of Early
Seventeenth Century Part-Books at Christ Church Oxford Music and Letters 57 (January 1976) 14
9 Carpenter p 341 Foster Watson The English Grammar
Schools to 1660 Their Curriculum and Practice Cambridge University Press 1908 Encyclopedia Britannica Library Resources Inc LEL 10880) pp 155 212 217 Watson mentions several grammar schools in London which incorporated music into their programs at this time They include the Merchant Taylors School St Paul School Thames School and Christ Church Hosshypital It was necessary to know the catechism in English or Latin read perfectly and write co~petently before acceptance at these schools Hulcaster headmaster at Nerchant Taylors claimed that extra subjects like music were studied privately by gentlemens children and that nusic itself was a part of the math curriculum
-14-
It is doubtful that Robert Jones was impressed into such service
He was both eloquent and voluble in the prefaces to his song
books and would certainly have alluded to this aspect of his
life had it been part of his own experiences
The awarding of baccalaureate and doctorate degrees in
music at Oxford was a tradition dating from the early fifteenth
century Music had been established as a separate faculty the
only liberal art so distinguished In fact the English
universities were the only ones to confer degrees in music
There is no indication that a prior arts degree was required for
the Bachelor of Music as was often the case in other fields
Many of England s most talented musicians became bachelors or 10
doctors of music at Oxford Appendix Three is a partial
listing of these musicians drawn fron information in Carpenters
and ~lilliams bull studies Furthermore the University of Oxford
was after the University of Paris the inspiration for more 11
treatises on music than any other medieval university
Appendix Four is a compilation of these treatises taken from the
work by Carpenter
The dichotomy of music that is musica practica versus
musica speculativa was reflected in the requirements placed
upon the degree seeker at Oxford It was as necessary to study
polyphonic music as to study theory Music classified within the
mathematics traditions and the text of Boethius De institutione
10 Carpenter pp 159 89 336 160
11 Carventer p 82
-15-
musica was required by statute since 1431 In 1549 after
Edward VI visited Oxford the candidates for the bachelor of
music degree were to concentrate on the disciplines of the
quadrivium Sixteen terms (four years) were to be spent in
grammar rhetoric dialectic and arithmetic and 11 in musica
Boetium Admission to the bachelor of music granted the right 12
to lecture in any of the music books of Boethius
Each student at Oxford was instructed by his own tutor until
he had obtained his first degree This meant that the musical
careers of some students were actually shaped by the methods of
their tutors Attendance was required at public lectures Aside
from the usual difficulties with student participation and indif-
ference or inability of some faculty these lectures were to be
given in Latin Dr John Bull not being proficient in Latin
was granted permission to read his lectures in English in 1597
Jones of course should have attended these lectures since John
Bull was incorporated as a Doctor of Music from Cambridge in
1592
In order to obtain a degree it was necessary to compose a
Mass song or canticum bull bull bull to be performed before the university bullbullbull 14
on the day of the Cornitia 11 This was not meant to determine
eligibility for a degree rather it was meant to add to the
12 Carpenter pp 89 77 153 159
13 Carpenter pp 154-156 163-164
14 Williams p 21
-16-
solemnity of the occasion This rule specifying a piece of music
to be performed in the university churcl1 at Act time remained un-15
changed from 1516 until 1608 when a hymn only was required
However there was a dispensation from this rule A
candidate could apply for a degree pro circuitah He would
request the Vice-chancellor and proctors to summon a Congrega-
tion On the afternoon before the Congregation the student
preceded by one or both of the bedells of his faculty and accompanied by the person who was to present him in congregation bullbullbull attired in academic dress but bareheaded went round to the schools and also called on the Vice-chancellor and both proctorsl6
Tradition always was an important part of university life
Oxford in the early sixteenth century was no exception Fre-
quently these traditions became codified in statutes Gloves
were an expensive luxury and early in Oxford 1 s history it became
obligatory for the degree seeker to give a pair to the Bedells
and other officials No man could dress above his station and
students fined for wearing silk were required to wear gowns 17
with loose sleeves and square caps in public Following is a
list of graduation fees established by statute at Oxford in 1601
taken from Carpenter Appendix Five is a copy of the original
version According to the custom Jones would have had to pay
some if not all of these fees
15 Williams p 27
16 Carpenter p 165 citing Clark in Register II p 46
17 Williams p 59
-17-
TABLE ONE
Graduation fees at Oxford in 1601
The baccalaureate in music will disburse
First for the total for gifts 6 s For the service of the room For the clerk of the university For possessions For the chamber For the six year total [tuition] 2 s For services during the present year For the clock For the right of the university For the lesser porter of Arts
Total 13 s
IE he has been subsidized by the church 7 s or by patronage he will disburse for wine
If not arranged in advance [] he will pay for the table servants to the porters of his faculty for meals
The greatest expense on this list is for wine [)
a d 6 d
12 d 12 d
4 d
12 d 2 d 2 d 6 d
4 d
4 d
9 d
-18-
It is not indicated in the available sources whether Robert
Jones composed a piece for graduation or used the pro circuitubull
option However a good case can be made for the former there
is an anthem in Christ Church Imiddot1usic Mss 56-6 0 Singe joyfully
which was composed by Jones The words are from Psalm 81 and
are identical with those in an Elizabethan Bible printed in 18
1595 This is two years before Jones graduated from Oxford
Furthermore the Christ Church lbulllus ic t-lss was compiled 11 wi th
most of the material at hand gathering together works which may 19
already have existed in worn or loose copies It was planned
as a memorial to Prince Henry and most of the composers repre-
sented were court-based friends of the composer John Ward who
was in the service of Sir Henry Fanshawe These part-books were
compiled at Fanshawes request and completed by his son before 20
1620 The Oxford anthem Singe joyfully will be discussed
further in the chapter on sacred music
As can be seen music was an important and necessary
part of the education of a gentleman and it was a necessary
18 The kindness of Mr Richard Austin of St Luke bulls Shrine
Smithfield is gratefully appreciated He allowed access to the Bibles there which proved that Jones used the Elizabethan transshylation and not the King James version of Psalm 81
19 Aplin p18
20 Aplin p 14
-19-
21 accomplisr~ent of the perfect courtier Even Morley begins
his book with a description of the embarassment caused by a lack 22
of ffiUsical knrn~ledge Furthermore a degree in music was an
invaluable asset to obtaining a post in the Chapel Royal
Neither Elizabeth nor James I gave honors such as peerages or
knighthoods to musicians rather they used offices in the
Royal Household the Chapel Royal and the Kings Musick as reward 23
for services In 1605 Jones dedicated his Ultimum Vale to
Prince Henry ~hether this earned a reward for Jones is not
known However it is likely that the Mr Jones listed as a 24
Gentleman of the Kings Chappell in 1612 is Robert Jones
It is possible that this position and not great reknown earned
a place for Jones in the Fanshawe part-books
As a Gentleman of the Chappell Jones would be expected to
be quite proficient in reading music and well-versed in plainsong
and pricksong That he could COQpose apart from performing 25
would have been the highest recommendation of all It is note-
21 Carpenter p 343
22 Morley p 9-10
23 G A Philipps Crown Musical Patronage from Elizabeth I
to Charles I Music and Letters 58 (January 1977) 29
24 Henry Cart de Lafontaine The Kingbulls Musick (New York
Da Capo Press 1973) pSO
25 John Stevens Music and Poetry in the Early Tudor Court
(1961) Cambridge Caniliridge University Press 1979) p 309-317
-20-
worthy that although Jones was actively composing in the latter
years of Elizabethbulls reign he was not associated with her court
Like many others he sought patronage elsewhere as can be seen
from the dedications of his song books His appointment as a
Gentleman of the Chappell may indeed have been a result of his
having dedicated his third song book to Prince Henry elder son
of James I Jones published no work after 1610 two years before
his name appears as a Gentleman of the Chappell It is possible
that Jones again travelled to Germany with theatre impresario
Robert Browne or he may well have decided not actively to
compose as he had implied in the prefaces of his last three song
books Records in these areas are incomplete although further
connections with the theatre will be discussed in the following
chapter
CHAPTER III
WAITS V~SQUES AID THE THEATRE
The waits were orisinally watchers at the gates and were
probably descended from the watchmen and sentinels for camps 1
castles and other fortified places In fact wait is the Saxon
word for watcher Eventually they were employed by the cities to
keep watch and guard during the night and to call out the time
and weather Their main purposes were protection order and
safety within the cities To carry out these duties the waits
were furnished with musical instruments These were used to
sound alarms and call for help when needed and were probably an
early type of shawrn or a horn made of metal In 1296 a statute
was enacted in London which required the servants who closed the
gates at night to have waits at their own expense Eventually
the term wait came to mean the man the instrument and the music 2
played on the instrument
The connection between Robert Jones and tte waits only
beco~es clear when the development of the waits and their
1 Walter L Woodfill Musicians in English Society from
Elizabeth to Charles I (New York Da Capo Press 1969) p 33
2 Henry Alastair Ferguson Crewsdon camp The
1-Jorshipful Company of -iusicians ( 19 50 London Charles Knight and Co bull Ltd bull bull 1 9 7 1 ) pp bull 16 2 -16 4 bull
-21~
-22-
place in Elizabethan and Jacobean society is discussed It was
not long after the first statute concerning the waits was passed
that they came to be considered musicians They are included
called by the nanle of wayghte and other variant spellings
among the musicians of Edward III (1327-1377 and are named in
records from Henry VI through Charles I From watchmen with
musical instruments to capable musicians is a logical development
of talent and time For a watchman with musical ability there
was time to acquire skill and thus gain employment publicly or 3
privately as a musician when not on duty
Many of the principal cities in England employed waits In
London the nunilier of groups varied from six to nine and the
number of masters and apprentices in each group was strictly con-
trolled Their places were so coveted that musicians good or
bad bargainea fought or sued for any vacancies Often a place
would pass fron1 father to son Their privileges included
monetary compensations and gifts distinctive livery status in
the city as freemen in the Company of ~usicians without charge
and the right to keep two apprentices at a time Their services
publicly and privately were much in demand by the lord mayor the
sheriffs and aldermen and the playhouses They were required
to meet regularly for rehearsals and only the 11 ancientist
3 Crewsdon pp 165-167
-23-
4 that is the eloest of their society could dispose order and
direct their music
Until 1525 the wait pipe (horn) and shawm were the only
instruments used by the waits The sackbut was added in 1526
In 1561 instrumentation was expanded with the addition of
viols and recorders and cornetts were added in 1568 and 1576
respectively In 1597 the curtal a bassoon-like instrument was
added Records indicate that portable organs keyboards and
harps were hired for special occasions In some waits the lute 5
and singing were included as early as 1555 The waits
provided the music for visiting dignitaries parades and court
masques and dancing The First Book of Consort Lessons by Thomas
Morley was meant as a guide for the groups of instruments used by 6
the waits Their music consisted of traditional wait tunes
(simple airs meant originally for wait pipes and shawms played
with cold fingers) music which may have existed only in
manuscript form written expressly for use in a masque or pageant
and music apt for viols or voyces u including madrigals
Ultimum Vale of Robert Jones contains music for colibination of 7
lute voices and viols Figures 1-20 are facsimiles of tbe
4 Woodfill pp 37-44
5 Woodfill pp 34-36
6 Wood f i 11 p bull 4 5
7 Woodfill pp 44-52 Waits and their history are more
fully discussed by both Woodfill and Crewseon A very brief outline only has been possible in this paper
-24-
title pages dedications and prefaces and tables of contents of
the song bool s of Robert Jones from Greer
Ultimum Vale is probably the book included by Gordon Doad in 8
his list of music for viols This song book is also the source
for ten of eleven songs by Jones included in the Giles Earles 9
book It is this custom of performing vocal and instrumental
music only instrumentally that forms part of the basis for early
chan~er music in England It was advocated by Thomas Morley in
his book and used not only by Jones but also by Sir William 10
Leighton in Teares or Lamentaciones of a Sorrowful Soule
It is possible that this evolutionary process in performance
practices and adaptations of popular pieces for other instruments
may be the basis for the idea that Jones composed for the
virginals Certainly no music specifically for the virginals or
instruments other than lutes has been found to have been
composed by him
When playing for the masques the waits probably performed
in a room or chamber near the pageant rather than on the street
or porch where the masque was being presented Robert Jones bull
8 Dodd p 263
9 Jergens p f 13V-f22V
10 Ernst H Meyer Early Englisn Chamber ~1usic ed Diana
Poulton (1946 Boston Marion Boyers 1982) p 135 149
-25-
11 naroe is not in the lists of appointments to the London Waits
But Jones did have so~e of his music included ill masques Everie
vloman in her Humor a masque by Maclin published in 16 09
includes two songs from The First Booke of songes or Ayres The
title My mistris was not used in notes for the masque rather
lines from the song were used thus hindering our identification
of Jones as its author Figures 21 and 22 are facsimiles of this
song This same song was used in Loves Charity by Shirley in 12
1631 and The Dutch Courtesan by John Marston The latter was
presented at Blackfriars in 1603 performed by the 11 Children of 13
her Maiesties Revels Christ Church Ms 439 which contains
four songs from The Second Boeke of Songs or Ayres is said to be 14
a compilation of songs used in masques
The dates of the songs discussed indicate that Jones was a
source for music used in masques rather than a co~poser of music
for masques This is admittedly a subtle difference but it is
a critical one since Jones is not credited with supplying tPis
music in tle published sources of the time such as the plays
themselves
11 Woodfill p 48 and Appendix A
12 John P Cutts Everie ~loman in her Humor Renaissance
News 18 (Autumn 1965) 210-212
13 Chambers vol III p 431
14 Cut t s p 212 bull
-26-
Songs used in masques were declamatory in vocal style with
rare word-repetitions except towards the end of a song The
lute accompaniment tended to be chordal with an harmonically
15 statis bass The aforementioned 11Ny mistriS 11 (see Figures
21 and 22) very clearly demonstrates this principle The masque
an offshoot of the main dramatic movement was musically con-16
nected with the great nass of songs with lute accompaniment
Robert Jones was a natural choice for the masque authors His
melodies tend to be rhythmically simple and singable By his ow~
admission in the preface to his First Booke of Songes or Ayres
Jones main concern was fitting the note to the word (See Fig-
ure 3)
Shakespeare also liked to use contemporary songs in his
works for the theatre and in the music of Jones Shakespeare
found songs to express the moods of his characters Perhaps the
best known instance of this reliance upon Jones is in the comedy
Twelfth Night The song 11 Farewell dear love bullbull is number twelve
in The First Booke of songes or Ayers
15 Ian Spink English Song Dowland to Purcell (New York
Charles Scribners Sons 1974) p ~0-41
16 Ernest Walker A His tory of Music in England (rJew York
Da Capo Press) p 153
-27-
In Twelfth Night II iii Sir Toby Belch and the clown
Peste sing a version of this song that telescopes the first and 17
second verses Malvolio warns Sir Toby and Feste that
Olivia will bid farewell to Sir Toby unless he reforms It is at
this point that these two characters alternate singing lines of 18
the song This song was set in 1600 and the date of Twelfth
Night is 1601 The obvious conclusion is that Farewell dear
heart was a popular favorite and would have been recognized no
matter how much it was condensed Another testimony to its
popularity is that the tune appears as a hymn setting in a Dutch
psalter The Dutch version is Heilgierig mensch and the 19
psalter was published at Amsterdam in 1713 That Jones himself
favored this song is shown by the fact that in his fourth book
nine years later Jones sets Farewell fond youth Its meter
is identical and its melody is similar to that of 11 Farewell dear 20
heart Farewell dear heart may be seen in Figures 23-26
and bullFarewell fond youth in Figures 27-28
17 John Stafford Smith Musica Antigua (London 1812) p 10
204
18 Peter J Seng The Vocal Songs in the Plays of
Shakespeare A Critical History (Cambridgemiddot Harvard University Press 1967) p106
19 William Shakespeare The Complete Works ed Alfred
Harbage (Baltimore Penguin Books 1969) pp 316-317
20 Edward Woodall Naylor Shakespeare and Music rev ed
(New York Da Capo Press and Benjamin Blom Inc 1969) p70
-28-
Shakespeare also turned to Jones for parts of the mad songs
for Ophelia in Hamlet IV V Although it is not a proven
fact the setting of In Sherwood liude stout Robin Hood see
Figures 29-30 from A Musicall Dreame bears close resemblance to 22
the words sung by Ophelia That it probably is this song is
due more to the nature of the scene and the impropriety of the
words words which would never have been sung by a sane Ophelia
and to the popularity of Jonesbull work rather than contemporary 21
documentation Frequently Shakespeare had his
characters sing snatches of songs or refrains and further
attributions to Jones are possible but not provable without a
shred of documentation Nor in general are Elizabethan
composers who often set the same words identifiable unless the
tune had been transcribed or the composer named in the
manuscript
21 Heseltine Prefaces p 168
22 F w Sternfield Music in Shakespearean Tragedy
rev ed (London Routledge and Kegan Paul 1967) p 57-58 71
CHAPTER IV
THE SECULAR t-1USIC
The secular works of Robert Jones consist of five books of
lute songs or ayres and one book of madrigals One or two copies
of each song book have all survived in excellent condition with
minor problems such as missing title pages The madrigals 1
however exist only in an incomplete state Possibly this is
due to the difference in publishing techniques of the two types
of song The song books include all voice parts printed on
opposite pages in such a way that tt-e performers can stand around
a table and use the same book The madrigals on the other hand
were printed in separate part books with the result that the
loss of one part book took away from the whole
Lute songs increased in popularity and availability
when the printer Peter Short acquired a font of lute tablature
This acquisition in 1597 greatly facilitated the publishing of 2
lute music William Barley had published a book The New
1 Fellowes Madrigalists p iv In the preface
Dr Fellowes describes in depth the location of various part bookst and which madrigals are complete because they were found in alternate sources
2 Spink p 15
-29-
-30-
Book of Tabliture in 1596 which contained the first solo song
with lute accompaniment published in England In the four years
between the publication of this book and the First Boeke of Songs
or Ayres by Robert Jones in 1600 books by Dowland Morley 3
Cavendish and Farnaby in this style were printed Peter
Short by the essence of Thomas Morley was the printer of the
first two song books of Jones and the first book of Dowland It
may thus only have been for practical reasons that the title
pages are virtually the same
Lute and vocal music were easily printed For the lute
tablature letters not notes were placed on a six line staff
Vocal music used about a dozen signs for clefs tempos and
accidentals and thirty individual signs for notes apportioned on
a staff of five lines each with a note on one of the lines or 4
spaces Obviously it is this setting of each individual note
with its staff which gives the music its slightly wavy
appearance
Each of Jones five song books includes twenty-one songs
although contemporaneous song books usually vary in the number of
songs Whether this really has any special significance for
Jones is impossible to know For all his loquacity he did not
3 Phillip Hes~ltine The English Ayre (1926 Westport The
Greenwood Press Publishers 1970) p 138
4 Boyd p 178 Keyboard music was not published until 1611
and tben it was engraved This was because of the difficulty of dividing the staff to print cords of two or more notes
-31-
refer to this in his prefaces All five prefaces are illustrated
as follows The First Booke of songes or Ayresw Figures 1-4
The Second Boeke of Songes or Ayres Figures 5-B Ultimun
Vale Figures 9-12 A Musicale Dreame Figures 13-16 and
A Musebulls Gardin for Delights Figures 17-20 However that it
was important to him could explain why he chose to include two
Italian songs in A Husicall Dreame They are for solo voice with
lute or bass viol accompaniment (or both) and come at the end of
a book of songs for three and four voices
The idea of performing vocal music instrumentally has
already been discussed with the performance practices of the
waits Another common practice of lute playing was to use
alternate tunings of the lute The more usual tuning is gd A 5
F C G Plternate tunings included the sixth or bass string
tunec to F not G or the tunings called the 11 leero fashion 6
These were d a f a F c This method was used by Jones in 7
The Second Book of Songs and A~res published in 1601 The
words 11 Set out to the Lute the base Viall the playne way or the
5 Edmund H Fellowes The English t-ladrigal Composers 2nd ed
(1921 London Oxford University Press 1967) pp 304-5
6 Veronika Gutmann Instrument oder Dininutionspraxis
Archiv fuer Husicwissenschaft 35 (November 1978) 189
7 Frank Anthony Traficante The Hansell Lyra Viol Tablature
Parts I and II diss University of Philadelphia 1965 pp 188-189
-32-
Base by tableture after the leero [lyra] fashion appear on the 8
title page There often was a seventh string added below the
bass string tunec to D To avoid confusion this note was not
annotated on the staff instead ledger lines were added to 9
indicate its implementation This may not have been a popular
practice Jones used it sparingly in Ultimum Vale his third
book However all songs but one in A Musical Dreame call for
the extra string That Jones was criticized for use of this
extra string in Ult1rnuro Vale can be inferred from the preface to
A Musicall Dreame This preface is not addressed to the reader
but rather to all Musicall Murmurers
Understand me thou vnskilfull descanter deriue from that Note of Plaine Song charitable numbers and thou shalt find harsh voices are often a Note aboue Ela reduced by truer iudgement which I bereaue thee of nowing thy Rules are as our new come Lutes being of many strings not easily used vnlesse in aduenture till practice put forward into deseruing Diuision
From this preface it appears that Jones was something of an
innovator often embracing ideas before their full acceptance
Jones also may have ornamented or used graces in his work
However we cannot know this because the art of ornamentation was
a live tradition passed from one player to another The second
reason is that printers of the time did not have the necessary
8 The title page of this book is misleading The correct
title appears to be The First and Second Boeke of Songs and Ayres It is usually referred to as The Second Boeke of Songs and Ayres See Figure 5
9 Fellowes Madrigal Composers p 304-305
-33-
10 signs for ornaments or graces in lute playing
The following chart of lute tablature is adapted from
Fellowes The strongs are labeled treble small mean great
mean countertenor tenor and bass All but the treble string 11
were doubled
Treble ( g I ) a b c d e f g h Small r-Iean (d ) a b c d e f g h Great Mean (A) a b c d e f g h Counter-tenor (F) a b c d e f g h Tenor (C) a b c d e f g h Bass (G) a b c d e f g h
The fingerboard of the lute has ivory frets When stopped
each fret raises the tone of a strong by a half step The small
letters bullbullabullbull bullbullbbullbull 11 C 11 and so forth indicate behind which fret the
fingers are placed to produce the desired tones The letter a
indicates an open string that is one which is not fretted or
stopped b shows to stop the string behind the first fret It
raises the string by a sernitone Each letter represents the
next semitone to be produced on a string
These signs irdicate the duration of the note 1 ~ ~ f ~ ~) and stand for semibreve minim crotchet quaver and semi-
quaver respectively The last sign used gives the duration of
10 Diana Poulton Graces of Playing Renaissance Lute Music
Early Music (April 1975) 108
11 Fellowes Madrigal Composers pp 304-305
-34-
following beats Dots of augmentation with their accepted mean-
ing are used when needed Barring follows the rhythm of the 12
music or the words and is not always indicated It must be
remembered that Jones did not always use this tuning for the lute
rather he indicated it by specific performing instructions on his
title pages
Lute songs have roots in the freemens songs Freemen bulls
could be a corruption of the Anglo-Saxon work 11 freibull meaning 13 14
fesitval or of the term three mens songs In either case
they were lively cheerful songs with the tune in the uppermost
voice the tenor They were the basis for the simple part songs
which were so popular in mid-sixteenth century England These
songs then evolved into the Elizabethan consort songs and finally 15
the lute songs
Lute songs ordinarily were published with only a word or two
of the first line printed in beneath the score The singer
12 Fellowes Madrigal Composers p 306
13 Smith p 10
14 Walker p 45 The book published by Wynken de Warde in
the early sixteenth century which contains the work of the first Robert Jones also includes freemenbulls songs~
15 Spink p 16
-35-
16 either knew the rest of the words by heart or vocalized 11
Jones however is one of the few composers whose words are
carefully and consistently placed beneath the notes in his song
books This note-to-the-word placing allowed him more control of 17
the rhythm in strophic settings of different stanzas of poetry
The lyrics of English lute songs and ayres consisted mostly
of typically short verses The sources for many of the lute
songs and ayres were the ~any Miscellanies published during
Elizabethbulls reign ~ong these The Phoenix llest and Englands
Helicon were the most popular However the collections of
Richard Jones were also used by some composers Richard Jones bull
not properly detailing the authorship of the poems in his
collections is the primary source of confusion in identifying the
authors of the poems set by composers Another problem in the
use of MiscellanieE is the resultant multiple settings of 18
favorite poetry Robert Jones set many poems of Francis
Davison Sir Philip Sidney and Thomas Campion What initially 19
may appear to be plagiarism is really an accepted practice
16 W a 1 ke r p bull 4 6 bull
17 Winifred Maynard Elizabethan Lyric Poetry in Its Music
(Oxford Clarendon Press 1986) p 71
18 Maynard pp 54-55
19 Heseltine pp 130-131
-36-
The main differences between lute songs and ayres tended to
be those of length and rhythm Ayres generally had simpler
settings were more strophic and shorter and usually were better 20
sung as a solo song with lute acconpanirnent The ayre is
normally considered a short lute song with the accompaniment
providing the clue to the difference~ Performances could vary
according to the abilities of the performers and the instru-
mentation they used Frequently this lead to harmonic 21
discrepancies in the vocal and instrumental part-settings
This perhaps is the basis for one claim which has been made
that Jones did not write these parts for what are really solo 22
songs in his last two books
The English Madrigal developed as a result of the
publication in 1588 by Nicholas Yonge of a collection of works
by Italian and Italianized Netherlands composers This book
Musica Transalpina contained fifty-five of the best Italian
madrigals translated into English and proved to be very po~ular
20 Maynard p 55
21 Walker pp 80-81
22 Edmund H Fellowes The text of the song books of Robert
Jones Music and Letters 8 (January 1927) 25-37
-37-
In 1598 ~iichael Cavendish wrote a madrigal with the nLong live
fair Oriana refrain This may have been based on a madrigal
published in Il Trionfo di Dori It was this refrain which may
have been the impetus for The Triumphs of Oriana published by
Thomas Harley in 1601 The Triumphs of Oriana contains twenty-
five madrigals by nearly all the most distinguished English 23
composers of the time 11 Robert Jones contributed Fair Oriana
seerring to wink at folly 11 to this collection
The First Set of Madrigals was published by Jones in 1607
Its being called the First Set is no proof that Jones intended to
publish more sets Rather this avpears to be a publishing
convention of the time Where this set is unique is its
containing madrigals of 3 4 5 6 7 and 8 parts tvhereas
most madrigal sets were in groups of one or two different numbers
of voices this book has six different voice groupings These
combinations alone would give rise to the idea that although
Jones experimented with the madrigal form he either was not
comfortable with it or was not proficient enough with it for
his own standards On the title page~ Jones claims that the
collection is for Viols and Voices or for voices alone~ or as
you please 11 Several of the texts included in this transcribed
edition are poews by Francis Davison and two are by Campion
23 Walker p 78
-38-
The English madrigal was something of a compromise in form
It combined the contrapuntal secular music of the Italian style 24
and the harmonies of such songs as the frottola It typically
was a single stanza of seven to eleven lines in length A line
maybe made up of seven or eleven syllables with short and long
lines in any order The rhymes were mostly feminine and in
random order For this the Italian verse setting was standard 25
but short verse ottara rima or sestina were also used
Perhaps the one concept about the secular work of Robert
Jones that should not be overlooked is that he intended his music
for pleasure He had no rigid rules about performance practices
and he was willing to experiment with new techniques He was not
tied to rules of harmony and counterpoint and he seems to have
been partial to the sounds of open fifths and false relations
He was clever and innovative in his use of rhythm and rests
formed an integral part of his control of rhythm It was an
unhappy man who composed the song Goe to bed sweet muze This
was in Ultimum Vale the book that Jones intended to be his last
He seems to be saying goodbye to his love of music and composi-
tion rather than to an unfaithful lover That music in his muse
can be found in his explanations for publishing again in the
prefaces to A Musical Dreame and A Muses Gardin for Delights
24 Walker p 77
25 Maynard p 55
CHAPTER V
THE SACRED NUSIC
In a fashion typical of the Elizabethan era one music
publication could contain ayres madrigals or religious motets
The Teares or Lamentaciones of a Sorrowfull Soule by 1
Sir William Leighton is one such book It contains eighteen
consort songs twelve songs for four voices and ten songs for
five voices The contributors of songs for this book include
Byrd Milton Bull Ferrabosco Jones Peerson Thopul
Coperario Dowland Ford Gibbons Giles Hooper Johnson
Kindersley Lupo Pilkington Ward Weelkes and vlilbye As can
be seen Jones is numbered among the finest composers of the era
Sir William Leighton was born into an influential family
He had social economic and educational advantages However
because of carelessness and misfortune in his finances he was
imprisoned In 1613 Leighton published a book of his own
poetry The Teares or Lamentaciones of a Sorrowfull Soule This
was followed the next year by a book with the same title cf
musical settings of these poems composed by himself and twenty
composers The purpose of these books was to show Leightons
1 Walker p 81 The consort in this case refers to the
accompaniment of the cantus voice with the treble viol and lute tablature The altus was accompanied by the flute and had tablature for cittern The tenor voice included tablature for the bandora and the bassus was paired with bass viol tablature This was in reality the broken consort
-39-
-40-
repentance But the laudatory verses composed by his friends
and included in the introduction of the book seem to negate
this These poems use word-plays and puns on Leightons name and
deal with his unjust imprisonment
The works in this book are on sacred themes and could be
considered appropriate for use in church However that Leighton
intended for then1 to be domestic fare is seen in the style of
printing used that is on a double folio in the same form as
that used for lute songs and in the performance practices he 2
recommended
Jones set three poems for this work The first two anthems
are included in the poems published as The Teares or
Lamentaciones of a Sorrowful Soule The third piece by Jones is 3
set to words not included in the 1613 edition and the poetry
differs in form from that of the others The words of the first
two anthems consist of six eight syllable lines rhyming ABABCC
The third anthem is a simple quatrain with an ABAB rhyme scheme
The first two anthems closely resemble the favorite form set from
The Phoenix Nest the difference being that the lines in the
2 Leighton p x
3 Leighton p xxv
-41-
4 miscellany are ten syllables long The poetry from these
anthems is included in Appendix Six
Robert Jones composed a fourth sacred work This piece
Sing Joyfully which will be referred to as the Oxford Anthem 5
is included in the Christ Church Mus Mss 56-60 The source
for this manuscript has already been discussed in Chapter II No
modern transcription exists for this anthem and may be attributed
to the fact that the bass part is missing and this anthem is one
of a few anthems in the Christ Church Mss not found in other
sources
The possibility that the Oxford anthem was the piece that
Jones composed to meet degree requirements at Oxford has been
presented in Chapter II To substantiate this claim further the
words of Psalm 81 from the Book of Common Prayer printed in 1619
and from The Bible of 1595 are included here This will
facilitate comparison with the Oxford Anthem facsimile from
Christ Church and its transcription and recreated Bass part
4 Edward Doughtie Lyrics from English Airs 1596-1622
(Cambridge Howard University Press 1970) p 25
5 This manuscript has not been recorded in RISM
-42-
6 The Book of Common Prayer 1619
Sing we merrily unto God our strength Make a cheerful noise unto the god of Jacob
Take the psalme bring hither the tabret The merrie harp with the lute
Blow up the trumpet in the new moon Even in the time appointed And on our solemne feast day
7 The Bible 1595
Sing joyfully unto God our strength Sing loud unto the God of Jaakob
Take the song and bring forth the timbrel The pleasant harpe with the viole
Blow the trumpet in the new moone Even in the time appointed At our feast day
6 The Book of Common Prayer and Administration of the
Sacraments and other Rites and Ceremonies of the Church of England with the Psalter or Psalmes of David Printed by Thomas and John Buch Printers to the University of Cambridge 1619
7 The Bible That is the Holy Scripture contained in the
Old and Newe Testament London Deputies of Christopher Barker printers to the Queenes most excellent Maiestie 1595
-43-
The bass was reconstructed after a study was made of the
style used by Jones in his two madrigals for five voices and the
one anthem for five voices in Leightonbulls work The madrigals
were used for this comparison because of the similarity of style
with the anthem
In general Jones uses the bass as a platform for the other
voices Large skips are used sparingly and the relationships of
thirds and sixths with the tenor voice is usually maintained
The frequent use of whole notes and rests and the rare use of
dotted rhythms and eighth notes emphasizes the stable voice
leading Jones rarely initiates word painting or new rhythmic
patterns in the bass However the bass is used to start an
upward scalar pattern carried through by the other voices in turn
It is hoped that the reconstructed bass for the Oxford
Anthem is in keeping with Jonesbull methods The transcription
would not have been possible without Dr Clyde Brockett It is
possible to include the anthem because of the assistance of Mr
H J R Wing of Christ Church Oxford
44
Cantus middot
( -11 ((
) L ~L I
middotmiddot~middot 0
I I
45
Cantus
------------------------------ ====~====================~ I
I ~
j-- ---====-=--=--=--=---=----=---=--=----~~----------===shy
l I
r
l t
I
~-
t ~
middot r I
(1 c I ( middoto
A ~ -1 bull T I bull 1-Jtc v I
bull
~iof~ictf ----middot-
t~L f ef a attf j az ~ E I cfft ~ fiipound wuamp J1 -------- --4----bull- - -- --
iS
l ----=-----------
47
I middot--- - -- - -- I
j It~middot~ ~~I ~CJ m bKpound fy nt-l a~ PJtttfd (Ul A ~
t Ybull T 0 A I I I
~ -t-I I I - bull I I l bull I I I bull bull J I 1 bull I I I
A - bull ~ I
1
-~-- -- ---middot-------------+
-------middot---middot~---------
1----- --------~---
48
middot- middot---- -- ------middot --~___middot---~- ~--middotmiddot ~
49
Contra tenor
middot -bullmiddota --~ilirtttwbullnbullmiddot d_rl_ mr
I ~
i-----------------------_)_
F------ --
______ _
-------middot--middot-----middot -~-- ----- middot-middot-middotmiddot --~----middot- ------- ------shy+----- ------------ -----r=-~----_____middot ~~~---~--~- ~~~-~~-~-----_ --I
I
(I
bull
middot~
I ii l
l
l Imiddot
-I
(
50
Tenor
------
fwaft qtmiddoto( tft~ tfttttt~l hF Ibull bull ~ l~~r---~-~- ~ - =13
t)tl) tfc G11 pound th (b ir th~ tf~~ v
~-f~~-~3 -----+ ~ ------middot =-==~-~-fi I 1Ppoundf ft t1 c If r 11 a h -middot qCo ~~ l-K~-
I I I
bull
51
Tenor
l ~
~ ~r--=t-~ ~ J middot~middot bull I I
13fon ~ lppt ~fie bmpt~H1 tfv1VC btpound lLi hum( Efl J A t I o bull
H-1----r~ni----=ll bull1 -----i - r~ n middot bull -~ t i ~ -J j) I l 1 bull 1 bull l
~ bull bull T _ obull bull -x I n _PI I I I T I I amp bull T 1 1 middot y tl- 1 L~t--I ----J-middot-middotmiddotmiddot1_--1-- _-~--~~--Jmiddot middotL__-1L --1-- -
- I 1 I _ 1___1 - -4-1-J - +--+1--ll- J ) 0 I 1 I I I I -~-- ----- ~ A bull bull I (I V =-
---- - --------- middot------
I he Oxford Anthem 52 Robert Jones
5 J J J ) J f r middot r I
Sing joy ful ly un to the Lord our I 1) I Js - I 0 I ) ) ]I ) 11 J bull v- l l
Sing JOY ful ly un I to the Lord Si ngl I I - _ f r
1 r t7 t r t l middot~ I I I ~ _l I I
I l I
Sing joy ful ly un to the Lord our i strength
1 6J
J I
i - ( J amp J
-plusmn=-
I Sing joy ful ly
-c un to the
r r2 c= f r F ( f z 0 r I l ~ 1
Sing joy ful - ly un to the Lord our
10 j J r
I I I l r I I 1 I f I
0 0 tJ bull middot I ~ I I I t _a l r
II I I strength Sing joy - ful -t ly un - to the ~middot Lord our I I I i
I
_I 1 I I I I l I
I ) I 0 I ~I I j l Ll I I
$ j I lfO J I - -~~ L7 t I -v - _
~ joy - ful - l y un - to the Lord our I I
~ ) _ IQoll I ~ 1 y middott I -
I I j I l r I I I -r r 1
I Sing joy - ful - ly un - 1o the I Lord our
I I I I I 1
0 0 I ~ Q - -~
- I - -~ - lord our l strength Sinmiddot] _
I I 1 - I I ) i j J middot __ ___ -- t -
strength Sing loud un-to the
I r I J () h fl e J j (~ I I II r- j 0 I v 0 i r c
53
I i
I - I - I - I r r r ( J I _J_ I 11 _l [
~ I I I
I
~
I strength Sing 1oud un-to the I
I I I I r r r J y r J - 1 v I I 1 l -l - I - -
I str ~ength Sing 1 oud un-to the j god of I la -
t I I J J l J r
11 - f~ t v I I I L y
r l I
I
strength Sing 1 oud un to the god of j I
I
- ~ ~
r r 1 r r t Igt I
J r I I I r - I
I - loud un to the god of I Jq -
I
v I () p 0 I I _ I ~
I I
god of Ja cob Ja
5
god of Ja cob
cob Sing I lou un to t e j I I
] l ~ ~ i
r - I r r r I v I I (7 I v I I I i
I t
Ja cob Sing loud to thf god of I~
- un I l
~ bull
I I L A 1 I I f- I 1 _J _I L l_ l I t I I ~ t r __ __
-fi I l I I
cob Sing loud un to the god
0 eO 0 __ =J
of j Ja cob i middot
----------~--------------------------~1---o----------~l ~ gt~ f middot
cob Sing
20
- I r j I 11
C I r
I
loud Sing un ~ - r 0
I
god of Ja
r 1 I t7 J _J
~
Ja cob -
1 -I J p 0
Ja cob
r c r f
(l
loud un to the god
I l I JI I
-1
0 l-
cob the god - y 0
I I I
the god
0
I
cob f
~ I I 1 I I J
I ~ t I J middot 0 t--1 J I
t to the g od
c9
god of
r I
to
-I
fvO
Ja
I I
l
Sing l
~~
of
I r I I
the
I
I -
---L--1 I
I J ~
54
y
god
L-
cob
I J
cob
_j
I 0
I amp
Ja
25
l 1
--of
- a I
of
Ja
0
i
I of l Ja
I 1
~ t 1 _ Q _ ~ middot
of
Ja
Ja
I I -J I I
- 0
of Ja -I -middot I
J l _ I I
rl 0 0 - -
I of Ja middot-
I j j I _ J I
~
~ (_ I ~
loud un
ampI _
j9
cob the
r
J I I -1 --11 2_ ~~~~
I
Ja - middotcob
i-1 I -f-1
I bulli cob
I
I
- j - w cob j
i l i
J I ------ I t-1 I I - I cob
cob
1n I
I I I J (7
c_ -
-Take I the
- bull- I I r 7 A_ f I r
0 I ---
j
Take the harp t the I
J ~middot
I bull I f~ [ I [ I
J -Take the harp the
1 1 -I I I _
( y
~
Take the
p f bull
Take the
35
f J J I
I 15 Z
) lt I
brell I
tym tym
I 0
CJ ) J forth the tym- 1 bre 11
I I l _ I I I 1 j I
omiddot i I I
harp and ~ bring forth the I I I
1 r
I I + and bring I
~)
r t harp and bring
55
_ -
harp
j fr
r - ti (J J ____ r
-
f ) I
v J
harp the
a
(2
harp the
f
brell
1__ J
and
0 I tl
-
)
harp
~
harp
I J
harp
harp
~ the
r bring
r [I
I I y
rJ I
11
and I bring
f I
and I
f
I ~
I
t take
___
I
I
r ta ke
J 1
tym bull
( r forth the
- _ --- r
tym - brell I j J
I I I J I r I i
_) middot forth the tym - bre 11 the
( t
f I r r-I I z
forth the tym brell the
I 1 1
amp
forth the
1 A ~
bring
I A
7
the
t )
the
I
~ I ~
I I
l
56
40 I I I I I
I t I 0 I _i I I i ~ ~ --middot
li 11 11 I -
- brell and bring forth the I tym - bre 11 tym - brel 1
I ~ - I 1 () 0 1 I r 1 - --- i
I
tym brell and brin9 forth the I - I
_ 17 - i 77 j
- r - T T _ I I J ~ I I I I
I I 1 ( bre 11 ) the tym - brell I the
i I I II
u I pound I A J ~ -1
I -
~
tym - brel l and bring I forth the tym -I
J amp Fyen tji
F l
tym brell tym brell
I I -- I I j I
I l
-J ~ I ~ ~
J
harp and the sweet the ~ I plea sant
middot - --f ) I i I e 61 0 J ( z
bull
tym - brell the tym brell ~ the ft ~middot c t r 19 ufJ f ( c t I
pleasant harp and the vi 0 ll the pleasant harp
j ) j middot99 J GJ or gt _ -5
brell bring forth the tym brel1 th ~e
9 l f~ ( __ r I ~~
-- -
Bring forth the tym brell
57
45 J
I I I [ f I C) A A I A I j l - -
-
~~ ( _
vi - I 011 t sweet vi - oll the I I
I -- 1 - l l 1 (7 I I I J 0 A I J bull
$ r - I brell I
themiddot 1 pleasant harp and the sweet i I
- p I I
r I I lt I_ c I I I r
I I and the vi - I 011
l vi - 011 I
I I I 0 I I
r I -J y v - I I I ~
p~~~~~nt harp and the sweet vi - 011
I
_ v - 0 I I r t I I II 1 I J I I
the plea sant harp and the sweet vi - oll
50 1 I I I I j tl I l bull I
I J L t- 0 J I
-
I ~
J I
pleasant harp and the sweet vi I ollll the I
~ -- _f I A middot bull 0 J i r 1 l I I
vi I oll the plea - sant p
r I i T 0 - 0 I I
I f I I - ------I I I I j
i
the ple~sant harp ~nd the vi - -
I
--- I _l I I I --1 0 I r l
C-
vmiddoti I - 011 the ~
pl ~ea sant harp - C) r 1-
~ r I I )
r ( I l r
I I t
and the sweet vi - all sweet vi ol1
58
I I I I L_ I J _l J f J
I I I
~ r
pleasant harp bull and the --_
t I I I -_j
harp and the sweet -l I
f middotv A I I I I
011 t the I plea - sant I I
I I
I I I i I J t7 Lc -I
and the sweet I
vi I -i - I -
- J
I c- -
oll and l i I
1 I J J J_ v A
I I
oll the I pleasant harp j _ k
-r= 0 I
t I
t
sweet I vi I I _I I
11 i I I I I I I 11 _j ~ C I J _lj bull
harp and th~e I J I ~
sweet vi - 011
J ~
t
the pleasant harp flnd
55 r J1
1 _r _I_
swe ~et vi - I I
- ~ I I A ~middot _t2_ I
I
vi oll I -
t I _l l
fL
harp and
t
al l
-
j_
A I I
th~ swee~ I
j_ 1 L1_
J _L _r I
I I
and the sweet l A
~
i t l I I
I
011
- I
r r the
the sweet vi
0
-0
vi 0
~
the
I t
the
-
60
0bull
vi
0
vi
-
J
pleasant
-
l I I
J bull
pleasant
-
-
amp l
I
l the
I
I
harp I
----1
59
I I
_ middot-I
- I - - __
I ---- oll I I
~~ - f r I f I J e_ I I _
011 I the plea sant harp and
0 - 11
r - - 1 v I I r l I I --~
J _L I l I
pleasant harp and th ~e sweet I vi --j 011 t I
I _I_ ) - I
_I r D I J I 0 I I
I and the sweet vi -- 011 and l the
J ~
-- -=- 7 r I
I T T r l I I 7 l I
pleasant harp and the sweet
65
- - r I
I I J I I J
I ~J ~ v I bull J cent ~
--
the pleasant harp and the sweet - _ r r ~if L) I I tJ - - I I l I I 0 -1 F _l T 0 j I J l I - -- the ~weet
vi - 0 ll t and the sweet vi -ll n middotmiddot-
I I ~middot r I - - t - f7 I I I l _ (7
j j --w
sweet vi - 011 sweet - vi -
I I I I T T - t i -- A t7 r 1 T 7 T i ~ i
_l J
I I I I
I sweet vi - 011 fhe I pleasant harp and the sweet j I I
u I l I J -1 1 0 I )
f I
vi 011 and the sweet
ou
70
-- - I I I I J
~ I I j ~ (1 77 -~
vi - oll the pleasant harp
I I - j I I I A I 410 7
-- L
- oll the plea - sant t --1
I L I I J 0
I I I I ~ ~ t r _fl_ 0 0 _ II I I
1 I - oll~ the pleasant harp and the swmiddoteet
~ I ~ ~
y JoiO c I- I l I r
I I
vi
I 011 sweet v+ 0 ll - -L
- l I I 0 J --- t 0
I
vi oll the sweet
75 I I
I I T J j I A ~
~
I - _() ] middot -- -- -- bull l I and the sweet vi - 0 ll
_l I 1 77 0 0 0 -I - 0 I y l ---- t ------ I I I
harp and the sweet I vi - 011 bull I I
0 0 C)
poundJ I - t (7
I middot-I
vi - oll sweet vi - 011
I I
~---0 J 1 I t J -middot
I _ _ bull I I 17 ~
I - -
I
f t he sweet vi - - 011 bull
- I CJ I
C if- I I
I I 0 T _ I I l I
vi oll vi
~ bull Scr-ibe error shc~AIJ b~
61
80 111
I I j t - - I - J I I y ( j r 1 bull
amplow the I
up I trum - pet I
~ - - j j I r A j J I t - 1
Blow up the trum - pet oiL - r
p r r Igt t r r r f- I I t J I I i middotp I I
I I J I I
Blow the I
i trum up trum - pet Blow up the l - pet
I I I middotr I
f r l J ~I I r- r _r j A I I I _
I i I I r I
Blow ~p the trum - pet Blow up the I trum - pet _ I bull_ _
0 ~ I I l I I I I I I
I
I I l I
Blow up the trum - middot pe~ the trum - pet
85
f 1 - I I I ~ I I I r ( J-middot I I r J J -1
I r l bull
I
trum pet the I trum pet the trum p ~et - -A - I p - - I t
~middot J I r _1 L I t
I I ~ I
the trum - p ~et 1 the I trum - pett
- i I i ~ _
-l f r r ll _r_ [ middotp t
t I I J l t I I I I l
~ I bull I bullmiddot
Blow the Bl~ ow the r bull
trum pet up trum - pet up -t I
- I t l j_ L _L A I
r r J r J I A J f ~
l I I - I bull I
bull I I
Blow up the trum pet Blm_r up the trum pet I - -I
tt) 7 - 0 _ I 0 i I I -I 7 I I I I I I l I
--J I I _J
Blow up the trum pet the trum pet
0pound
_I I I I - I I J I I I 0 -II I L J I J - j
- Jf o I J 0
ln] the new moont evn i n the time ap -
- -- I
- I t l v t -1 I I_ I l I J ~() -in the new moon the new
I I
~
[ 11 -~ - 0 J - I
I ~ l I I 1 I I
I
in the new moon in I
I I I I - I I j J l J _0 r r J p
I
gt in
I the in the new moon~ new
1 _ - r- r r r - I
I I J I I ~
1
in the new moon
A ~ I I I
r
r f cl - A I _f I I I I I
- _ 0
l I gt _ _ I
I poin - ted at our feast day at
-middot - _
-moon
I l I
_ I I J r ~middot I I J j - t 0 A A
I - r-- ~ ~
the new I moon evbulln [in) the time ap-
J I ~ 7 j I I I ~
r r T I I _I I
1 _ J J t J l - j ~
I I pol nted I sol moon I evn in the time ap at our - emn -
I I + -( _-f- i- ___ - ~middot
_ T I I I J 1 t l r 0 ~-
r I I 1 bull - I I r I I j_ I I I
r
evbulln at the time ap- poin- ted- at our feast day at
93 [ot] Ct =at II otl~ va middot
95 I I [ I l
17
J I
__ J r rJO
r---
our feast
- - I I
v_ ev 1n
0 f6 r I J l - -J I l I I I_ l J
pointed at ou~ast
1 L _ II I y _ r Cl
I r - I
feast day at our I I J
bull _) 0 [j A I _ I - t I
__- I I I
our feast
- - I I
C
evn I
- ~-
--_r r 0 ~ ~
J l I 1
our
u
day
I [ I
J _
in the ~
r I I I
poin - ted
roo -= ~5
q~
I
I r r feast dayt -oGr
- _ I
- _ I
evn I 1
I I I ~
r l l I I
~me~--I ~nted a_p_ I
J I I I I
at our fea~t day
c t ) o t h u o s [1 h) = a~ tr~J))~ribed from
altmne ~cill-ed o~~ ti
- _ _
day 1 I -I I I I
I I J r I I -J I J
in the time ap - poin-ted at
pound)- bull -J _ I j
day our I feast
- l 1 l I
~t _--tf 0 II ~ ( I
I
feast day~ ev 1 n
__ _ r I ~ r I I J
I I 1 -
day the time ap-
100 -Imiddot 6_ __ J J J I I I I J I r t _1 ) - I bull -
in the time ap- pointed at
0 _
feast day
- 0 _
r I _
bull I 1
bull jrlJ the time ap
I
~-
r T o I I I I l A _ J
a or feast day our - o---- r l - f I I I
i
1 _l 1 _ I
at our feast day
Ct VOIC~
b4
105
r r f 6J dmiddot 0 I~ j A our feast day our feast day evn I
- - ~
J I
-
l evn in the time ap- pointed at __
A 0 ~ )
y 0 J I I
poin - ted at our sol - emn
- -0 dl ~ ~- - A middotmiddotmiddotmiddot-
feast day i at our feast at L
LJ
I
- 0 - - _A
v
our feast day sol emn
l -1 I- _pound_
I -_
in the time t
ap- pointed at our feast day evn l
_ 0 1 J l ~
-- - ~ J I 1 1 - I
our feast day evn in the time ap- pointed
0 ~ _ middot- A
feast day evn
- - -d A (
at ourmiddot -f- at our ~ ~ -- 0 - ( I I
feast day evn in the time ap- poin - ted feast
I
110
J omiddot u --1 -I
lt---
in the time ap -I
poin - ted at our
0 - ---1- -I-- I
at our feast day 0middot
I - --
l
(i nJ the time ap- pointed_ at feast day
I our
l Omiddot (_) y l
I feast day
0 ap- poin - ted at o~r I
~ 7 ~bull
I v
day at our feast day in the time
115 I I -middot
I-
-- 0 bull ~ -
middotfeast day evn I in the time ap- poin ted -
I I - - 11 (7 ~ 0 -at our feast day
bull 1- t -
- A ~
I evbull n [in) the time ap-
-middot y
I
~--c CJ
feast day evn in the time pointed at
r 7- ---ap-
J ~
y -ap- pointed at our sol emn feast
iblihing Mil 414 A bullbullbullbullbull
120 -
~ y r tFU
L j _L_ y -
at our feast day at our
- - - _ (7 _ - __ -
at our feast ~ L)
a_ 1 _L r I y r1
pointed at our
feast day middotI evn UnJ th time ap -
0 1 - --I -
A middotbull -
our feast day evn r 0 0 I -- Q_
-
day our feast day feast day evn
11 - -_y 11
_V -J
- __l -
feast day at our - 1 I _L_
_Ql_ A (7 I r-i 0
daymiddot ap - poin - ted at our 0
v I y ---d I
poi n - ted at our feast day at our
____
I I - -1 v J 1
FJ Cl bO L
I I ( t-I in the time pointed at ap - our
_)_ 1 ~ ~
Ll f
_r I
in the time ap - poin -ted at our
11ishing MP 454 A bullbullbullbullbull
67
A ~ ~
Ai 0 -- C-
-feast day
I
c- _- I - -
feast day
I I --
- _ _
-- -bull
I
I
feast I
day
u -I
feast I
day
I - I
~
middot~ lt-
feast day
130 f A -J I 0 A
-7 bull - -
A - men ~
~ v j middotmiddot r I I I _ l _
A - - - - - - _ -- -- -
- j -A men
_t - - -1
0 --
I - - - - -A
I I 7
A I ~
A
i
I -I I t- 7 -t I -~
A - -
~ I I - l I
t-- 0 I A
I I
- A men I M - I
- r ~I r v t I 1 I I _t J I I T I
A - - - ~ - men
c-~ I
- -I -
mmiddoten A I I I
--- 1 I I I J
I I T J _t A - I -
men A
135 l
I I I I _I -1 I ~~I I I 1 0 -l - I I I J rj~
- _
r --- ___ A -~ - - - - -01en -
I 11 - ~ - I t _ r p
r I J I I v I l J I
- - men A - -I I - I I -p - v_
v C7 I I -- __ I
-A men A
~ J I I I
I l I J I A _ - L7 JJ J ~
~ v p
- - - - - --
I I I J y __ I T r I I
~ I I I 0 ~~ - V
men A
lblishint MP 414 A bull
I I
I --- -~
- - tf a ~ - - _ - -- - men
0 ___
- men - A _ - ~ I --- -
I - men
- i _
- -- ---men
--
~--
_
men
tblishin9 MP 414 A 7
----
l I
72 ___________ ____ Ff gure 1
I I I
middot-
i
l I I r I 1 I
I r
IH pound
FIRST BOOK E I I ofSo11ge or q_fyftlJ of iRetiiu~
rourf parn ilh TJ 1
binsr~l tb( lbullU
paru togethcror ~lther of middot dle1Jlfhur2llynliay be toils it _ l 11l~U~~~r
to dte Lutebull Orpbad~l
or Viol de gllllbo Compoftdby Robct~ ltJ~Xto
f
----
1
l
I ~
1
I I
73
Figure 2
TO THE HO middotNORABJJE Ai~O VETt T OVS GENTLEMAN SIR ROBERT SlDNEY KNlCH -c
Gouernour nder her Mai~fi~e of the tOne f VltlbitJ1
and the CaAJe of the Jldlraquotftns In the low C oumnes and of tJtjorll ojtltf411Jt AJtntLrrpuh thtJbullrr-ifonthenmiddot
In plilctdMTftU D b~ifi~jiUitt
~~~ii~5fil Our great loue and famor Honorable Syreuer rhanifellcd toal OrthyScier ces hath ltnbdened me to offer vppe t
y~ut ~ordfiups Shrnc thefe the vr I wortht~middot labours of my uulicall trau~~middot And though in refpect or their Veake nes they ln~y perhaps leenu vntin1ely
bull=-o=====~ broughtfor[hand theremiddotbre the vnlikelrshyerlo pr~fpermiddot yet doubt I rt~t butj~ renderd by you they fl1all happclbulle find gentle cherdh~ng w h tel~ n1ar be a mea ne to make them more tlronger or elfe mtfcarrytog to etcour~ge my en~ ~ deuours to beget a better for as no arts vinclf at fever errors than muficke fo none greater enimies to thcirDvoe profeffion then Mu 1cians whowhdn in their-own ~tlguaritietheycon demne euery mans ~rkes raquo as fome wate ~duty they are cbe caufe dm an istbcmiddotldfcentc~emcJ ian~ they thuitfelues feEuted as fclfc-com e1enders tnd men man fan[aLlicll Vhcrfore if chis one cen~uringinfirm itie were remoued thefe nty ayres (free l dare fay from groffe crraurs) wauldfitde euery where mort gratious entcrtainement bull Butfince euei thofe who are betlfecneirtthis art cannacvaunt themfelueJ free from fuch de tra~ours~ ~ lhe~ leffc rega ~d irbting_fo w~ accompanie Howfaeu~r tfheretn I may gatne yout Honor~goodallOwance fuaU thinke I haae attained co the better en de of my labours (vbicb with my fdfeandthebell of my Ctruite) rcfies eaer more at your Lordihips in1ploimenc
Your LorJjh1ps lmotetl in ~tO dutifiiJfirmce
aobett lonebull
----
middotmiddot
74
Figure 3
ro THpound READER
~ gtltmiddot bull bullbull bull bull bull middot~ EntlettztnJfincem1dtireu)ourtllrtsfoulde middot ~~-- ~imiddots benlindijferentiudgtrfclllnot thin41t nt
-~~i ~ ~rflary to filalt nv trautil or nu hringing -vp ~ tbull middot 01 argtttJmts to plr[Jllade you that f haue a ~Ofd
~ op11110n of 111) feft~ only tht~ much lwzl~tJte 1n~ ~ I ot ihatJmttypretttnttherifhudgnlentsoJ[uch
bull _~~~ ~ t- ) u now n1c not E11er jinre I praflftJ fe4-- middot bull ~ kng I hat~e praRifid inging lbullauin hail not
itr qualitie tobitJder mefro1nmiddot the pifefimiddotI(TIOTPfedgt o(th~]aculu I rtue ~~~n incortngtil kr tbl lParranmiddott oj Jiucts good iugmentr that my
pt~ints herein foal 11tihe eafl proct~re_gooJii~ng if riot delight ~hich Jttfor ntineownetJtitl muflueeder Jeare 111 much 111 defi~e ~efpmiddotecialy
lien I conidtr tb Nptnes ofthu induflriousagtlhtrtillaU mtn tndeshyrwurto nol~t all Ninges I ronfefo I 1as not --nTiiUing to emhract the conctitr of fuch ge1tlemen uraquorere ear til to h11 ue me AfpbullreU thtfo ~~~ tits for them ~hihthough they intendet or their pmiddot_iuate rmeation 11eUcr meaning thfJhoultcomeintothe~tght~tre 1elf(I1Jten~ )pon inshytrtiiJ ~o ma~ thtoncouragementr of tq1s ~ jrfl di~tr~tllre 1Pkere11p~ PO f lilas ~lmrfl ~~to m4~e tnJ flfaJ ftiJt~ne lJJtbtU~OTJ pr~-shymtn~ thAt if lY ctfimiddotnnrfoilttltn( ~ M_~HJI ~~H fllghl P_eakt for theme~ts ~boTPfoeiltr 1~plt4ftth tbtm middottodlaquonunl bl~tt of thest ihen oftbeft1 0 f purp_ofo ( M -ltfiOiddfiemt)tom~t4 mehJ1eut I hm do (omething 1111 onb hope i1 thai fo~ing ntither J cold AJres A nor fheir idedties ( u thgDi[ntedtl hau t cAUthtin) hAue hithn-to Jeene foc~ttd in Ut tdrtJ of rnanie thg maierh~nttlflil)dt f~Kh enshytertllinmentJ llJ conmonlit nn~e1 aoth in tht bullorJ ~thith if I J he fo
middot ~appie~(o he11re lTtiUnoefaie my next jh11H Itt ampttirr1hut I ~a promift tO tfl~middotIJfOft f4intmiddotsroJmJ lliOt fOintsof mfiampJtwbich noJJt coufJ not JohectJuft YlitJtffcllrerPu (ofttlht (Jf~mtk~Jor~ ~~~~hen muflhe-ullJe~ connntDith e11ch IIJantlll))foU cenfurtU IjhJbe giAJ of fomt mtns vndeftrueJ fouourl
-J
--
IJ
Figure 4
~~ ~ A Table of aU the Songs contained in thir7JooJc ~~~Ul
middotImiddot AWordans LookecS middot Fertd Wlnto~ youdu ~~= Sheewhorematd)Jet1ebcaury f+- ~ Qncre did I laue ~~~ L~d ~r~Atongdcfuc l Ltc dOwne poorc bean J ~ bull n Wl I _ ~ -b _nere rngrrnguare
1 - i1 Hcroatenotchougb ~ z- middot ~ Wbcnleucandumo bull ~~ Swee(te come awa t bull -a Wmiddotomenmiddotbullhataicrtbey
EarcweHdccrc louc ~ middot gt ~ ~ 0 my paorc eiu r~ ~ a If fathers knew
bull ~e i Life is a PoeampJ phablo ~~~ Sweere Pbilomdl fi ~- ~ 9 That heart 1 ~
1 VVbit ifl feckc MymiRris
middot~ M ~ Petplcxed _ 1 ~ Can lllodca pbine dctir
I
middot 11 - 1 ~ ~ middotr_ ~ r fl~ - I
l j It I I
~ ~
-I i I
lj middot J ~t ir- I
bull Ill - -middotmiddot - B
L lL m IUL v VL vu VUL IX X XL xn
xm X1Dl-xv XVI xvn
I t
I r-middot
r --- ~ I r- ~ J
I
Figure 5
--------------~- ____ __ t
lf~ flfl TJE
B 0 0 K E 0 F S 0 N G S AND AYRES
Set out to the Lute lhe bafe Violl the pr-ynt Wdl etr tbr 84ft by
tablcturc afitr lhc lctlo ~114
CftftJJ Kobert Iones bull ~middotihl~ by Pr flaquo Afbs by bullbe
~Jm ~f11HtfNI Al~rl)l J tbull6t Cold bulll bullhe Inner l(mplc
u bullr bull 1-ot
_ +- - middot tmiddot bull
~
II
Figure 6
------middot--~ middot-------
T 0 T I-1 E It l G I-I T V E R T V 0 V S A~ D V oR T II Y K ~I G H T S 1 R
H F N It Y L f 0 N i D -middotrmiddot t ~ ~ ---middot~middot 0 R T H) Sir mJ my_ Honourablc fiicnd I giue you thi~ ~~ ~~~1 bull CIJIIJl pr~u~ gtou hnng at vp bccaufc I ttm o1 ~orc mn ami t ~ middot ~ _ can nor maanrunc bull t 1t bulluy ~ulfcc muchaducrfi u~ ~~~ my nam c
middot middot your For~u~c mnc aJ~cr llJS rtJrrcs 1_nd make h1m hJppac bull f ~ I fhopghllllbtherbe ahmiddot oe l ulltec~Uhoun Orpbanrlorpm rc
mens CbddrlfJ -are Orplano borne and more to be piuiCd d~cn they liJJt hJ11c changed thcidltl cr) lor their ltuJ ~ fud1 mlc bullai(e themfduc~hl due time we h0111C oo wJ ic to l lciglncnour being bm by lbulllothcr pomiddotNcr As Gcntlcwo- mtn pecce lhcmfdbullcs with Tij es and Co ronctsto t p flC trt mor~ per fcmablc ~nd t~ll o UltJfi woaJdc VntO OUl )ulctlCS if wew11 not De (corned iardwarfcs) rhccroYlC of Acnllc pC1fons mgtre cmincnt and hi~h Our (Lnurcs ~rc nor fct aboue d3nshygcr i WCcJuJowc hdor CUCflC footetO trcadc vpOtr OUt place IS he cround there icnodnng balc-~trwsandycr dcuil~ion _m pun n lower if wee h~uenotgood ~(reds Th~ y wiH fin_J _me~nc~ lfl digg c and In v s down~ irnu the cllth ~ nd burie yenS
bcfotc ourume Th1s 1s the nufc of pttroua~ct nnd thli ts rho p(rlecutton o( ahem tlpt wouldingroffc ~11 Gloric imo the~r owne hmds But t~cdJt UJl~ o~ rhtfe mcn they bite the truhe~ thcmfdues 01ould fee de vpon Vcrtuc would llrlng fonh mmie h1idrtfl but 1hey hold them an the wombe that lhcy due not come hut As the coshyucrolls maf~~ fi~gcth aU the hind about h1m wath fi3tuus 6ncsand b~nds i1 nd othc r (uch Iike~iumiddot 1 warre (o doth the ambitious intrap the Jinle pori ion of ante commenshydations cha m~ ic fie II bcfidcdilm And like the mercalcff- Souldicn lhe Cafilcs they cmnot t~ kc they blow vp They uc a~ f(nring of cucr ie CmUlrcJun~flc of crcdifbull ~s iflt were I aide vp in oonnnon-bmke and the more were giuco a wile the IelTe would ~orne to tl1cic nbullarcs Theya1 c mafcra~lc men) _f roill onlf br~md (htm wi1h this m rk~ and let dttmgoe Thty were Eaglci tftheyd1d not rJtch Hycsas lheY ate thcy-bullro grculhings)muchldfcthcnnoamphing For my parc)l willnotcorucoa wiJhchcm ( aeiire JlO appf~u(c or commcndadons lei ch~m haue the flmc of Ecchocs and (oundf and let me be a Bird in your C~ge fin~ to Y fclfc ~nd yo-1 Tl)is is uiy coment and this is my llmbition~ if 1 haucthis Jfiile nm in mtcxpclhton il more for rour akcth~t is my ashbntagct andl will owe you duciie for it in the m~anc time lrcfL
fl 0 Jt I ll T 1 0 H R ~
A 2
10
Figure 7
f
TO THE READER
rSI~~---11~~~ E AD E R 1 btt11t atrl moruuuttiWtJ to At~ IIgtJ oujlU rtPhul~r J b411t 6o1ft WU r no td~n( tlull
--=middot ~m~laquoh ft~inen~ rltoife thrt e~tU th4t jwiUf-1 fortify j - ~ry inrtnl toJll~rJdbtt lllll JJ 1tt btctufo
z kow tlwcwot r middot41d I IU jtlllrl ftDf gr~flJ(t D
comftlirltfto Wilrrant J tnJtutJMrs lll-bullfl o~U met~ ~ J bull JqJ it 110 fJ1J1111t tJ ()~~ Vfri~btrztQt ~~~ thttiJJkJt 1 ~~
J tntlfflt IUJtl~ AUfljt my Jrlfrof~lliJtnltt yluggbullJ ~~a~ ~~~~ iby fat~olll ~ whrrtin l t~sft rt~tiJti tJ itftritk rkJt ~D11bull
II~~~~~-~~ llllldllllorlt 1 then PJ my ownt bullfi 1 to frt 9 l4hD~ifl ~Ill (o Jbulllr The llNIIb b lllthlugh l wbull nbulll fo nilt
Jllltll J rptnpofol l~rt cA7rn t~Jt J J4n1Jt~t jl11d c tbrbbull~r~ of t~rirt~~min~tion Ttt Jwould bt ~it~J( if 1t ~IJtbi) thfl~tlt J1nJI7 tpptabat~tm mtJbtgtlltll1t mcouragtmtntto foutJJm t1Jan4rfoltJumfltt JrtlltfJJJJ rlmu t4ttJ hertJttr bull Jftb( Dtt~itr aiftk dJrlmiddot 1
1ll mjiullt- th~tt lJU fo e~DlJ til flbfffll 1J_
pri~su rt~nttnrntu(JilltrJ Gnt(tmt~ith~ut tbti~tonj~IUJ lhh ( lmiddotbPfl J nor 4middot gbullmJltbdr tltls RPtrtm if t~oN ftrJJ afllltiJmg to rnrtttfllltbmiddotrlq Jefiri rblt~k m~ jtlr th] rtltre ~uwr mr~nt tiNt~ J (nmiddotow nDJ l11w 11 ttiiIbullrt~ttmt Q(lr~IJt bullMtillllb~n~l tkrt p~NJ btn~ GtJ~thmbulln ( btn H 1tJ4j ~middot1 fo mfcb pbullrnufor fo hulltMJ) tbl wbullD n ~911middot cl11~1ht c~n 4~ ItA k bull~ loiftr bi Imiddot~~~middot 1l~~JtMjrlrJIJ g_olll bullJtiK tlritil bullfhu tNnmng JifJbulltlltmtbulltJJ tblttll) bt(t11TiflfllJ ~~JUJhlllfJ nolliIYIIJ hu tiJN)t rl1tfo Jrtlo dtjilehim Cif ht-6middott nt~~zruiiPbullP bulllirbnmiddotz ii) tb41hfmaj(J 4ctrp1tbt N6inrri DnDfiiiJ Nt1111t M 11 f~cirnl Tiflsmonit th~t J ttm wat bAiflrJ oinflrt~DJ~Il Jflhtrtifl Iter 1 iraquo94fftt~r rt~hbullffibullNJ7rll ~ ~ J~fiijitJIIjon ~so~middotrbrr~fl tb~l1fDMJj~inc in formt llltil tbtY ktofMttlhm~ Jytbur gmzt411Jtjl~ ~INtrltlbltlg J IJ n1t j11 rnbullch 41 tltfirtthtm o 6elftbulltbull ltARJf11ould hfrrbl teacluhmr At lr~tp bow tbl) IJII~ bt ttmt je F r 1hl 1Jc)Dl 1 will foit 1n1J t hHJ mMch tbtrt blllh not bttnl u~tPttt of tbil fojhitm wampicblf tha jh11l1 pron~gturt to bt blWirtbmiddottb btAtHitJ rtfl fJfifjitJ) if tlbJtit~tor Pbullrewell~
Leaftanie ntan fi1ouldfeen1e to acctlfc tneoflingularitit for expref~ fing thetimeo( myfong~s by prlcke fong Neres neuer b~reto fore vfemiddotd Ihaueforhis ~euer innruction hcr~un~o indeuoored to fatiffie him
amp t r f A Scmlbrcofe Minnum~ ChrocberQampIItr
-----
~ qA~ ~- ~ 1b [G~ ir~1
~~J ~ v 1
~ ~~ c a
c ~ ~79 - =-m
IC~~
~ p _l
9t ~ ~
ll4 ~ l
-- 79
Figure 8
-
A Table of all the Songs contain~d in thitltBook
I loue wing middotd my hopes I I Jly louc bound m~ with ~ kiffe
1 I f bull 0 how my thoughts doe be~ t me II [ Ore ames ~nd I magi Oitiom V Nfcc thought thi~other night V l IVho fo is tidmiddot= 1 II fie fie V Ill e~~utic (bndc further I X Now what is loUI X loues God it a boy X I Ouerthcfebrookcs X I ( Whither 1Unnc1h my fw cct hart X II I Once did lloue X II I 1 F1ire womtn X V D~mtic d~rling
X V l My Jouc is neither yoong nor otd X VI I Loue is a b~blo X V I I I A rife XIX Did cuerman
middot XX To lighandtohefad X X I Come fa tro-w con1e
0
I l Jl
iir 01 11 -~
~~~ ~~ ~
t~ ~1
~P J
~~8 L e
( _] middot~- - ~
v lft -amp A
l -
I
~u
Figure 9
-----------------------------~
VLTMfiM fl IILE virh a triplicity ofMuficke
W HEREOF lbt firfl p~trt ir (or t~t Llltt J tbt Voyc~ and the Vbullolc Deg1mbo The Jcflt lbt Lbulltt tfH Yllt 2J IMrt
p1ne1 to fine The third part is foe twoTtcbl~t to 1fint ~it hc 10
lbtAr n- rhll 1~ bullr t-
bull bf ~ Compofed byR obull bull T lo bullbullmiddot
fl fr1fbull1JibullJ~ ~ 4111 Priorcd It london br r~ i JIIiWd
~re robcfoJd l)yS pfn (lw J bt sJ-laquo
ttfiN C01bull1 I 6 G l bull
81
Figure 10
r~IW~- ~~~middot middot~- middot ~middot bull bull
TO THE GREAT lOY AND HOPpound OF PCZ(ESB~Tuf ~Jgt rUTUfF
Times H E N R ~ E P ri nee of lf a cr Duke Cl~r41wt1 ElJieoflhc CIJjtJirfbullibulltifttfchtjltr Knight ~fthdiDIN ribkoJenf
dl G4rUr Hcyu App rant 10 tht Rcllmcs of Elrjuntl Scotbnd France and JrdoJnd
Ojl Exrelknt Prince T Jr flrengtb of our d rt (] houJ aythrrPuaf(ncsgt) cannot endure tbc force of Soueraigne
erltlCpoundOf1tcncarcitwemay tU ncarc u to you your poundarcJ TPillyet_ be arc to deale wuhfottndes tbougb nor to
dwcU there yet to pajfe by tbcm1nd by teJiJ to learn to tune Jenjcs lJ a nper a~c c-A lmo all attr k[JlPicdge ir drallme through the ftnfirtbey arc the Saulctntclligencfrf -wbcrciy (he paffith into tbc -world a11J theTPorld into bcrttnd tJntangl ali ~(than )there is none fo learned__ a1 the tare~ none hatbobtainedfa cxccllrnt tJJJ ufrtJjodelicate1[a ablrufe fo p_irituaJ thAt itCIJtChftb rup TPifde fo undet in tbe Jitt and brin~~J tk Under tJ goucrtJC1fttnt ntJt to he expreffi1gtbut donegt and done by no sQll buf it otPn~ Thereu Mufic-k in all thinretbttt ettery tnan cannotfinde i t Ot4t)
iltampAJJjeofbilo~neurri11ghee MJlft baue 4 harmo1J_J in hiinftl[e)hat hold goe-about it and then bt u in~ good way 111 be that ht~th a gwti ~artJ in d
oudfot1llardtUJ to our focultit [ onceitc u but aTPtll tundejat~ry done in tinu ~ pLsce ~~~ ex(ellezt fintencril hut a TPell lHn~e rea(vn Dell nit ltgethtr P ollte or the fubt efl therof a [omit 1on IJ1ellltbu6utll lite I tuul middot e
Song T~htr~-allr41ltl Joettgrec ana lnccte together~ith foil C011ftneanti lJartiJOnJ one Jertung otherand cuery ont rhemfeltlet in tht Jam~ lAbour ButnolP] intrudeintoJOilr llrtin whicb 411 pnry(anJ ftc hoper)thal q oJ ~iff giucyou a oJy aru profpetOI~S k_JoIIJfedge anJ t)en aJ orhtr eJ rtCS foal profPpoundrnder it Our gracious S tll7aigt7(Tour H~h11ei dear FatJcr) hath ar11trd atul conortedjomc great prOfifiolH areaJy~ fi~eh1ittleoneJ dJ this )oo e for itgtand heg il cfw OJ4 your p ri nccb nature promi[eth it J hich m4 es nv boJJnet bopefor p4r on ltJucbfiifc tne(mojl exctllcnt Pr1nce) )ourProte8ion Ph(f1flt)on41lowJall Qtbtrs rPill conrmtnd theircenfitrer n A it fobulluoflrlikjngthst ot~~rraquoJift1Pold Jifpift me bull EN en your n meJ the forefrTJntu ll charmifor ~~talttiOHl trmgtu ThAI praJtng thatyour Htghnt IIJ aDtaet h~ttte dtJ tttre t~be te alir bulllltuJijingulj1J ~tht _fo14tuJ of lTlCth l necl tftJOUr Higbnes feet
Your Highnes in all hom blc tl~~tJt AIIJ cruice
RoaampampT
lo N s
82
Figure 11
- ~ H c ldndc A pplauf~ vherevith I hau~ been~ revardcd in n1y former A yrcs hr fuch Gcndemen as can iudg~
~~~mJ Imiddotb middot Y the e bull are~ an not other 1n~ns Echo~s hath nov du s ~ middot durd t1me gmcn n1e heart fron1 then to hope for the
like in tbcfe V hich l hauc corn ofed cuen to hew n1y
graticude rovarcles them I lulO eucry Father is paniall ouer the i ue ofhis body)and hauing his iudge1nentcorrupced by Insaffecti- onis VOn[ rofpe~J e bis Chtldrens prayfesaccordingto hisovn de fires rather the i1 I he ir de f~r ts 1 t tna y bcJ h aue thuS oucrlookcd this iffue ofn~~ br3iue whereforel wiU onely comm~nd my pur_pofceto ntakc tlus lail my bdt expcchng to reade the rruchof my fdfe out of thy reporc AnJ becaufe ant notignorancenough)to b ~egroffely taxed by any of our cunningJvlaiJlers nor bigge enouamph to beflar te~ed or c n u yed 1 hope I 01a1J not be driuen toe nq utre out my en~ 1 middotes) co heare of n1y fa~cs nor to befpeake mylriendes~uour F or ho1rvloeuer l an1 fe t in an vndetfortune thac hath need ofampicndlhip y~cit n1y Vorl e~cannot 1ufiifie n1erny wordes Htalluotl bad rather dye a be g r 1tbcn Jiue a boaler what skilltimeand mycontinuall
radifehath biucnme)hcre I gladly impantocuery wel wiUert lat gr(tuntcs me buc acc~tanae for my paines And fa I comn1it my icfe to thy cenfuse1 F arevcJI middot
7ohertloner
( middot
83
Figure 12
A TABLE CONT AI-ning all the Songs in rhis
BooK E
1 ooenotO do not prize thy be11utie 2 middot 73ea utic fote bathing h y a j pri ng ~ CjoctobedfrJJcct6lvluzcgttak thyrcjl 4Shalil loaktampoenogriifc 5 ~Pbar1jJ fpcd1t1hert 1 leafl cxpeEled 6 Slpeetcijyoulik and lotte 1ne fliJ 7 SetifetrothledrhoughtJtofgh 8 Scinrhia~cene ojSeas and Lands 9 rB la111enot tn) chee 1 I l o There is a qardci1 in hc1 forc 11 S1reete Loue my oney Trcafr4re u ~hinkft thou 1_ate to put me doUJne I) Jfhen willtltfounraineojmy tea res bedrye J+ F lye ji-o11J tbe TParld 11 Happy he botofrraquo etebomc retirdc
-Thcfc following are for z Tr~blcs
l61Jiftlaine thntjoll amph Jilfne 7 middot o) et)erchangeandjjttre not
I8SirctiuftJijJAineh 1~to ri t
19 cuftler ry hands lo vh ue lgrt~ceintreatetl ~o Oft haut fmJe the cartfe to ftn e ll J(o hAuefleamd-mithmuch4doot~tfpjl
B
84
Figure 13
ORTHE FOVRTHBOOmiddotICEOF A Y R E s
The Firlt partisfor tbe Lute poundVO Voyce s and the Viole de G ambo The Second part it for tbe ~amptte ebe Viole and joure V oices to Sing The 7 bird paramp
is for one Voycealon~ ono ~he Lumiddote the llafTe Violeot to bach if you pleaf~ VYIrrtoj~ tAlo ut ltzlitn AJrtt middot
CompufcJ by R o bull l ~ T 1 a bull s
2f trfont (intIJ J1fJJmiddotil4 iMMJifl
L o P n w lrnplintedbyloHN WI~ D T andaretobcColdcbv StCO-rt w TElSO lol inPowlcs
ChMhmiddot]tlfd)bulltlhl SlJt j lit Cfll~middot l o 9bull gt
-----
I
--- 85
Figure 14
1
- ~~
TOTHERIGHT YV 0 RmiddotS HIP F V L L AN D VV 0 R--
thy Gcndcn1nn Sir I o H N ~ E v r N T u o u r pound Knigbc pcrptlll3ll liafpinrffe and [or~tcrlt
~~)1-lpound--- -- fmiddotts not vnkncvne =nco your wcl deft ruing fdfe 0 R igh~ V Vorfhipfull that not long fince 1 cooke n-1y
V~tiltttm )a[t vith a refoluing in my ldft lHter co
put llfh aoy VOdc~sof che f1mC Natllre and Fan ion VJlereupon) betooke n1e co the eafe of n1y PJIIov
middot where SompUI -auing taken poffehionofmyeyesand u 1orphttlf the charge of my feofes it happenrd
~~~~Mmiddot~~~bull rnee to fall into aM uftcal dreame wherein Jbulldl middot nc~d - to haue many opinions and extrauagant hun1ors Lf
di uers Natures and Condttionsfome of rnodet mt rth fame of a marc llS Louc ~nd orne of mofi diuine contemplacion all (hefe I hope 1 fl1all not gue any dtilafie to the eareror d nde to the mind eyther in their words or in their r~~ ueraUfoundsalchough it is not nec~ffarie co relate or diuulge all Drean1es or PhanrafiesthatOpinioo hegcrsin lleepcor happeneth to the n1indes apparbull[i onAnd continuing long in chis my dreaming humber I btgan to avake anJ vp n my eyes v ndofin~ l bethought n1 y fclte being full a Vak~d aJu itlng n my n1ind Vhom~ to dec1 and chute as a Patrone for the lan1~ l Vas eafily in -ued to n11J~e choice of yqur V orO~ip a3 one to V hom~ I necelfarily ou ht
both lou~ and duety l nJ howfocuer l m1ght feare that you Vil not adamp0
ledge it yec in thlt Nature ha th inricheJ you Yith more chen ord1nlrie know le oe in th ~ Art~ be~inga Vi ntsofthat Lo~t~ Vbich you haue ahvaycsl ffor
ded to Mufick gtI en1boldened my fel fe the rather ro pre(ent it vntu ycu Accept itthen(good Sir) as a T oken of vnfained Loueand a e be
worthily Jue ynto middotyou for your many fauours done to him [hat is
uft)middotour lforhiju conJmaund
----
86
figure 15
Thi~ Greetin ~middot bullbull
~~~~ HoulPhofo dare itcbeJ ltJith the VJrietie of opinion h~aring thinr oraquome otlJdtJf tJc ecchqc nuerbcrtJ~ ing otfJeTJ fubflt~nCC and lmprofit4hfr ~n it
middot jtlfefhclpt s to tbe IVorld comfJrtaJie liJc though to thy orvne ~Je bttle middot~~~~pleajurcLJ retjon of)lnch-umiddotirbl~ctn[ure I fpc zlte tot bee m ujirall Mo tuusthotljimiddotcm ruboft Jucctie IUimhcrr ~1 J rajiy pafeJJ drop1 foil in tbc jhonre Dt4l
)ithlrjfiprofiufcomprutmiddotthcetothqhlt nuy Jr4l tbatjlitr int0 11UJUCJCf and ltJill twt tbcncertJithout much troubli) or tbuu rn t JJ Jfper[el iulgemeiltgt not oneamp art afo jeniru tofecing kJonde~~c hut moj fo ttlty f ct o d jcruing i~Jdamptflr]fL~~gtg 1110zte r ctU of the 111oilpurt Bilfoaud Jmoothiu~ tbt~ plztncl Citttl ~ rvben on ely thine on~ne opt 11iltJ1J it more nJrinc~lcd and more vitiotH mit ~( then grcjJcr10Yle lo tbJt 11 a brujh 111
jcFlcdlPilhfithgttbott ralbcrjomiddotlcfl theti iiMI( pebullje( 41VWl) I ha~1e jlooJ atthi11c e lho1PJ andh~arJ tbcl prop~Jtne cur a 1 dlfit c1 bcfl J(ryu and 1tJith thy lntu~zde ref 1b Jot f~rde~J rfl gnoh iy l4J1l ltJJilre~ ~nil f f~ renot g~eaty_tJat tboul~iltlay to raquo1J ciJatg t 1 111 lD vtfu111C )Oll11 ~Cttrrag1tRf 6ecaufe fft011tied a r ~nuch but 1md~rflauJ me tbou-ns ~VIitll dojcanterdtriur Ji o 11 tba t JCrue fPlaineSong charit4bletJtlm hers)and tbotl (hale fnd harb Joicr I ttr~ ojtrtl t1 J0te ahoue pound redr1c el hJ tn~er
izulgtment n bicb 1 htrc4Uc tht of tJmiddotorPinrl by RJtler are as orr nelll cmne Lutf be~ -_ ing ofrJany ftri~I(CfIJOt((ffamp tJjJJlmlcflr ~~~ ~dllefittlreti1 praf1i(tput fon~4rd it1to
dcjerurng Dst4ijtaiJ rr hH nIJ aduerJI ure I r nomiddot rtccd but drtanze) and utJat art tlrcamei poundut aiJie fCtjcfi iotJgtandjcttrall ayrc s 6reathll)~ Jarmonio111 llilijperitJgt tbongh to thee difcordlmiddotet toolbcrs indffirent 1rvill not ttY cxcellel~(~ becHfe it is 4J
othen otflce 110ttni1u 6ru let tbcm6~ as thtY arto~lmiddotcn propuu tul my p~inct _(rt forth j ar pleafurcgt uot for pw1HJIc~l poJou Jiucfl itntrginatioiJIJO but aJ a fhorPrcjt~llitiJ i1 ~urcdfuil ft~fouJ~ 7 jJtUr m fmiddotlje atlrajlaJJd wrl(ay fo et4er bY au otbmiddotrj lPhofe IJ bourfhJI vfJ(t Alujt~udl uuulu~ztt -~ Jbe rmeiy rPiug fJ IrJe courage being tl1e mofl pltttfo~~ 1luice ~(11~ 1) nmiddothotjnmiddoteet~rc J t t11chcr h 1m to hcaiHIJ itfelf~ Jt ir Jjara if a thi r pztt1cs rcpt ntgood romm~ndJti~Jniand it lf t~ttr Ulrtlll out of 11 Flint itJ the toll ith l hou ntHer rl ink (I u ell of di1J 1 Jn ~rlJ bull(rt in tb) fjto v nri(Jifi1 encr aJ l lJ Tt~tor jranJ tbr I ~ Jllol middotrc fotdtlneuct Jnn rbcc 1~1~ it~ irune be 4J thott art a h1mp of Jc(onnity lllbm I Jjhonbrcldt i11 tbe Ufvdr ampi diAI~ir~e nd 6rontht forth b1 b~n~iulr l1emiddot g~r ~ t htftt r1 11idn fc to ~til t i nc m n rt f
j i umiddotme lc u todrplrt Jmiddotor ifnd J1Ntbout it J $111 gonec rtltfic o~ til)middot crnfitrillifi arf jJ~IIy p( ~(n 1dcd thuu ca1Jjl110t thiole tlrlnd tcrefurc art crufl tiJ thy [raJie 11 IHr pound0 1e btu (rttclltJntl being 6on1c wit b rce tb irJ tly bc11dbit eucryeuronJC D47111ele t jJ tbir orwbat rijeboncfl iudujlry~nxcr th) ~111 egosip trJo
fucwdl1f thou wilt in ~in~llclfeot hoi~ tlly fClfltfitgtm1inthcr cupmg
87
Figure 16
lee Caldi fopitmiddoti Samor nfltJ c t~t du119Uc
B
lO
l~
------
88
Figure 17
Or [he tift Bookeof Ayres onelyfor rhe Lure che Bafc vyoll J and the Voyce
[ompofedb) RoBs R T IoN E s
QEe profontjingula mdta ibullmant __ _ ___________________ __ middot~-middot -middot middot--- -
L 0 N DC
rrintcd hy tlbullc Afigur~ ol ~~
Jij0ilfm lJdr ley t 6 1 o
I 89
I Figure 18
TO THE TRVE HONOVRABLE AND ESTEEM ED VVOR THIE THE
1 f q H T If 0 7 S H I P F V L L r If E LAVY vv R 0 T ll
~~~~~~On Honoured Lady my ddcfl anJ firft iiTuc hautngthr(ud fo ~middotdl vnder the protec1ion of your Right Honourable Facher blame not this my yonshygell and h1tl Babe if it dcfiroul1y fecke ampnctit~ric
~ with your fdfe as being a mopound1 vonhy branch frotn fo Noble and renov1ned a flocke It is here uarie tc I
a - your whole houfc noton ly to be trudy Honoura7 bl~ i o your feluesh ut to be the fa u ou rers and fu rd1ercrs of all hone 0 and crtuous end~uourpound in others And [hJt n1akes n1e fo farr~ daringas ro prefunle to offer rhis o~dicadon to your fJire acceptlOCP- AnJ hovfoe uermy defeCts therein may happily (or rather v1happtl y) be n1any ~t an1 I moficonfiJent(and tl1atgrow~s fion1 tbe worthinefleofyourowne nature) that your 1-Ionourable minde middotviii he plea fed (fince it cg s c fc lfc moll humbly in your annes) to giue it villin~ eqtcnain~ment and to countenance it Vith the fairc Liuca ie of your nobl~ Name It may bee flighted in ref peel of its ovne valev bur your f1uourable acceptance
wil~ bot~ grace it andmy fdfe a~ a poore Table hung vp euen tn Pnnces G lJoncs ndt for lhe VVoo ~hut for the Ptdurc
And fo (Noble ~ad y) not d~ring to bee ir~Ious of your rlonourable entercaine
menc I rcll
-I our LaJyjhip Jellcted in all dutit
I
RonERT I o Npounds
-----
~
90
Figure 19
~ )~To the friendly Cenfurcrs
- Eart jriend1 for fi I ~sJIyou ~(you pltbulltJ(e to acctpt my 7ood lllttJning i prefented yot l~fl rraquouh a Vreame i1j
middot wbich 1 doubt not ttt Ottr jJJta(ies htJue receuud fame rcafota6e contentment and now f JO~t pleaje to lee 1l9afd ortt of that VreiJJne f jhaU for your rerre JIJOIJ 1nd rcfi pound(bing guide you to tbe_1v( v s ~ s G A u ~
~=-o~-o~~ o EN Pberrytu (halljindj~cbVttrittiemiddot of Jelighn tiJt quc-ihunltfeJmiddoton n ill wilitt~Jjcnd fome time in the vien
t rrtof 1 n )Ot~r 1jentr411Ce into -which Cjardtmiddotn) yotl jhJIJ mtett ~ith Lout 1 CJr r and li6tl6ht bHt L4Jur frt foortb at lt~rge i11 biJ colourrby JFay ofdecypht t in6 bim in hit 11 ~1turt_~ ln the midfl ofzt yat4 fbaU find Lcmt rciefleJ) vpon t~rLnfu~cie 1nd b1rd mtajuteoj-ingrt~titude T ruching them that ar~lourrt gtI cr1 tumiddot tl1em to tltiro1~ne Ctl~(ure in Lout I defcripttou eJrul nowfor tht end it tf )liJn~ble UJ anorbcr ~ tur)for tbedcligbt oftht ettrf tnjamptUJjit opbull~1io1 14111
nM ft lrogant loco 1mf1Jd mi1te onme gitt neither yet fo Jegtnerate IU to be-g )Uto tdl(rartvn fftbejt d hgbtroFloftl(rt) or)4r(tico[PruittY ruaymJ
)1 ~1~Yt J -t rle _rjtng WJOffr_(ut i 1 jla1 bl gitJd Othel TPije J raquoiiJ )O)) nelIICr to J~middot t_fot~gtPluu orgraft and my ittbourJ butcrflrtb jh111l rtaft to trou61e)middot~ott
iJ Jt41)middotilln retlr lniflil r ~-tren ot will f1etunty ourctnforesl and dcfi~ your malice if you drJfe iht 1 a111 rifolute 1
ijyou11[e me r~ith rtjfe(l 1 bidJou mojl bearti_v
R I
--I
91
Figure 20
THE ry A11 L E
~Ouelouc=
middot~ tpound1 Soft Cupid fofi middot~ Alec 1 the fiUy 6th begu1c 1middotmiddote lounuhtcs ~~noake o =okin~ hy ti~( Riocr ride 1 n nnot (n 1fc but liuc 1 (mile loy in lhy Imiddotmiddot ( S
How rn~uy New yccrcs luuc grow ~n nldc There vvas lt~~ ll lcptCoJrd bull hn d~d litH The Sea h~h 1nany tbo~L~nd llnd Omiddotlmiddote dimiddotJ tnt thoHgh 5-both cLbc bullnd Sow l ~m b t~rrt ftom piuyh g th rc h 1 2] lately in a d1 came There wu 2 wil y a ddt My f~thtt fampinc would hluc me uke Mv loue harh hcr trot L ue bctro11d All roy fenC~e thy tweeuncfl~ g2incd T middot t~ CC de1fe A fpc wnh dyna voice Ddwld her I d ct like wire~ ofemn Gold 1lhouwb d1lt 1iogs ufmy ddirc h( dipt _l~ht 1 rcdccun cnln cu on witu mtnc ryet
middot
92
I Figure 21
Robert Iones bull XIX CANTVS
-~----- middot_ - ---------~- htl_ _+--=--= =- middot __ - -middot ---=---- - middot- --- -==== ramp-1==+~- - middot -~------- middot-- ---- ---___-
kt her goc
rtmiddot-w
bull And 0019 lbc rwofa dit but hu Nzyny)l moRneoctdlyou An yri I will ltis fo ( 1
A5 tlaquobelt tahha ~hen loucn IIKGC
5trt ~oma~oo tk ~ ~ Tatdl you mateilis necdldft~ I nnnt md c u hew by middotthe 1ooe And tbcnlQll chis wu ooJ~
93
Figure 22 ------~--- ---
bullsAtlV
llil 11 ~ middotl llh1J 11111 lllll t ~ I l ~ ~ I II II II I ttJ S amp I a HIH lf lll It g I J ~ I L~ Ill~ lt lll
vi i i II t middot1 ~ ~ I I II I ll
r
I l I I
l I bull
l 0 middot bl
1J 1 bull i ] _ Q
middot a middotmiddott kl U I I I I
_____~_=~=-~JIlW~ wrong bdccue htr not it wu not fo I dJd but lilfc her I did b~ Lilfc bcr aac~
-__1---------- -middot- ------middotjmiddot------ ------------- - --- -~-- middotbull - ___~__-- ~
~ ~__ - ~--- middot --~--~
----- -------------middot--------------------===-================-=-=~--middot---------
4
Figure 23
Rob~ rt lonts Xlr CANTVS
~ F 1 r ~ l ~ - ~ ~ - P r lt1 J c r bull ~ ~ r t r- r n t b c- - c
- middot (~-middot~ ~ ( - ~)7-47-~- ~ ~ amp --_-_ ---_- ~sectC-~---_---~- -(--~- --~-- -- -~ -_- - _ E - -- middot- --- --~ -L-~L-middot = middot ( -- --~middot-- f -=---~~ -77-_-C_ - t _ c ( t2 - -= ---~---- -- middot-----------
middot~ middot
n_ tt=l= -iIt~_plusmnt_~~poundltr=t=~~~=middotumiddot==---= -_ ~t=-==t=-=xtptl--~=t---=-t-x~-E~=-------
go there be many mo I fcltC nor why then let her goe 1 care DO[
---middot-------
l
Far--cwt UfJrewdllincc d1ls 1 finde it llllt 1 will not fpCod more nme in wooing you
nul I iH cce d w htre lfl mivfindhctthcrc S1=-ll l bid hct goc Vh1~ and rll Jocf
Sh~lbid her go and fparc not tll oo oo no I date noc
J Ten Lhoufand imes f1rcwcll yet fl2y I hilt Swca kilfe me onceJ t t ltdfcs limcbcguic 1
l h~ue no pow ~r lo mouc
How oow 1lt2m 1 io laue W ilr d10u nec middotbe gone Go then all is one
Viit thou need be goncoh hi~ thee Nay 01y ~nd doc no lnoampe dcwcmec
Once moce flrewcll t ~lorn rodcrrwrct Bids oamp adcw to her due holdcs Ill bm
But fcdh~ r mnR kgtof~
7hy loucwbi h ldid chufc Go rhy waies for 111t_ smiddotncc irmay nOt k
Gothywaiesfor mehucwhithcr Go oh burwhcrcl may come lhitber
r Wh~cCh~D I doe~ my laue is novvdqnr d Shccinsramiddot~ -a -c iscrucUhart d
Shcc would nor be intrc-attd Wirh pnicrs oft ~~ -J neccomc no more Shall I die ther(forc
H tb~e come no mor what c~rc II Faithlctbcr go or c-owe oa
(
95
Figure 24
---middot -- _____-- ~ -- ~
I
- --__ -----~ -------__- ~-~~ _ _ ____ ___-__ -
- middot --~~--~ ______ ------------111middotmiddot-middot ~-_--------middot ----middot---___- ___ __ _______ _ ____ ~------~--~-- ~__~___ __ _
------ -~ _~-----~- -~-middot----------------
96
Figure 25
204 SONG
CoMIOS-U uv middotnoLn nT Jor-o Js
~ - I middot middotluoted by ShakbullHiU~are - ~~~~ homiddotm tht 1 Hnukpul1lliOI
middot~ h-51 Jggff==r middot r~ Fate- ~ wtdl (l~arl loe since thou wilt needs he gem~
-=-t middot g-one
luC 111inn~ thnn wile IHls lu ()UC
J J loftgt since thou rilt nteds middot lumiddot
1 Jp4 J =-amp=imiddot------middot -r~--t-11---+-middot r=~-r=----middotJ__tJJ middot Jnine ttcs tloe tth~w my life i almost done
--
fl-=t~ -
IPg I WlH y middot t
~fLSI==r=f=lplusmna min~ eie doe _ 11hew
r nbully middot lite middot is almost douc yetmiddot J wilt
rplusmnHmiddot ~ ~ff my lilc iJ ycmiddott I will
Imiddot r--d E4 m y life ia almost yet 1 will
( -~
~__~middot--==--==t~- ~~plusmn 1
ne Vtr die HO lni1J t I ran tpit 1lumiddotnmiddot l)l- trHlll)
~- Jl==q=T-=_==~-middot- ~T~ - 11~~----e= - =r=-=ct ~middot - r--==EF~----=I-~-===+=FL0 - middotFJ==Z=c~~middotmiddotmiddot- - -
n-=- wer dit~ lon~ as I taU 51lio tlu-nmiddot ltl ny nm
~MIEF F i t~sect E tr l I c=middotreg~-~~~~-D bull v~r dit bulln oug a~ CiR hllie thn c 1-tmiddot uuuy inu
a~ t==t~~ r _ q~~~-=-~ ~= lllt - tr tlic ~ ~0 long lUI I I can illh t1wr htmiddot Utmy UIU
97
Figure 26
LO)
J t W=- --~4-~ middot thoughtlmt 5heeclre gomiddot -there he rnan u1u I If~ -1110
I I b P c ~ -B - j- -k=tJ4--t==fi=4D_ I ~middotrt thouKb that Hbec llo e Jeo fhuc be nuny mo not
not 1 _why tlnm let laer gne 1
Eamp--e - ~ - 1 r
1
uot ~middotby th~n let her gne I
1 F~nbullwell fflttbullwl1 sintmiddot tlll i I rt11ltltt li truemiddot I will 110t 11p~ml rn~bulln~ time iu wouing- )Oil~
Unt I lt~ ill fttbull(bullk tmiddotl~ wlwnbull If I m~y fhnt l1r hlaquo~tt
Shall 1 hid hlr gnf hat litnl if I de~
Sha)) 1 bid lwr gne and middotpar~
0 no no tut no 1 dare nut not
l i
Ten thnmbulland bullimt-11 lart-wllII)Lbullt 11taymiddot Jwh ile Swevt kisse me onctlfmiddotWNt kis~d t ime b(J~middotuile
l hamiddote uo flPWer to mmmiddottbull lluw uow arn I iu I on Vilt tbon n~tgtd8 be gonemiddot
Go then) all i~ onbull Wilt thnn umiddotN)~ btgt gontbulloh hie the4l Ny ~tay oUHt lintbull 11U lnonbull thmiddotuhbull lll~middotmiddotmiddot
J L IJ_ -
0
cnr-r lOt
-~ 1-e lg
care not J
JJi I 11laquo1 ) ~ar-e not -
0 IIi
ca re nut
4- middot bull ~ Onc-e more fu~wbullmiddotll~ l 5ee )Qth to dlaquo part j middot
1
llid R ull bulldew ifl lwr that l1ohtfbullbull my b umiddoth Butmiddot ~~ting I nnut )O()In~
_Thy love whkh I did chuite
Go thy wRie Jbr me _ Shlfe itnu1y not he ~ middot
(4) Uy WHit~ for me~ lu1t whithfr~ bull 0 J - f
Go oh hut wlu~re 1 mRy come th~~lur
f bull bull lmiddot I It tihaH I doer my lo~ it now middot-middot~middotpart~middotd ~ Sheto is ttll fnirr asmiddot6hee ls cruel1 harted
Slu~middot would nnt h~ intr~ated
With pra irra oft repeated ~ _ ~ If slw~ f()rne nq more middot middot ~ ~
Shnll I middot11~ thtoreforf I
lrsh6e come no mor~ batwh9t cbullr middote I~~ -1 FHifh)rt htr gnor lomfor tarry
98
Figure 27
CANT VS vI I I rCDERT loNE~
== ttf=y-=-t-===~=~~plusmni+==---=middoti--=rr~ -t=-r~==t-=t= W sect~~= - =i middot =clt=cL =~-t=- -middotr ----=i_ --~ ~-- - -middot-- middot-- --middot--- ----middot-----l- --middot----middot- ---middot middot--- -middotmiddotmiddot-
Clut no I phinrly Cu how chou wouldftbinclc~ucauurc l ~a~ t c11rll not to gofatbullu a
1 r 1 l 1 l r l lmiddot r ~ r i r --- ~---n_plusmn ______ ~ ---J middot- ~ s L -d--r--gtlt---- J LL---- J ___ c_ -------j- ~-n1l ~1~( _ _ il_il_ t_ ~----nt_L- -----_[c______ -+~~ 1--L- p ___ -L- -~--Lpound ____ _ ~-____ j__ __ + ------ l -middot~-- ~~- l --1 __ j_ ______ (__ l ~10_ -~---- -- i - -- - - middot - middot -- - ----- - ___ _ I _ __ --middot ~-~ ----- - 4l_ __ ampJLt __ --------~----P-1---~middot 3 __ c__l_J _ _r__-ltJ ___ _ _ _____ L ------
- n
--~- -~--+--middot-1--~ 1 middotmiddot---middot--middot~---- middotmiddotmiddot- -----~~-middott- =--~--- ~~ - middot~---iL-i- -~-- -- -t- r middot-~- middot -l middotjmiddot -bullmiddot I- middot -t ~--~---- -t-~~-tmiddotmiddotH- - middot -----t-~T middot ---- -l -- ~ middot-07- middot- -middot-middot bull ~-Lmiddot- J bull---- ~--- middot-t- - -- - --f -middot-- - -fi-l-L- -+- --[middotmiddot -middot-~ middot--middot--middot--1 --middot-- - -- - bull - -f- ~- --I=_ --middotmiddot---- _I __ __ _ --~- middot- _ _ - _ ______ __L _-t _ middot~_- --_middot--r~ -~~~ Q-- -
fuct 1 wlscnrfiO Jic fi~ nofwtctt lhy amp 1 w 11i leU thee why noafuc 1 wu ace urn JJol bullto goc oat bull
t f t 1 ~ lmiddot t r 1 1 t i ----middot-l~a--__ _ __ St_tLi-3---- --~(~ l-~---1~-d- a aL _ __ _ ______ Jtl a_JAi~-11---~-middot(_---+7Jk~-- - [ A--- -----__ lgt __ ~-1 ----lmiddot l _ ____ i-----middotmiddot-----~--L-----6~ - -
S-( _ 1-h_kJ--middot ----middot ~- L-----Llt-S-L----L__L ------- _______ J_ ______ ---Aplusmn- ---__ _1 ____ -middot---bull ~ ---~-~---1 ~-----L---- 3- ~_t_~- - ____ [ _ __ ~-~- -A - --J
----middot-1---r--t---------t-t-middot-----1---middot ------11-I-t=-~ middot ----L-- - -middot -plusmn --- r-middot-~--- ------middot middot --~middot--- 1--~-middot _-middot- --- ~---------===middot ~-middot-b-1_ --middot- - --- - ----- -~---f- ---fmiddot~-- L- bull - ----- --- middot--- -1-- - ----- --~middot-------~- ---- -1middot-middot1middot-middot--t- --J- -middot- -- - -middot--middot----~-----shy--- middot----~-~ ---- - --middot------------- --~ -~middot ------~- ----------middot
firnrurc I wu l lturfi 0 fie fie oegt rwct lll) uu J will tell thee why no
t I t l t lmiddot~ 1 l -L--~- - - middot-tmiddot J _______ ncU ~A ---S-A-------tl- -11- middot~-- - - --------middotbull-- middotbull----t_ _ _~_ 1 ---middot-~ - ll -o-A--AJl ___ ------middot- t------k- Jt-- -~~ ~--middot- - - - -- -middot- -r~-~ 4- ------llmiddot - middot -
-_~------ _ --~-~---t- -~-----J-- -- A- ------~ _ ----- - bull 1 --middot- -L--middot -- ------------ ~- - c --~--------~----- --------middot ---______ z_j_ _______ __ ___~~ ~-L-------a-e middot- ----middot --
J Oncr m()tdrewdllincc fiJI l 1ord lh_ lpcak
1 uJ bull 1rl bu1 (mlIJrcwcll ubull larHIWout lbullrcalt( Bbull middott bullbullo middot ltn( 1 Joe linJ 1hy loumiddot~ 1lltkt 1he -middotioampl
Wl11 1 l olo-u I Tl llcl-1 cro die
Whlll foolc- lnll u aor Y t fq 1 at l (oulc J ~~lfc nor
)
Wocnne ai~Gc h) diJ lllt[ b_im soc~ 1 hdc be the ~middotutccs of uilc fiym nbull
Now tbu hec o dfproucluchow uullhc cuct loucroe Nay bu t n he gCncbull
lhcn I am bullndunc Nay lnn i1l1c ~oneO hodliD
fl(c-uy hing lU ~CCVD oJcihua
vi gt VI V)
lt a
99
Figure 28
1 tn 1 I I I II
ll 1 I l middotI I I ll l l l tl I I i Imiddot i I i II I 1111 ll I l n I It i i Ill l I d l t I I I ~
f Hif tt I I ~~ I if t
1+1 ~ a j
thll
ALl V S
I Tl Ill i II L I I I II I I
II II I I rL ll1 I t I I
l i I I I I I I I
Iii 1middot I t
IHL IIIli
I I II 1 II l I II 111 I I I I I bull I I I I I
I bull I I ll 1 I I J
L t I llmiddot II ~ I ~ middott
I I ~~ ~ 1
I 1 t I 1
111
t 1middot II I bull
I tJ It I q I I
~~ I I I I
r
I z-1 __ 1 __ =t=-~-----1- - middot -~--~- ~ -f=middot -t=--~--~- middot~-- -===-middot~~-1 N~tsect t-~--_ _ c ~middot _--- __ _ ~-- c -=-b-- _ ~ ~ =-=-=--Xl =plusmn=
- b--- ~--_ __ -- -----middot-middot --middot--- - ~ ___ - ------------~-
nl rJ iiOr-T 1 -
ArCwtll fond )OUt h iflhcu hbulldR llOt bccnc blinCl aut cf Dline emiddotcbull thcu mi~tu n ll)Ut read my mintl ~~ J411
t==+=i =middot -=+-middot---poundmiddot _Emiddot -~ i=j ~ -ti~- -Qt=~ middot=i==- -tl-~- --~ - -~shy~t ~-i ~----+=middot = --~~ - -= bull ~ _ +=a~C -c + -~-=-middot ~ ------ -----~ --- --- --middot -~ - ----------laquo= ---- --~- middot-~ middot--
but now I plaincly fcc how thou wouldll fainc luuc mc(orc lPII~S Uturflnot hJ I)OCIC firtlft~re lu atcurflO hamp
-=t~-----------r+--tmiddot --1-1-l middot 1middotmiddot-r~--- -- middot middotmiddot- --- ~------ - )middot~-----~----- at-middot_t-~--1= 11_ ~tc=l=~ Ei middotmiddot-r- --tI +middotl =0Etmiddot plusmn middot i irlttmiddot ~ - ~-~ middot ~ --plusmnt-~ - - ----middotmiddot-middot---middot--- -middot- -middot _[ - ---- middot- middot---J -- - 1--l-- - -- - - - - -- -~---middot------middot--- - ----middot-- ---- middot---middot---middot+middot--- -~-r-4- -- --middotmiddot fic6cao fwect Aay ~nd I will cell thee why t~ofurc I w~~ accudl not JO goc at firfll(urc 1 wu accudl ~0 fie no f wcct
100
Figure 29
I
CANTVS
lt ll-rllt 1r1t 1 lmiddottl 1 1 - t4---6 A-A~ d~Apound~-fi------ ~ middot ---~
bullmiddot te_- ~I i~~I~- ___ --=~rmiddot --t=Z=j- = --Lt-- -- - middot--- --middotmiddot -- -----middot - - A-- middot - -- _ _~__ __ J ___ _ J_ - - --- - -----~ n a- L r amp_-4--- - -A I - -
~ - - -bull -middot_[- _ - - - - middot - -middotmiddot - - - lt- ~ Ll bull middot- -- ---_ middot- --- ---l~-middotmiddot -~ middot -~gmiddotr ~iiftmiddot- middot--~11--j~-middot _t~middot ~-- plusmn~~ - _-- -- ~- _ J middotmiddot~ - middot J J -- - J~ ~ - bull - ~ -- - ----= ----middot~ --- ------middot -------- J __ ___ --f ___ ~ -~----- -----middot bull middot- - - middot--middot- -bull- middot --- -- middotmiddotbull--- -1-- - middot- - -- I - bull bull --~-
I
bull A Mble d~middot ~fc wH ~ obin Jhlod - V(c l ~t be cbullJultl J ccc 1uc Jumj
yet r- ~r r middot~middotin hh br ltlt H lmiddotllOJ
C u iJ~~I hbulll hrlll bcruuc h middotlll to gr u rn ductelbulltl-hidkn wJltr ~kinmiddot
then lnauty doft lylo~l~ddn womcnt C )CI
Htf i lly jobJh
4
J An Our-b lr as 1his Rollin I lood
H1i l-1fc free and vnruly Yu [O fitc M~bullri~n boull d h~nood
Atul louu debt payed hu duel y Who111 cur be of Ctnc lmllaiyen could nor hold ia
Louc t~ri th obe)middottd~s mJ a winLt could wiltnc Heyiolly Roh
NoW~ w(nd wt l1olll r ilou1 Robi ro HooJ Lc~uc wuhc woodl bchsnd vt
_our fl ho n1 muU nor be w~lhfiood but ~~nr whelt u fi lld ll
1 h t Ill hclIbull11J h)WUC 1 bullud fo ltltd h( I otm( w r icentW~HJdbull 1 1ootlollnwcd r
lhr ullzllt~~J
v~
gt Vl V)
lt
Jlftl
litH ~~rm ~ middot II
I Imiddot~
I
II tt-1 )~
101
Figure 30
I
102
Figure 31
CANTVS bull III
W=tRW=~~~~==--=-------=--=--=--== 0 lollc is but 3 bhu~1-fwtetmiddott I en r r middot r r
~tP ltm~~-~t----~-
Mu1enorvpon hCI fmili ng lookcs Thinke thtr they ~re bttt baitcd hooka
Audu fncy Loudufranzy~
middot e( not J toy Then breed chtc foch annoy1
bur kaue to coke vpponfuch fond booka
)
L(Jtnt ro fotgct fu ch idle royn Finer for youtbcs md youd1full boya
L~ o~ one fwccte frnilc Thy rrue loue igtegllile ~flOibulltiownc
r c-ur uft theedowne- Jlopund jllmiddot to bed iathcf~ioy~
I
bull
103
Figure 32
BASSVS
---------middot--- ----- ------- ---- -- ---------- ---- -~ ------------- - ----------- _ ___ - ~ _____-------~~~------------ - ----- - - ---
- -- -- --~-- - ___ __
CJ
I
-70-
If other sacred music by Robert Jones exists 1 it has not
come to light The Reformation did much to improve English
Church music However the combined effects of Civil war
supremacy of Puritanism suppressed church services disbanded
choirs and the destruction of organs and libraries by the B
soldiers of the Commonwealth resulted in irretrievable loss
The hatred of the Puritans for the English Church and its music
was so strong they seemed to consider it their duty to root out 9
and destroy every office-book they could find lmiddotluch music has
also been lost because of errors and omissions on the part of
scribes the use of old manuscripts as waste paper and in the
binding of new books and in the practice of sending manuscripts 10
to continental bookbinders The fact that any sacred rausic by
Jones exists may possibly be attributed to its inclusion in two
sources meant for secular use
What happened to Robert Jones after the theatre difficulties
remains a mystery Loss of records because of fire or
carelessness only allows speculation in this area Since the
English style of string playing was in fashion in Germany France
8 ~Talker p 56
9 F~ Landon Hunphries The Evolution of Church Music (New
York J J Little and company 1896) p 94~
10 William Joseph King The English Anthem from the Early
Tu ~or Period t roug_ the Restor_fltj gn Era diss Boston University Graduate ~chool 1962 vol I and II (Ann Arbor university Microfilms International 1982) p 12
-71-
and Italy he may have returned to the continent It is equally
possible that he died in any of the plagues which forced the
theatres in London to close so often That his music still
exists to be enjoyed may be epitaph enough
104
Blank
Appendix One
Sources of the Husic of Robert Jones
BookSong
The First Booke of Songs or Ayres
The Pirst and Second Boeke of Songes and Ayres
Ultimum Vale
First Set of Madrigals (inc)
A Husicall Dreame
The Muses Garden for Delights
Hhat if I seeke for love of thee
There is a garden in her face
Doe not o doe not prize Beautie sate bathing 11 Goe to bed sweet museu Shall I locke to ease
griefe 11
11Jhat if I speed Cease troubled thoughts Scinthia queene of seas
and landn Thinkst thou Kate to
put rre down 11
nt1hen will the fountaine of my teares
F1ie flie flie from the world 1
Fy fy 11 (inc)
Date
1600
1601
1605
1607
1609
1610
1600
1605
1605 1605 1605
1605 1605 1605
1605
1605
1605
1605 1601
-105-
Source
British Igtluseum Folger Shakes~eare Library
British 111luseum Central Library
Hanchester
Royal College of Music
Private ownership Furst Alexander
British Nuseurn Royal Library
Brussels
San Marino British 1middotlus eurn Euing Library
Glasgow
San Harino
British Library Add Ms 15117
The First Book of Songes or Ayres
British Library Egerton ~s 2971
Ultimum Vale
British Library Add Ms 24665
Giles Earles his book taken from Ultimum Vale
u
II
fl
fl
n
The First and Second Boeke of Songes and Ayres
-106-
The love of change hath changed the world 11
What shall I render to the 1614 Lord bullbull
Let thy salvation be ~Y joy
Lament lament my soul cry 0 cry
n Sing j oyfull ybull
Arise my thoughts
11 Dreams and imaginations
uFie what a coyle Now what is love
no date
1601
1601
1601 1601
Folio ms in Folger Library
British Museum Royal App 63
The Tears or Lame tations o f a Sorrowful Soul
RISM attributes 4 songs to Jones
Christ Church Music Mss 56-60
Christ Church Husic ~1ss 439
The Second Book of Songes and Ayres
lt
-107-
APPE IDIX THO
Contributors to Manuscripts nu~beren 56 through 60 in Christ Church Oxford
SEC~~ number CC lmiddot1SS Voice 334 Hus 56 c 335 Mus 57 Q 336 Mus 58 Sx 337 Mus 59 Ct 338 Mus 60 T
Bassus lacking ca 1620
a alternate sources published b transcribed c Psalm 81 in two versions
Amner John~ 1579 1641 B r-1 Oxford 1613
Consider all ye passers by (b) 3349835803378633896 verse
I am for peace inc) (with different verse section) 33463356337~6 3386 verse
Bennet John flca 1600-ca 1615
Great God of Gods 0 God of Gods (a) 334 113 33595 33710133811 verse
To the almighty Trinity (ptll of 0 God of Gods)
Bull John ca 1562-16287 B H Oxford 1586
Almighty God who by the leading (ab) 334110 33592 33798338 108 verse
How joyful ana how glad (inc) a) 33448335483374833748 verse
Byrd William ca 1542-1623
Save me 0 God for thy name bull s sake (I) 33410 33510 33710 338 10 fS
Sing joyfully unto God our strength and Blow the trumpet parts I and II and Sing we merrily and Blow up the trumpet parts I and II not in this source from Christ Church (c)
-108-
Corkine William1 fl 1610
Praise the Lord 0 my soul (inc) 33441 335413374133841 f5
Cranford William fl early 17th c
My sinful soul (inc) 33413833512033616337126338136 verse
Daman (Damon) William ca 1540-1591
0 heavel]nly God (b) 33451335513375133851 f5
East Michael ca 1580-16481 B M Oxford 1606
Blow up the trumpet Sing we merrily (Pt II Take the psalm PT III Blov1 up the trumpet) (ab) 33420933520233698337196338214 verse
Take the Psalm
Ferrabosco Alfonso Sr~ 1543-1588
0 remember not our old sins (a) 33414133512333619337129338139 f6
Ford Thomas ca 1580-1648
Miserere my maker (inc) 334151v33513533631337141338151 f6
Gibbons Orlando 1583-1625 Phd Mus Oxford 1622
See the Word is incarnate (ab) 33495335773378333893 verse
Hooper Edmund ca 1553-1621
Hearken ye nations (a) 334211335204336100337198338216 verse
Jeffreys Matthew fl ca 1590 B M Oxford 1593
If the Lor~ himself (a) 33414833513033626337136338146 verse
-109-
Lord rernerr~er David (a) 334142 335124336120337130338140 f6
My love is crucified (inc) 334100335823378833898 fS
Out of the deep (a) 33414633512833624337134338144 verse
Sing we merr-il y (II) (a) 33414433512633622337132338142 verse
Jones Robert fl ca 1600 BM Oxford 1597
Sing joyfully unto the Lord (inc) 33412335123371233812 f5
Lupo Thomas fl 1593-1628 or fl 1605-c1660
For I knowledge my faults Have mercy upOii me (pt IIFor I nowledge my faults) (inc) (ab) 33418335183371833818 f5
Out of the deep (c) 33420335203372033820 pound5
Mundy John d 1630 B M Oxford 1586 Phd Mus Oxford 1624
0 give thanks unto the Lord for he is gracious (a) 33416335163371633816 fS
Mundy William ca 1529-ca 1591
0 Lord I bow the knees (a) 33490335723377833888 f5
Parsons Robert (I) d 1570
Deliver me from mine enemies (ab) 3348335833783388 f5
Peerson Martin ca 1572-1650 B M Oxford 1613
0 Lord in thee is all my trust (inc) 33488 335703377633886 verse
-110-
Philips Peter d ca 1635
Bow down thine ear unto my crying (a) Adapted from the motet Cantai mentre 334217 335210336106337202 338220 f6
Portman Richard~ d ca 1655
Rejoice in the Lord 0 ye righteous (I) (a)334226 verse
Ravenscroft Thomas ca 1590-ca 1633
0 let me hear thy loving kindness (a) 3343133531337 3133731 verse
0 woeful ruins (a) pt II and pt III Those sacred walls and 0 how these graceful piles not in 334-338 33440335403374033840 f5
Simmes William fl ca 1600
Awake (Away (a)) fond thoughts 33415733514233638337148338158 verse 6
Rise 0 my soul (pt II and pt III And thou my soul To theee o Jesu) (a) 3342833528 3372833828 verse And thou my soul To thee o Jesu
Stubbs Simon fl ca 1600
Father of love (a) 3348633568 33774 33884 f5
Tye Christopher ca 1500-ca 1573 Phd Mus Oxford from Cambridge 1545
Christ is risen Christ is rising again (pt II Christ is risen) (inc) 334225335218336114337212338230 f6
I lift my heart to thee (ab) 33492335743378033890 f5
-111-
Ward John fl early 17th c
Down caittiff wretch (a) (pt II Prayer is an enciless chain) 33424 amp 2633524 amp 2633724 amp 2633824 amp 26 verse
How long wilt thou forget me (a) 33422335223372233822 f5
Let God arise (a) 33411633598337104338114 verse
Praise the LordO my soul a Lord my God (a) 334219335212336108337206338224 verse
This is a joyful day (a) 33413333552336523375233852 verse
~~larwick (Warrick Warrocke) Thomas d 1660
0 God of my salvation (a 3349 335933793389 pound5
Weelkes Thornas1 -1623 B M Oxford 1602
Alleluia I heard a voice (ab) 33414335143371433814 pound5
Gloria in excelsis Deo Sing my soul to God (ab) 33415533514033636 337142338156 pound6
Hosanna to the Son of David (ab) 334214335207336103337201338219 f6
Lord to thee I make my moan (ab) 3341023358433790338100 pound5
0 Johnathan woe is me (ab) 334151v33513433630337140v338150 f6
0 my son Absolom (I) (ab) When David heard that Absolom (ab) (~t II 0 my son Absalor1) 33415033513233628337138338148 pound6
-112-
Wilkinson William Thomas
Hear my prayer 0 Lord and with thine ears (a) 3341043358633793338103 verse
Preserve me o Lord (a) 33443354 33743384 verse
Put me not to rebuke (a) 3341063358833794338107 verse
Compiled from
Nan Cooke Carpenter Music in the Medieval and Renaissance Universities
Ralph T Daniel and Peter Le Huray compilers The Source of English Church Music 1549-1660 part I and II
C F Abdy Williams A Short Historical Account of the Degrees in Music at Oxford and Cambridge
-113-
Appendix Three
Graduates of Oxford
Doctors
Robert Fairfax John Gwyneth John Merbecke John Shepeard Robert Stevenson Orlando Gibbons Nathaniel Giles John Hunday Christopher Tye John Bull
Date
1511 1531 1550 1594 1596 1622 1622 1624 1548 1592
Tye and Bull were incorporated as Doctors of Music from Cambridge
Bachelors
tathaniel Giles John Bull John t-1unday Thomas Morley John Dowland Giles Farnaby Edward Gibbons George Waterhouse Arthur Cocke Francis Pilkington Robert Jones Thomas leelkes Thomas Tomkins Richard Deering
1585 15B6 1586 1588 1588 1596 1592 1592 1593 1595 1597 1602 1607 1612
Author
Robert Grossteste
Robert Kilwardly
Roger Bacon
Bartholomaeus Anglicus
Walter Odington
Simon Tunstede
John Hanboys
John Hothby
William Bathe
John Case (attr)
William Barley
Thomas Morley
-114-
Ap~endix Four
Oxford Treatises
Date Title
ca 1175-1253 De artibus liberalibus
d 127 9
ca
ca
ca
1351
ca
1584
1600
1586 1588
1596
1597
1214
1230
1330
1450
94
De ortu et divisione philosophiae
Opus majus and opus tertium
De probrietatibus rerum
De speculatione musice
Quatuor principalia musicae
Surnma super musicam continuam et discretam
Regulae super proportionem De cantu figurate Regulae super contrapuncturn Caliopea legale
A Briefe Introduction to the True Arte of Music
A Briefe Introduction to the Skill of Song
The Praise of Musicke Apoligia musices tam vocalis quam instrumentalis et mixtae
The Pathway
A Plaine and Easie Introduction to fvlusicke
-115-
Appendix Five
Baccalaureus in musica solvet
Imprimis pro cumulatione presentatis Pro comrnuniis Pro scriba universitatis Pro circuita Pro camera Pro curnulatione sex annorum Pro anno instante Pro horolog-io Pro deric[t]o universitatis Pro inferiore bedello artiurn
Si beneficiatus vel patrimoniatus fuerit solvet pro vino
Si non praebat convivia solvet betiellis facultatis suae pro prandio
vj s
i j s
xiij s
vij s
viij d vj d
xij d xij d
iiij d
xij d ij d ij d vj d
iiij d
iiij d
ix d
116
Appendix Six
Words set by Jones for Leighton
Let thy salvation be my joy
Let thy salvation be my joy Confirm me with the spirit of grace Let sadness not my soul annoy For pensive thoughts too much take place 0 let my comfort still reside In Christ who for my sin hath died
In setting the third line Jones uses sixteenth notes on the word spirit 11 to compensate for the extra syllable
What shall I render to the Lord
What shall I render to the Lord For all his blessings poured on me My heart and soul with one accord Shall laud and praise thy majesty All praises do from thee desend Blest be thy name world without end
Lament my soul cry cry o cry
Lament my soul cry cry o cry Swe et Jesus pity pity me Help help help help for sin I die Sweet Christ come ease my misery
BIBLIOGRAPHY
Primary Sources
The Bible That is the Holy Scriptures contained in the Old and Newe Testament London Deputies of Chrlstopher Barker Printer to the Queenes most excellent Maiestie 1596
Book o f Common Prayer and Administration o f the Sacraments and Other Rites and Ceremonies of the Churchof England WiSh the Psalter or Psalms of David Printed by Thomas and John Buch Printers to University of Canbridge 1629
Fellowes Edmund H ed The English Madrigalists val 35A Revised edition edited by Thurston Dart London Stainer and Bell 1960 The First Set of Mad_ri a_l s 1607 by Robert Jones
The English Madri al School val 32 London-stainer and Bell 1923 The Triumphs of Oriana to 5 and 6 voices Compose - y D1vers several Authors published by Thomas Mor ley 1601
Jergens Elise Bickford English Song 1 600-1 67 5 Part I British Library Manuscri ts London
Pu middot- 1sh1ng Inc 1986
Leighton Sir William Th e Teares or Lamentaciones o f a Sor rowful Soule London W2 1arn Stansby 1614
The Teares or Lamentations of a ----Sorrowful Soul Transcr1bed and edited by Cecil Hill Vol ll Early English Church Music London Stainer and Bell 1970
Morley Thomas A Plaine and Easie Introdction to Practical Music Edited by R Alec Harmon New York WW Norton and Co 1952
Smith John Stafford Musica Antigua London Preston 1812
Sternfie1d FW gen ed English Lute Songs 1597-1632 A Co l lect~on o Fac s imiDelRepr ints
ress t Vol 7 edited by David Greer The First Boeke of Songes or Ayres 1600 by Robert Jones The Second Booke of Songs and Ayres 1601 by Rober ones t1mum Vale 1605 by Robert Jones A Musicall Dreame 1609 by Robert Jones The Muses Gardln for Delights 1610 by Robert Jones
-118-
Books and Articles
Abraham Gerald ed New Oxford History of Nusic vol IV uThe Age of Humanism 1540-1630 11 London Oxford UP 1968 3rd impression 1974
Adams Joseph Quincy 11 A New Song by Robert Jones bullbull Modern Language Quarterly I (March 1940) 45-48
Adler Kurt The Art of Accompanying and Coaching Minshyneapolis The University of Minnesota Press 1965
ArkmiddotJright GE P Catalogue of Music in the Library of Christ Church Oxford London Oxford UP 1915 ed 1971
Bateson fW ed The Cambridge Bibliography of English Litshyerature 4 vols Cambridge University Press 1969
Bentley Gerald Eades The Jacobean and Caroline Stage Dramat~c Companies and Players 5 vols Oxford Clarendon Press 1941 reprinted 1949 bull
The Profession of Player in Shakespearebulls Time 1590-1642 Princeton Princeton UP 1984
Blom Eric ed Groves Dictionary of Music and Musicians vol IV New York St Martins Press Inc 5th ed 19B4
Boyd rbulllorrison Comegys Elizabethan Music and Musical Criticism 2nd ed Westport Greenwood Press Publishers 1962 reprinted 1975
Brown David nJones Robert in The New Grove Dictionary of llusic and Husicians vol 9 p 703 Edited by Stanley Sadie 1980
Carpenter Nan Cooke Music in the Medieval and Renaissance Universities Norman Okla University of Oklaho~a Press 1958 reprint eo New York Da Capo Press 1972
Chambers E K The Elizabethan Stage Vol I-IV Oxford Clarendon Press 1923 ed 1961
Crewsdon Henry Alastair Ferguson TD MA comp The Worshipful Company of ~t-lusicians Loncion Constable and Co Ltd 1950 new ed London Charles Knight and Company Ltd 1971
Cutts John P 11 Everie Woman in her Humor Renaissance Nevs 18 (Autunm 1965) 209-213
-119-
Daniel Ralph T and LeHuray Peter compilers The Sources of English Church Music 1549-1660 Part I and II London Starier and Bell 1972
Dart Thurston t-1A The Interpretation of Music 4th ed London Hutchinson University Library 1960
Dodd Gordon 11 A Summary of Nusic for Viols Early flusic 6 (April 1970) 262-267
Doran T s A Dr Annals of the English Stage from Thomas Better ton to Edmund Keen Vol 1 New York bullJ J ~1 iadle ton Publishers 1865 republished St Clair Shores Mich Scholarly Press no date
Doughtie Edward ed Lyrics from English Airs 1596-1622 Cambridge Harvard University Press 1970
Einstein Alfred Essays on Music London Faber and Faber 1956 rev eng ed 1958
Feldman Martha 11 In Defense of Campion A New Look at His Aryres and Observations The Journal of Musicology v
(Spring 1987) 226
Fellowes Edmund Horace CH Mvo MA Mus D English Cathedral l~sic Edited by J A Westrup Westport Greenwood Press Publishers 1981
_________ The English Madrigal Composers 2nd edition London Oxford University Press 1921 1948 reprinted 1967
bull The Text of the Song Books of Robert Jones Music --------middot and Letters VIII (Jan 1927) 25-37
__________ Tudor Church Music Appendix ~lus D New York Brouclex Brothers reprint 1963
Greenberg Noah music ed Auoen ~middotlH and Kallman Chester text ed An Anthology of Elizabethan Lute Songs Mad rigals an Rounds Pew York ~middot1 w Norton amp Co Inc 19 55
Greer David What if a Daybull - an Examination of the Words and r~usicbullt husic and Letters 43 (Oct 1962) 304-319
Gutmann Veronika Instrument oder Diminutionspraxis 11 Archiv fuer Husikrvissenschaft 35 (1978) 187-190
Heseltine Philip and Warlock Peter The English Ayre London Oxford University Press 1926 reprinted Westport The Greenwood Press 1970
-120-
Hesel tine Philip 11 Robert Jones and His Prefaces The rmiddotusical T ime s bull ( Feb -t-1a r 19 2 3 ) 9 9 -1 0 0 16 8 -17 1 bull
Humphreys Rev F Landon ~lus Doc STD The Evolution of Church Music New York J J Little and Co 1896
Jeffrey Brian ed Elizabethan Popular Music for the Lute London Oxford UP 1966
King William Joseph The Englsh Anthem from the Early Tudor Period through the Restora t ion Era PhD dissertation Boston University 1 962 Ann Arbor Mich University Microfilms I~ternational 1982
La Fontaine Henry Cart The Kings Musick New York Oa Capo Press 1973
Lewis c s English Literature in the 16th Century excluding Drama 11 in Oxford History of English Literature p 266 Edited by F P Wilson and B Dobree Oxford Clarendon Press 1954 reprinted 1962
r1ason Dorothy E Husic in Elizabethan England Washington Folger Shakespeare Library booklet 1958
rtaynard Winifred Elizabethan Lyric Poetry and its Music Oxford Clarendon Press 1986
McGrady Richard J The English Solo Song from William Byrd to Henry Lawes 11 PhD dissertation University of Manchester 1963 This dissertation arrived to late to notate McGradys theories on Italian Monady and Jones
Meyer Ernst H Early English Chamber ~iusic ed Diane Poulton London Lawrence and Wishart Ltd 1946 Boston Marion Boyars Inc 1982
Mies Otto Heinrich PrussJan Castle
Elizabethan t1usic Prints in an East rrusica Disciplina III (1949) 171-172
Naylor Edward Noodall Shakespeare and Husic rev ed New York De Capo Press 1931 lew York Benjamin Dlom Inc 1969
Pagallelli Serpoundio Jusical Instruments from the Renaissance to the 19th Century trans Anthony Rhodes Milan Fratelli Fabbrl Editori 1966 7 London Hamlyn Publishing Group 197 0
Pattison K An Analysis of the Ayres of Robert Jones MFA thesis University of Georgia 1965 (Request for this thesis has been submitted through the inter-library loan service but has not arrived)
Phillipps G A Charles 1 11
-121-
11 Crown r1us ical Patronage from Elizabeth to Music and Letters 58 (Jan 1977) 29-42
Phillips Peter 11 Performance Practice in 16th Century English Choral Music~ Early Music 6 (april 1978) 195-199
Prior Roger Jewish Musicians at the Tudor Court The ~~sical Quarterly LXIX (Spring 1983) 253-265
Poulton Diane Graces of play in Renaissance Lute Music 11
Early Music (april 1975) 107-109
Reese Gustave Music in the Renaissance revised ed New York W w Norton and Co Inc 1959
RIS~t Einzeldrucke vor 1800 Karlheinz Schlogervolume III Basel Barenreiter Kassel 1974
RISM Recueil s Imprimis XVIe-XVIIe siecles l-1unchen G -Henle Verlag 1972
Robertson Dora H Sarum Close London Jonathan Capt 1938 Bath Firciurt Publishing Limited 1969
Seng Peter J The vocal songs in the Plays of Shakespeare a Critical History Cambridge Harvard UP 1967
Shakespeare William William Shakespeare The Complete Works Edited by Alfred Harbage Baltimore Pen~middotuin Books rev ed 1969
Smith Irwin Shakespeares Dlackfriars Playhouse Its History and Its Des~gn New York New York University Press 1964
Spink Ian English Song Dowland to Purcell New York Charles Scribnerbulls Sons 1974
Sternfeld F w Music in Shakespearean Tragedy London Routledge and Kegan Paul 1963 rev ed 1967
Stevens Denis Tudor Church t-1us ic Nev York Merlin Press 1955 bull
A History of Song New York W W Norton and Co Inc 1960~ First American Edition 1961
Stevens John Music and Poetry in the Early Tudor Court reprint ed Cambridge Cambridge University Press 1979
Traficante Frank Anthony 11 The Mansell Lyra Viol Tablature parts I and II PhD dissertation University of Pennsylvania 1965
-122-
Walker Earnest A History of Music in England New York Da Capo Press 1978
Wells Robin Headlam John Dowland and Elizabethan Melancholy Early Music 13 (Nov 1985) 514-528
Wickham Glynne Early English Stages 1300 to 1660 2 vols London Routledge and Kegan Paul New York Columbia UP 1972
Williams C F Abcty A short Historical Account of the Degrees in 1usic at Oxford and Cambridge Lonaon lovello Eivers and Co 189 3
Woodfill Walter L Musicians in English Society from Elizabeth to Charles I New York Da Capo Press 1969
LIST OF APPENDICES
Appendix One Sources of the Music of Robert Jones
Appendix Two Contributors to Manuscripts numbered 56 through 60 in Christ Church Oxford
Appendix Three Graduates of Oxford
Appendix Four Oxford Treatises
Appendix Five bull bull bull Baccalaureus in musica solvet
Appendix Six Word set by Jones for Leighton
vii
105
107
113
114
115
116
CHAPTER I
IDENTIFYING THE HAN
Robert Jones who flourished between 1597 and 1615 is
one of the lesser known Elizabethan composers He has been
claimed not without causing confusion to have taken to
himself a number of QUSical assignments One author asserts 1
that Jones was a composer for virginals Another calls 2
him a composer for viols He is referred to by one historian
as a prominent lutenist to be numbered with Dowland 3
Campion and Byrd He has been called song writer and
1 Kurt Adler The Art of Accompanying and Coaching
(Minneapolis The University of Minnesota Press 1965) p 12
2 Gordon Dodd A Summary of Music for Viols Early
Husic 6 2 (April 1978) 263
3 Elise Bickford Jergens ed British Library
Manuscripts Part I English Song 1600-1675 (New Yorkmiddot Garland Publishing Inc 1986) p 11
-1-
-2-
theatrical manager both controversialist and genial person
Yet some authors such as Edmund H Fellowes in English
Cathedral Music consider his accomplistooents in some areas 5
too meagre to merit mention
In extant records for the period from 1520 to 1620
there are numerous references to R Jones Richard Jones and
Robert Jones There are also references to a w Jones and
an s Jones in the same Stationers Register that lists an R 6
Jones seven times Another Jonest Luke is a
4
contributor of one of the poems in William Leighton bull s Literary
Introduction and Laudatory verses to Teares or Lamentaciones 7
of a Sorrowful Soule from approximately the same period
It is possible to reduce the Richard and Robert Jones
references to four people that is two Robert Joneses and
two Richard Joneses It is also within the realm of
possibility that these rnen were related Their paths
4 Philip Heseltine Robert Jones and His Prefaces The
Musical Times (February and March 1923) 99 171
5 Edmund H Fellowes English Cathedral Music from Edward
VI to Edward VII rev ed Edited by JA Westrup (Westport Greenwood Press Publishers 1981) Fellowes discusses Leightons Teares or Lamentaciones of a Sorrowful Soule yet never discusses Jones contribution of three anthems
6 EK Chambers The Elizabethan Stage 4 vols reprint ed
(Oxford Clarendon Press 1961) vol II pp 380-389
7 Sir William Leighton Teares or Lamentaciones of a
Sorrowful Soule Transcribed and edited by Cecil Hill (Lancon Stainer and Bell 1970) p xviii
-3-
crossed often enough and in at least one instance
scholars have confused them crediting one with the work of
the other Some historians have also preferred to gloss
over the obvious inconsistencies in dates and make no
distinction at all in their references to Jones
The first Robert Jones conceivably the grandfather of
the Elizabethan composer is said to have been a chorister in
Henry VIIs Royal Household Chapel In 1512 it is
claimed that he was a member of Henry VIII s Royal Household
Chapel This Jones furthermore is listed as a meniDer of
the Gentlemen of the Chapel at the Field of the Cloth of
Gold in 1520 Three of his compositions have survived 8
although they are incomplete Thomas Morley cites Jones 9
work in A Plain and Easy Introduction to Practical Music
8 The New Grove Dictionary of Music and Musicians 1980
ed sv Jones Robert (1) The three-part song Who shall have my fair lady is in an anthology XX Songes Gustave Reese Music in the Renaissance (New York ww Norton Co 1956) p 763 discusses this book in a footnote as one of the earlies middott examples of music printing in England which was formerly considered to be a product of the press of bullbullsynken de Warde Denis Stevens Tudor Church Music (New York Merlin Press 1955) p 50 mentions this Robert Jones Mass based on the plainchant cantus firmi Spes Nostra
9 Thomas Morley A Plain and Easy Introduction to
Practical Music R Alex Harman ec (New York ww Norton and Company Inc 1952) p 321 Robert Jones is noted here as a vJelshman active ca 1485-153 5
-4-
The dates for Richard Jones span a time period of
ninety years from 1532 to 1624 Even allowing for
extraordinary good health and ideal living conditions these
dates must at the very least be for two men The first
Richard Jones is listed as the High Master of the Grammer
School for the children of St Pauls from 1532 to 1549 He
followed John Ritwise who was said to have allowed the boys
of the grammar school to perform interludes at the court of
Henry VIII There is no indication that this practice was
continued under the headmastership of Richard Jones The
lack of reliable information in this case can be attributed
to the loss of archives in the Great Fire of 1666 and the 10
confused records of the choir school and the grammar school
It is also possible that this is the R Jones who
entered three plays in the Stationers Register from 1567 to
1569 which had been performed by the Children of the Chapel 11
The headmaster then was Richard Edwardes In 1561
Edwardes received his patent as Master fron1 Queen Elizabeth 12
and this patent was entered into the records by an R Jones
10 Chambers volII pp 8-12
11 Chambers volIV p 381
12 Chambers vol II pp 33-34
-5-
The next two Joneses Richard and Robert have caused
the most confusion They were active during the same time
period and were associated with the same group the Children
of the Revels In addition both men were musicians both
were connected with a theatre troup manager named Robert
Browne and both men travelled to Germany It is a very
real possibility that these men were brothers possibly sons
of the first Richard Jones discussed It may not even be
far-fetched to suggest that all three were related to
the Robert Jones connected with the courts of Henry VII and
Henry VIII
Richard Jones was associated with the acting companies
of the Earl of Worcester in 1583 the Lord Admiral in 1589
1594-1596 and 1597-1602 and the Earl of Pembrokesbulls Hen in
1597 He was in Germany in 1592-1593 1615 1620 and 13
1622-1624 In 1623 he was a musician to the Duke of
Wolgest At this tioe he petitioned the Duke to be allowed
to return to England In 1624 Richard Jones again
petitioned the Duke this time to be taken back into service
as a musician In 1630 he is connected with John Jones a 14
dramatist
13 Chambers vol II p 324
14 Gerald Eades Bentley The Jacobean and Caroline Stage
Dramatic Companies and Players 5 vols reprint ed (Oxford Clarendon Press 1949) val I and II pp 135 485
-6-
Richard Jones entered four plays in the Stationers 15
Register between 1578 and 1594 In 1580 he was the
enterer of the song A newe northern Dittye of ye Ladye
Green Slevesu Jones was granted a license in 1584 to print
a book really a collection of ballads printed in broadsheet
form entitled Very Pleasant Sonets and Stories in Meter by
Clement Robinson Robinson was an Elizabethan poet fl 1566-16
1584 This was in response to a popular interest in signing
to the lute This Jones was not above using the name or initials
of well-known writers to enhance the sale of his verse books
At least three of these books A Smale Handful of Fragrant
Flowers (1575) Brittons Bowre of Delights (1591) and the
The Arbor of Amorous Deuises (1594 and 1597) used the initials
of Nicholas Breton much to Bretonbulls anger These books included
poems by Breton and others used without their consent Other
collections printed by Richard Jones are A Handfull of pleasant 17
delites and A gorgious Gallery
It was this Jones erstwhile actor and printer who was
granted the patent by which the Children of Whitefriars were
once QOre entitled to call themselbulles the Children of the
Queens Revels This patent dated January 4 1610 was
15 Chambers vel IV pp 382-383
16 The Cambridge Bibliography of English Literature
ed F w Bateson 5 vols (1940 Cambridge University Press 1969) p 646
17 Winifred Maynard Elizabethan Lyric Poetry and Its
Music (Oxford Clarendon Press 1986) pp 16 14 48-50
-7-
given by James I It reads in part
Know ye that wee haue appoynted and authorised Robert Daborn Phillipp Rosseter Iohn Tarbuck Richard ones and Robert Browne from tyme to tyme to provide keep and bring vpp a convenient nomber of children and them to practice and exercise in the quality of playing by the name of Children of the Revells to the Queene within the white fryers l8
It is this patent which seems to be the source for
confusing Robert Jones and Richard Jones Several
authorities claim that the Elizabethan COQposer Robert Jones
was involved with the Children of the Revels of the Queene 19
in 1610 However he is not mentioned in their
history until five years later One historian even claims
that Robert Jones is the founder and manager in 1610 of the 20
Children of the Revels to the Queen within White Fryars
18 Chambers vol II p 56 Chambers and Bentley
Jacobean Stage discuss the various associations of Richard Jones and Robert Browne in greater detail than is within the scope of this thesis
19 Edmund H Fellowes The English t-1adrigalist 2nd ed
vol 35 A (London Stainer and Bell 1960) p 4 and Heseltine Prefaces p 171 It is interesting to note that both these works were originally published in 1923 and neither lists sources Chambers also originally published in 1923 clearly states his sources for these patents the original cocuments
20 Morrison Comegys Boyd Elizabethan Music and Musical
Criticism 2nd ed (Westport Greenwood Press Publishers 1973) p 199 Boyd has all references to Robert Jones under one index heading although be discusses the work of the Tudor composer as well as that of the Elizabethan composer No source books on Elizabethan or Jacobean Theatre are included in his bibliographies
-3-
Robert Jonesbull connection with the Children of the
Revels is clearly stated in a patent granted by James I on
June 3 1615 It gave authority for the erection of a new
theatre for the continued training of the Children of the
Revels This theatre would replace the expireci lease on
another house used by Rossiter
And whereas the said Phillipp Roset~r together with Phillipp Kingman Robert Iones and Ralphe Reeve to continue the said service for the keeping and bringing vppe of the children for the solace and pleasure of our said most deere wife bullbullbull by the name of children of the Revelles to the Queene have lately taken in lease and farme divers buildings Cellars sollers chambers and yardes for the building of a Playhouse therevpon bullbullbull All which premisses are scituate and being within the Precinct of the Blacke ffryers neere Puddlewharfe in the Suburbs of London called by the name of lady Saunders house or otherwise Porters hall and now in the occupation of the said Robert Jones Nowe knowe yee that wee of our especial grace bullbullbull doe give and graunte lycense and authoritie vnto the said Phillipp Rosseter Phillipp Kingman Robert ones and Ralphe Reeve at their proper costs and char~~~ to erect build and sett vppe in and vppon the said premisses bullbullbull one conve ient Playhouse for the said ctildren of the Revelles 21
It is interesting to note that Robert Jones is mentioned
three times in this patent
This patent and its various details are confirmed in
other sources of the period The Privy Council was
21 Chambers vol II p 473
-9-
approached by the inhabitants of the Blackfriars area They
maintained that another theatre in Puddle Wharfe would be
too close to the church of St Anne and that it would
disturb the congregation during services Because of a technical
flaw the work that was begun on the building was ordered
stopped in September of the same year (1615) Plays were
performed there as late as January 1617 The last mention of 22
Robert Jones in this instance was the Kings patent
Robert Jones had other connections with the theatre
although he is not called an actor In 1602 he was in
Germany at Frankfort where he was named as a fellow of
Robert Browne Browne was something of a theatre impresario
who specialized in bringing English actors to the continent
and was also included in the patent of 1610 with Richard 23
Jones This year was the start of a three year
publishing hiatus by Robert Jones Appendix One includes
the titles and dates of Jones work An interesting fact
which may or may not be connected with Jonesbull time in
Germany is that his third book Ultimum Vale is one of eight
22 Chambers val II pp 472-473 61 val IV pp 343-345
23 Chambers val II pp 273-282 p 56
-10-
Elizabethan Music books which used to be in the library of 24
the East-Prussian Castle of Schlobitten
This Robert Jones then is the Jones who is the subject of
this paper He was active in the latter years of
Elizabethbulls reign and the early years of the reign of James I
He may or may not have been an actor but he was
associated with actors and the Chilciren of the Revells He
was stable enough to own a house and to enter into a risky
theatre venture
24 Otto Heinrich Meis Elizabethan Music Prints in an
East-Prussian Castle Musica Disciplina III (1949) 171-172
CHAPTER II
EDUCATION A~ID SOCIETY
Robert Jones is known to have graduated from Oxford
University in 1597 It is also known that he was at St Edmund s 1
Hall and was for sixteen years a student His date of death
is unknown although a valid theory has been put forward for 2
his approximate year of birth to have been 1574 This would
have made him only twenty-three when he graduated slightly
younger than n1ost of his contemporaries A comparison may be
rMde by using Appendix Two an outline of works contained in
Christ Church rlusic Mss 56-60 Composers who graduated from
Oxford University are identified as well
Music both sacred and secular was an integral part of
university life Until the Reformation it was customary to
have Masses sung for the souls of the kings and founders of
the various colleges ~ The playing of secular music and
instruments had become so distracting that it was forbidden
at bullbullunseasonable times 11 unless after meals and there was a 3
fire in the fireplace of the hall or communal erea
1 c F Abdy Williams A Short Historical Account of the
Degrees in fiusic at Oxford and Cambridge (London 1893) p75
2 Hese1tine Prefaces p 99 Heseltine combines the fact of
Jonesbull years as a student and Jonesbull admission of practicing music since he practiced speaking to estimate the date of 1574
3 Nan Cooke Carpenter Music in the Medieval and Renaissance
Universities (1958 New York Da Capo Press 1972] p 169 81
-11-
-12-
Since the singing of Masses was required by statute some
means had to be provided for the training of choristers Many
colleges maintained choir schools These younger members of
the college community actually owed their positions at Oxford
to their musical talent and duties In 1547 the Act of
Dissolution under Edward VI closed many church schools but
not the collegiate foundations in the universities the
choirs of St George and Chapel at Windsor and the cathedral 4
schools
The young choristers were taught plainsong and pricksong
and when their voices changed they were preferred for vacancies
in the universitys scholarship lists Among these colleges
were the Schola flusicae of Queens New College Corpus Christi
College Cardinal College (later Henry VIII and nm1 Christ
Church) St Johns College and Magdalen College The statutes
of Magdalen College also provided for places for thirty indigent 5
student-- iemyes) to study plainsong
In the preface addressed to the reader in his First Booke
of Songes or Ayers Jones states that ever since he practiced 6
speaking he practiced singing By his own words it is likely
4 carpenter pp 167 88 388
5 Carpenter pp 267-171
6 F w Sternfield general editor English Lute Songs 1597-
1632 a Collections of Facsimile Reprints (Manston The Scholar Press Ltd 1971) 26 Robert Jones The First Boo~e of Songes or Ayers 1600 David Greer ed
-13-
that Jones was trained in one of these choir schools anG it is
not inconveivable that he was a recipient of a scholarship to the
university of Oxford Indeed Jones was probably at school at
Oxford rather than London and may even have been one of the
demyes of Magdalen College This is especially likely in view of
the fact that Jones had no steady patronage each of his song
books was dedicated to a different person and he was not 7
connected as household musician in the same way that John Wilbe B
and John Ward were involved at Hengrave Hall and with Sir Henry
Fanshawe
The power for presing choristers into service started in
1420 and this practice continued through Elizabeth bull s reign Im-
pressment of exceptional singers men and boys from all over 9
England into service in the Royal Chapel was commonplace
7 Sir w H Hadow English Music (London Longmans Green and
Co 1931) p 65
8 John Aplin Sir Henry Fanshawe and Two Sets of Early
Seventeenth Century Part-Books at Christ Church Oxford Music and Letters 57 (January 1976) 14
9 Carpenter p 341 Foster Watson The English Grammar
Schools to 1660 Their Curriculum and Practice Cambridge University Press 1908 Encyclopedia Britannica Library Resources Inc LEL 10880) pp 155 212 217 Watson mentions several grammar schools in London which incorporated music into their programs at this time They include the Merchant Taylors School St Paul School Thames School and Christ Church Hosshypital It was necessary to know the catechism in English or Latin read perfectly and write co~petently before acceptance at these schools Hulcaster headmaster at Nerchant Taylors claimed that extra subjects like music were studied privately by gentlemens children and that nusic itself was a part of the math curriculum
-14-
It is doubtful that Robert Jones was impressed into such service
He was both eloquent and voluble in the prefaces to his song
books and would certainly have alluded to this aspect of his
life had it been part of his own experiences
The awarding of baccalaureate and doctorate degrees in
music at Oxford was a tradition dating from the early fifteenth
century Music had been established as a separate faculty the
only liberal art so distinguished In fact the English
universities were the only ones to confer degrees in music
There is no indication that a prior arts degree was required for
the Bachelor of Music as was often the case in other fields
Many of England s most talented musicians became bachelors or 10
doctors of music at Oxford Appendix Three is a partial
listing of these musicians drawn fron information in Carpenters
and ~lilliams bull studies Furthermore the University of Oxford
was after the University of Paris the inspiration for more 11
treatises on music than any other medieval university
Appendix Four is a compilation of these treatises taken from the
work by Carpenter
The dichotomy of music that is musica practica versus
musica speculativa was reflected in the requirements placed
upon the degree seeker at Oxford It was as necessary to study
polyphonic music as to study theory Music classified within the
mathematics traditions and the text of Boethius De institutione
10 Carpenter pp 159 89 336 160
11 Carventer p 82
-15-
musica was required by statute since 1431 In 1549 after
Edward VI visited Oxford the candidates for the bachelor of
music degree were to concentrate on the disciplines of the
quadrivium Sixteen terms (four years) were to be spent in
grammar rhetoric dialectic and arithmetic and 11 in musica
Boetium Admission to the bachelor of music granted the right 12
to lecture in any of the music books of Boethius
Each student at Oxford was instructed by his own tutor until
he had obtained his first degree This meant that the musical
careers of some students were actually shaped by the methods of
their tutors Attendance was required at public lectures Aside
from the usual difficulties with student participation and indif-
ference or inability of some faculty these lectures were to be
given in Latin Dr John Bull not being proficient in Latin
was granted permission to read his lectures in English in 1597
Jones of course should have attended these lectures since John
Bull was incorporated as a Doctor of Music from Cambridge in
1592
In order to obtain a degree it was necessary to compose a
Mass song or canticum bull bull bull to be performed before the university bullbullbull 14
on the day of the Cornitia 11 This was not meant to determine
eligibility for a degree rather it was meant to add to the
12 Carpenter pp 89 77 153 159
13 Carpenter pp 154-156 163-164
14 Williams p 21
-16-
solemnity of the occasion This rule specifying a piece of music
to be performed in the university churcl1 at Act time remained un-15
changed from 1516 until 1608 when a hymn only was required
However there was a dispensation from this rule A
candidate could apply for a degree pro circuitah He would
request the Vice-chancellor and proctors to summon a Congrega-
tion On the afternoon before the Congregation the student
preceded by one or both of the bedells of his faculty and accompanied by the person who was to present him in congregation bullbullbull attired in academic dress but bareheaded went round to the schools and also called on the Vice-chancellor and both proctorsl6
Tradition always was an important part of university life
Oxford in the early sixteenth century was no exception Fre-
quently these traditions became codified in statutes Gloves
were an expensive luxury and early in Oxford 1 s history it became
obligatory for the degree seeker to give a pair to the Bedells
and other officials No man could dress above his station and
students fined for wearing silk were required to wear gowns 17
with loose sleeves and square caps in public Following is a
list of graduation fees established by statute at Oxford in 1601
taken from Carpenter Appendix Five is a copy of the original
version According to the custom Jones would have had to pay
some if not all of these fees
15 Williams p 27
16 Carpenter p 165 citing Clark in Register II p 46
17 Williams p 59
-17-
TABLE ONE
Graduation fees at Oxford in 1601
The baccalaureate in music will disburse
First for the total for gifts 6 s For the service of the room For the clerk of the university For possessions For the chamber For the six year total [tuition] 2 s For services during the present year For the clock For the right of the university For the lesser porter of Arts
Total 13 s
IE he has been subsidized by the church 7 s or by patronage he will disburse for wine
If not arranged in advance [] he will pay for the table servants to the porters of his faculty for meals
The greatest expense on this list is for wine [)
a d 6 d
12 d 12 d
4 d
12 d 2 d 2 d 6 d
4 d
4 d
9 d
-18-
It is not indicated in the available sources whether Robert
Jones composed a piece for graduation or used the pro circuitubull
option However a good case can be made for the former there
is an anthem in Christ Church Imiddot1usic Mss 56-6 0 Singe joyfully
which was composed by Jones The words are from Psalm 81 and
are identical with those in an Elizabethan Bible printed in 18
1595 This is two years before Jones graduated from Oxford
Furthermore the Christ Church lbulllus ic t-lss was compiled 11 wi th
most of the material at hand gathering together works which may 19
already have existed in worn or loose copies It was planned
as a memorial to Prince Henry and most of the composers repre-
sented were court-based friends of the composer John Ward who
was in the service of Sir Henry Fanshawe These part-books were
compiled at Fanshawes request and completed by his son before 20
1620 The Oxford anthem Singe joyfully will be discussed
further in the chapter on sacred music
As can be seen music was an important and necessary
part of the education of a gentleman and it was a necessary
18 The kindness of Mr Richard Austin of St Luke bulls Shrine
Smithfield is gratefully appreciated He allowed access to the Bibles there which proved that Jones used the Elizabethan transshylation and not the King James version of Psalm 81
19 Aplin p18
20 Aplin p 14
-19-
21 accomplisr~ent of the perfect courtier Even Morley begins
his book with a description of the embarassment caused by a lack 22
of ffiUsical knrn~ledge Furthermore a degree in music was an
invaluable asset to obtaining a post in the Chapel Royal
Neither Elizabeth nor James I gave honors such as peerages or
knighthoods to musicians rather they used offices in the
Royal Household the Chapel Royal and the Kings Musick as reward 23
for services In 1605 Jones dedicated his Ultimum Vale to
Prince Henry ~hether this earned a reward for Jones is not
known However it is likely that the Mr Jones listed as a 24
Gentleman of the Kings Chappell in 1612 is Robert Jones
It is possible that this position and not great reknown earned
a place for Jones in the Fanshawe part-books
As a Gentleman of the Chappell Jones would be expected to
be quite proficient in reading music and well-versed in plainsong
and pricksong That he could COQpose apart from performing 25
would have been the highest recommendation of all It is note-
21 Carpenter p 343
22 Morley p 9-10
23 G A Philipps Crown Musical Patronage from Elizabeth I
to Charles I Music and Letters 58 (January 1977) 29
24 Henry Cart de Lafontaine The Kingbulls Musick (New York
Da Capo Press 1973) pSO
25 John Stevens Music and Poetry in the Early Tudor Court
(1961) Cambridge Caniliridge University Press 1979) p 309-317
-20-
worthy that although Jones was actively composing in the latter
years of Elizabethbulls reign he was not associated with her court
Like many others he sought patronage elsewhere as can be seen
from the dedications of his song books His appointment as a
Gentleman of the Chappell may indeed have been a result of his
having dedicated his third song book to Prince Henry elder son
of James I Jones published no work after 1610 two years before
his name appears as a Gentleman of the Chappell It is possible
that Jones again travelled to Germany with theatre impresario
Robert Browne or he may well have decided not actively to
compose as he had implied in the prefaces of his last three song
books Records in these areas are incomplete although further
connections with the theatre will be discussed in the following
chapter
CHAPTER III
WAITS V~SQUES AID THE THEATRE
The waits were orisinally watchers at the gates and were
probably descended from the watchmen and sentinels for camps 1
castles and other fortified places In fact wait is the Saxon
word for watcher Eventually they were employed by the cities to
keep watch and guard during the night and to call out the time
and weather Their main purposes were protection order and
safety within the cities To carry out these duties the waits
were furnished with musical instruments These were used to
sound alarms and call for help when needed and were probably an
early type of shawrn or a horn made of metal In 1296 a statute
was enacted in London which required the servants who closed the
gates at night to have waits at their own expense Eventually
the term wait came to mean the man the instrument and the music 2
played on the instrument
The connection between Robert Jones and tte waits only
beco~es clear when the development of the waits and their
1 Walter L Woodfill Musicians in English Society from
Elizabeth to Charles I (New York Da Capo Press 1969) p 33
2 Henry Alastair Ferguson Crewsdon camp The
1-Jorshipful Company of -iusicians ( 19 50 London Charles Knight and Co bull Ltd bull bull 1 9 7 1 ) pp bull 16 2 -16 4 bull
-21~
-22-
place in Elizabethan and Jacobean society is discussed It was
not long after the first statute concerning the waits was passed
that they came to be considered musicians They are included
called by the nanle of wayghte and other variant spellings
among the musicians of Edward III (1327-1377 and are named in
records from Henry VI through Charles I From watchmen with
musical instruments to capable musicians is a logical development
of talent and time For a watchman with musical ability there
was time to acquire skill and thus gain employment publicly or 3
privately as a musician when not on duty
Many of the principal cities in England employed waits In
London the nunilier of groups varied from six to nine and the
number of masters and apprentices in each group was strictly con-
trolled Their places were so coveted that musicians good or
bad bargainea fought or sued for any vacancies Often a place
would pass fron1 father to son Their privileges included
monetary compensations and gifts distinctive livery status in
the city as freemen in the Company of ~usicians without charge
and the right to keep two apprentices at a time Their services
publicly and privately were much in demand by the lord mayor the
sheriffs and aldermen and the playhouses They were required
to meet regularly for rehearsals and only the 11 ancientist
3 Crewsdon pp 165-167
-23-
4 that is the eloest of their society could dispose order and
direct their music
Until 1525 the wait pipe (horn) and shawm were the only
instruments used by the waits The sackbut was added in 1526
In 1561 instrumentation was expanded with the addition of
viols and recorders and cornetts were added in 1568 and 1576
respectively In 1597 the curtal a bassoon-like instrument was
added Records indicate that portable organs keyboards and
harps were hired for special occasions In some waits the lute 5
and singing were included as early as 1555 The waits
provided the music for visiting dignitaries parades and court
masques and dancing The First Book of Consort Lessons by Thomas
Morley was meant as a guide for the groups of instruments used by 6
the waits Their music consisted of traditional wait tunes
(simple airs meant originally for wait pipes and shawms played
with cold fingers) music which may have existed only in
manuscript form written expressly for use in a masque or pageant
and music apt for viols or voyces u including madrigals
Ultimum Vale of Robert Jones contains music for colibination of 7
lute voices and viols Figures 1-20 are facsimiles of tbe
4 Woodfill pp 37-44
5 Woodfill pp 34-36
6 Wood f i 11 p bull 4 5
7 Woodfill pp 44-52 Waits and their history are more
fully discussed by both Woodfill and Crewseon A very brief outline only has been possible in this paper
-24-
title pages dedications and prefaces and tables of contents of
the song bool s of Robert Jones from Greer
Ultimum Vale is probably the book included by Gordon Doad in 8
his list of music for viols This song book is also the source
for ten of eleven songs by Jones included in the Giles Earles 9
book It is this custom of performing vocal and instrumental
music only instrumentally that forms part of the basis for early
chan~er music in England It was advocated by Thomas Morley in
his book and used not only by Jones but also by Sir William 10
Leighton in Teares or Lamentaciones of a Sorrowful Soule
It is possible that this evolutionary process in performance
practices and adaptations of popular pieces for other instruments
may be the basis for the idea that Jones composed for the
virginals Certainly no music specifically for the virginals or
instruments other than lutes has been found to have been
composed by him
When playing for the masques the waits probably performed
in a room or chamber near the pageant rather than on the street
or porch where the masque was being presented Robert Jones bull
8 Dodd p 263
9 Jergens p f 13V-f22V
10 Ernst H Meyer Early Englisn Chamber ~1usic ed Diana
Poulton (1946 Boston Marion Boyers 1982) p 135 149
-25-
11 naroe is not in the lists of appointments to the London Waits
But Jones did have so~e of his music included ill masques Everie
vloman in her Humor a masque by Maclin published in 16 09
includes two songs from The First Booke of songes or Ayres The
title My mistris was not used in notes for the masque rather
lines from the song were used thus hindering our identification
of Jones as its author Figures 21 and 22 are facsimiles of this
song This same song was used in Loves Charity by Shirley in 12
1631 and The Dutch Courtesan by John Marston The latter was
presented at Blackfriars in 1603 performed by the 11 Children of 13
her Maiesties Revels Christ Church Ms 439 which contains
four songs from The Second Boeke of Songs or Ayres is said to be 14
a compilation of songs used in masques
The dates of the songs discussed indicate that Jones was a
source for music used in masques rather than a co~poser of music
for masques This is admittedly a subtle difference but it is
a critical one since Jones is not credited with supplying tPis
music in tle published sources of the time such as the plays
themselves
11 Woodfill p 48 and Appendix A
12 John P Cutts Everie ~loman in her Humor Renaissance
News 18 (Autumn 1965) 210-212
13 Chambers vol III p 431
14 Cut t s p 212 bull
-26-
Songs used in masques were declamatory in vocal style with
rare word-repetitions except towards the end of a song The
lute accompaniment tended to be chordal with an harmonically
15 statis bass The aforementioned 11Ny mistriS 11 (see Figures
21 and 22) very clearly demonstrates this principle The masque
an offshoot of the main dramatic movement was musically con-16
nected with the great nass of songs with lute accompaniment
Robert Jones was a natural choice for the masque authors His
melodies tend to be rhythmically simple and singable By his ow~
admission in the preface to his First Booke of Songes or Ayres
Jones main concern was fitting the note to the word (See Fig-
ure 3)
Shakespeare also liked to use contemporary songs in his
works for the theatre and in the music of Jones Shakespeare
found songs to express the moods of his characters Perhaps the
best known instance of this reliance upon Jones is in the comedy
Twelfth Night The song 11 Farewell dear love bullbull is number twelve
in The First Booke of songes or Ayers
15 Ian Spink English Song Dowland to Purcell (New York
Charles Scribners Sons 1974) p ~0-41
16 Ernest Walker A His tory of Music in England (rJew York
Da Capo Press) p 153
-27-
In Twelfth Night II iii Sir Toby Belch and the clown
Peste sing a version of this song that telescopes the first and 17
second verses Malvolio warns Sir Toby and Feste that
Olivia will bid farewell to Sir Toby unless he reforms It is at
this point that these two characters alternate singing lines of 18
the song This song was set in 1600 and the date of Twelfth
Night is 1601 The obvious conclusion is that Farewell dear
heart was a popular favorite and would have been recognized no
matter how much it was condensed Another testimony to its
popularity is that the tune appears as a hymn setting in a Dutch
psalter The Dutch version is Heilgierig mensch and the 19
psalter was published at Amsterdam in 1713 That Jones himself
favored this song is shown by the fact that in his fourth book
nine years later Jones sets Farewell fond youth Its meter
is identical and its melody is similar to that of 11 Farewell dear 20
heart Farewell dear heart may be seen in Figures 23-26
and bullFarewell fond youth in Figures 27-28
17 John Stafford Smith Musica Antigua (London 1812) p 10
204
18 Peter J Seng The Vocal Songs in the Plays of
Shakespeare A Critical History (Cambridgemiddot Harvard University Press 1967) p106
19 William Shakespeare The Complete Works ed Alfred
Harbage (Baltimore Penguin Books 1969) pp 316-317
20 Edward Woodall Naylor Shakespeare and Music rev ed
(New York Da Capo Press and Benjamin Blom Inc 1969) p70
-28-
Shakespeare also turned to Jones for parts of the mad songs
for Ophelia in Hamlet IV V Although it is not a proven
fact the setting of In Sherwood liude stout Robin Hood see
Figures 29-30 from A Musicall Dreame bears close resemblance to 22
the words sung by Ophelia That it probably is this song is
due more to the nature of the scene and the impropriety of the
words words which would never have been sung by a sane Ophelia
and to the popularity of Jonesbull work rather than contemporary 21
documentation Frequently Shakespeare had his
characters sing snatches of songs or refrains and further
attributions to Jones are possible but not provable without a
shred of documentation Nor in general are Elizabethan
composers who often set the same words identifiable unless the
tune had been transcribed or the composer named in the
manuscript
21 Heseltine Prefaces p 168
22 F w Sternfield Music in Shakespearean Tragedy
rev ed (London Routledge and Kegan Paul 1967) p 57-58 71
CHAPTER IV
THE SECULAR t-1USIC
The secular works of Robert Jones consist of five books of
lute songs or ayres and one book of madrigals One or two copies
of each song book have all survived in excellent condition with
minor problems such as missing title pages The madrigals 1
however exist only in an incomplete state Possibly this is
due to the difference in publishing techniques of the two types
of song The song books include all voice parts printed on
opposite pages in such a way that tt-e performers can stand around
a table and use the same book The madrigals on the other hand
were printed in separate part books with the result that the
loss of one part book took away from the whole
Lute songs increased in popularity and availability
when the printer Peter Short acquired a font of lute tablature
This acquisition in 1597 greatly facilitated the publishing of 2
lute music William Barley had published a book The New
1 Fellowes Madrigalists p iv In the preface
Dr Fellowes describes in depth the location of various part bookst and which madrigals are complete because they were found in alternate sources
2 Spink p 15
-29-
-30-
Book of Tabliture in 1596 which contained the first solo song
with lute accompaniment published in England In the four years
between the publication of this book and the First Boeke of Songs
or Ayres by Robert Jones in 1600 books by Dowland Morley 3
Cavendish and Farnaby in this style were printed Peter
Short by the essence of Thomas Morley was the printer of the
first two song books of Jones and the first book of Dowland It
may thus only have been for practical reasons that the title
pages are virtually the same
Lute and vocal music were easily printed For the lute
tablature letters not notes were placed on a six line staff
Vocal music used about a dozen signs for clefs tempos and
accidentals and thirty individual signs for notes apportioned on
a staff of five lines each with a note on one of the lines or 4
spaces Obviously it is this setting of each individual note
with its staff which gives the music its slightly wavy
appearance
Each of Jones five song books includes twenty-one songs
although contemporaneous song books usually vary in the number of
songs Whether this really has any special significance for
Jones is impossible to know For all his loquacity he did not
3 Phillip Hes~ltine The English Ayre (1926 Westport The
Greenwood Press Publishers 1970) p 138
4 Boyd p 178 Keyboard music was not published until 1611
and tben it was engraved This was because of the difficulty of dividing the staff to print cords of two or more notes
-31-
refer to this in his prefaces All five prefaces are illustrated
as follows The First Booke of songes or Ayresw Figures 1-4
The Second Boeke of Songes or Ayres Figures 5-B Ultimun
Vale Figures 9-12 A Musicale Dreame Figures 13-16 and
A Musebulls Gardin for Delights Figures 17-20 However that it
was important to him could explain why he chose to include two
Italian songs in A Husicall Dreame They are for solo voice with
lute or bass viol accompaniment (or both) and come at the end of
a book of songs for three and four voices
The idea of performing vocal music instrumentally has
already been discussed with the performance practices of the
waits Another common practice of lute playing was to use
alternate tunings of the lute The more usual tuning is gd A 5
F C G Plternate tunings included the sixth or bass string
tunec to F not G or the tunings called the 11 leero fashion 6
These were d a f a F c This method was used by Jones in 7
The Second Book of Songs and A~res published in 1601 The
words 11 Set out to the Lute the base Viall the playne way or the
5 Edmund H Fellowes The English t-ladrigal Composers 2nd ed
(1921 London Oxford University Press 1967) pp 304-5
6 Veronika Gutmann Instrument oder Dininutionspraxis
Archiv fuer Husicwissenschaft 35 (November 1978) 189
7 Frank Anthony Traficante The Hansell Lyra Viol Tablature
Parts I and II diss University of Philadelphia 1965 pp 188-189
-32-
Base by tableture after the leero [lyra] fashion appear on the 8
title page There often was a seventh string added below the
bass string tunec to D To avoid confusion this note was not
annotated on the staff instead ledger lines were added to 9
indicate its implementation This may not have been a popular
practice Jones used it sparingly in Ultimum Vale his third
book However all songs but one in A Musical Dreame call for
the extra string That Jones was criticized for use of this
extra string in Ult1rnuro Vale can be inferred from the preface to
A Musicall Dreame This preface is not addressed to the reader
but rather to all Musicall Murmurers
Understand me thou vnskilfull descanter deriue from that Note of Plaine Song charitable numbers and thou shalt find harsh voices are often a Note aboue Ela reduced by truer iudgement which I bereaue thee of nowing thy Rules are as our new come Lutes being of many strings not easily used vnlesse in aduenture till practice put forward into deseruing Diuision
From this preface it appears that Jones was something of an
innovator often embracing ideas before their full acceptance
Jones also may have ornamented or used graces in his work
However we cannot know this because the art of ornamentation was
a live tradition passed from one player to another The second
reason is that printers of the time did not have the necessary
8 The title page of this book is misleading The correct
title appears to be The First and Second Boeke of Songs and Ayres It is usually referred to as The Second Boeke of Songs and Ayres See Figure 5
9 Fellowes Madrigal Composers p 304-305
-33-
10 signs for ornaments or graces in lute playing
The following chart of lute tablature is adapted from
Fellowes The strongs are labeled treble small mean great
mean countertenor tenor and bass All but the treble string 11
were doubled
Treble ( g I ) a b c d e f g h Small r-Iean (d ) a b c d e f g h Great Mean (A) a b c d e f g h Counter-tenor (F) a b c d e f g h Tenor (C) a b c d e f g h Bass (G) a b c d e f g h
The fingerboard of the lute has ivory frets When stopped
each fret raises the tone of a strong by a half step The small
letters bullbullabullbull bullbullbbullbull 11 C 11 and so forth indicate behind which fret the
fingers are placed to produce the desired tones The letter a
indicates an open string that is one which is not fretted or
stopped b shows to stop the string behind the first fret It
raises the string by a sernitone Each letter represents the
next semitone to be produced on a string
These signs irdicate the duration of the note 1 ~ ~ f ~ ~) and stand for semibreve minim crotchet quaver and semi-
quaver respectively The last sign used gives the duration of
10 Diana Poulton Graces of Playing Renaissance Lute Music
Early Music (April 1975) 108
11 Fellowes Madrigal Composers pp 304-305
-34-
following beats Dots of augmentation with their accepted mean-
ing are used when needed Barring follows the rhythm of the 12
music or the words and is not always indicated It must be
remembered that Jones did not always use this tuning for the lute
rather he indicated it by specific performing instructions on his
title pages
Lute songs have roots in the freemens songs Freemen bulls
could be a corruption of the Anglo-Saxon work 11 freibull meaning 13 14
fesitval or of the term three mens songs In either case
they were lively cheerful songs with the tune in the uppermost
voice the tenor They were the basis for the simple part songs
which were so popular in mid-sixteenth century England These
songs then evolved into the Elizabethan consort songs and finally 15
the lute songs
Lute songs ordinarily were published with only a word or two
of the first line printed in beneath the score The singer
12 Fellowes Madrigal Composers p 306
13 Smith p 10
14 Walker p 45 The book published by Wynken de Warde in
the early sixteenth century which contains the work of the first Robert Jones also includes freemenbulls songs~
15 Spink p 16
-35-
16 either knew the rest of the words by heart or vocalized 11
Jones however is one of the few composers whose words are
carefully and consistently placed beneath the notes in his song
books This note-to-the-word placing allowed him more control of 17
the rhythm in strophic settings of different stanzas of poetry
The lyrics of English lute songs and ayres consisted mostly
of typically short verses The sources for many of the lute
songs and ayres were the ~any Miscellanies published during
Elizabethbulls reign ~ong these The Phoenix llest and Englands
Helicon were the most popular However the collections of
Richard Jones were also used by some composers Richard Jones bull
not properly detailing the authorship of the poems in his
collections is the primary source of confusion in identifying the
authors of the poems set by composers Another problem in the
use of MiscellanieE is the resultant multiple settings of 18
favorite poetry Robert Jones set many poems of Francis
Davison Sir Philip Sidney and Thomas Campion What initially 19
may appear to be plagiarism is really an accepted practice
16 W a 1 ke r p bull 4 6 bull
17 Winifred Maynard Elizabethan Lyric Poetry in Its Music
(Oxford Clarendon Press 1986) p 71
18 Maynard pp 54-55
19 Heseltine pp 130-131
-36-
The main differences between lute songs and ayres tended to
be those of length and rhythm Ayres generally had simpler
settings were more strophic and shorter and usually were better 20
sung as a solo song with lute acconpanirnent The ayre is
normally considered a short lute song with the accompaniment
providing the clue to the difference~ Performances could vary
according to the abilities of the performers and the instru-
mentation they used Frequently this lead to harmonic 21
discrepancies in the vocal and instrumental part-settings
This perhaps is the basis for one claim which has been made
that Jones did not write these parts for what are really solo 22
songs in his last two books
The English Madrigal developed as a result of the
publication in 1588 by Nicholas Yonge of a collection of works
by Italian and Italianized Netherlands composers This book
Musica Transalpina contained fifty-five of the best Italian
madrigals translated into English and proved to be very po~ular
20 Maynard p 55
21 Walker pp 80-81
22 Edmund H Fellowes The text of the song books of Robert
Jones Music and Letters 8 (January 1927) 25-37
-37-
In 1598 ~iichael Cavendish wrote a madrigal with the nLong live
fair Oriana refrain This may have been based on a madrigal
published in Il Trionfo di Dori It was this refrain which may
have been the impetus for The Triumphs of Oriana published by
Thomas Harley in 1601 The Triumphs of Oriana contains twenty-
five madrigals by nearly all the most distinguished English 23
composers of the time 11 Robert Jones contributed Fair Oriana
seerring to wink at folly 11 to this collection
The First Set of Madrigals was published by Jones in 1607
Its being called the First Set is no proof that Jones intended to
publish more sets Rather this avpears to be a publishing
convention of the time Where this set is unique is its
containing madrigals of 3 4 5 6 7 and 8 parts tvhereas
most madrigal sets were in groups of one or two different numbers
of voices this book has six different voice groupings These
combinations alone would give rise to the idea that although
Jones experimented with the madrigal form he either was not
comfortable with it or was not proficient enough with it for
his own standards On the title page~ Jones claims that the
collection is for Viols and Voices or for voices alone~ or as
you please 11 Several of the texts included in this transcribed
edition are poews by Francis Davison and two are by Campion
23 Walker p 78
-38-
The English madrigal was something of a compromise in form
It combined the contrapuntal secular music of the Italian style 24
and the harmonies of such songs as the frottola It typically
was a single stanza of seven to eleven lines in length A line
maybe made up of seven or eleven syllables with short and long
lines in any order The rhymes were mostly feminine and in
random order For this the Italian verse setting was standard 25
but short verse ottara rima or sestina were also used
Perhaps the one concept about the secular work of Robert
Jones that should not be overlooked is that he intended his music
for pleasure He had no rigid rules about performance practices
and he was willing to experiment with new techniques He was not
tied to rules of harmony and counterpoint and he seems to have
been partial to the sounds of open fifths and false relations
He was clever and innovative in his use of rhythm and rests
formed an integral part of his control of rhythm It was an
unhappy man who composed the song Goe to bed sweet muze This
was in Ultimum Vale the book that Jones intended to be his last
He seems to be saying goodbye to his love of music and composi-
tion rather than to an unfaithful lover That music in his muse
can be found in his explanations for publishing again in the
prefaces to A Musical Dreame and A Muses Gardin for Delights
24 Walker p 77
25 Maynard p 55
CHAPTER V
THE SACRED NUSIC
In a fashion typical of the Elizabethan era one music
publication could contain ayres madrigals or religious motets
The Teares or Lamentaciones of a Sorrowfull Soule by 1
Sir William Leighton is one such book It contains eighteen
consort songs twelve songs for four voices and ten songs for
five voices The contributors of songs for this book include
Byrd Milton Bull Ferrabosco Jones Peerson Thopul
Coperario Dowland Ford Gibbons Giles Hooper Johnson
Kindersley Lupo Pilkington Ward Weelkes and vlilbye As can
be seen Jones is numbered among the finest composers of the era
Sir William Leighton was born into an influential family
He had social economic and educational advantages However
because of carelessness and misfortune in his finances he was
imprisoned In 1613 Leighton published a book of his own
poetry The Teares or Lamentaciones of a Sorrowfull Soule This
was followed the next year by a book with the same title cf
musical settings of these poems composed by himself and twenty
composers The purpose of these books was to show Leightons
1 Walker p 81 The consort in this case refers to the
accompaniment of the cantus voice with the treble viol and lute tablature The altus was accompanied by the flute and had tablature for cittern The tenor voice included tablature for the bandora and the bassus was paired with bass viol tablature This was in reality the broken consort
-39-
-40-
repentance But the laudatory verses composed by his friends
and included in the introduction of the book seem to negate
this These poems use word-plays and puns on Leightons name and
deal with his unjust imprisonment
The works in this book are on sacred themes and could be
considered appropriate for use in church However that Leighton
intended for then1 to be domestic fare is seen in the style of
printing used that is on a double folio in the same form as
that used for lute songs and in the performance practices he 2
recommended
Jones set three poems for this work The first two anthems
are included in the poems published as The Teares or
Lamentaciones of a Sorrowful Soule The third piece by Jones is 3
set to words not included in the 1613 edition and the poetry
differs in form from that of the others The words of the first
two anthems consist of six eight syllable lines rhyming ABABCC
The third anthem is a simple quatrain with an ABAB rhyme scheme
The first two anthems closely resemble the favorite form set from
The Phoenix Nest the difference being that the lines in the
2 Leighton p x
3 Leighton p xxv
-41-
4 miscellany are ten syllables long The poetry from these
anthems is included in Appendix Six
Robert Jones composed a fourth sacred work This piece
Sing Joyfully which will be referred to as the Oxford Anthem 5
is included in the Christ Church Mus Mss 56-60 The source
for this manuscript has already been discussed in Chapter II No
modern transcription exists for this anthem and may be attributed
to the fact that the bass part is missing and this anthem is one
of a few anthems in the Christ Church Mss not found in other
sources
The possibility that the Oxford anthem was the piece that
Jones composed to meet degree requirements at Oxford has been
presented in Chapter II To substantiate this claim further the
words of Psalm 81 from the Book of Common Prayer printed in 1619
and from The Bible of 1595 are included here This will
facilitate comparison with the Oxford Anthem facsimile from
Christ Church and its transcription and recreated Bass part
4 Edward Doughtie Lyrics from English Airs 1596-1622
(Cambridge Howard University Press 1970) p 25
5 This manuscript has not been recorded in RISM
-42-
6 The Book of Common Prayer 1619
Sing we merrily unto God our strength Make a cheerful noise unto the god of Jacob
Take the psalme bring hither the tabret The merrie harp with the lute
Blow up the trumpet in the new moon Even in the time appointed And on our solemne feast day
7 The Bible 1595
Sing joyfully unto God our strength Sing loud unto the God of Jaakob
Take the song and bring forth the timbrel The pleasant harpe with the viole
Blow the trumpet in the new moone Even in the time appointed At our feast day
6 The Book of Common Prayer and Administration of the
Sacraments and other Rites and Ceremonies of the Church of England with the Psalter or Psalmes of David Printed by Thomas and John Buch Printers to the University of Cambridge 1619
7 The Bible That is the Holy Scripture contained in the
Old and Newe Testament London Deputies of Christopher Barker printers to the Queenes most excellent Maiestie 1595
-43-
The bass was reconstructed after a study was made of the
style used by Jones in his two madrigals for five voices and the
one anthem for five voices in Leightonbulls work The madrigals
were used for this comparison because of the similarity of style
with the anthem
In general Jones uses the bass as a platform for the other
voices Large skips are used sparingly and the relationships of
thirds and sixths with the tenor voice is usually maintained
The frequent use of whole notes and rests and the rare use of
dotted rhythms and eighth notes emphasizes the stable voice
leading Jones rarely initiates word painting or new rhythmic
patterns in the bass However the bass is used to start an
upward scalar pattern carried through by the other voices in turn
It is hoped that the reconstructed bass for the Oxford
Anthem is in keeping with Jonesbull methods The transcription
would not have been possible without Dr Clyde Brockett It is
possible to include the anthem because of the assistance of Mr
H J R Wing of Christ Church Oxford
44
Cantus middot
( -11 ((
) L ~L I
middotmiddot~middot 0
I I
45
Cantus
------------------------------ ====~====================~ I
I ~
j-- ---====-=--=--=--=---=----=---=--=----~~----------===shy
l I
r
l t
I
~-
t ~
middot r I
(1 c I ( middoto
A ~ -1 bull T I bull 1-Jtc v I
bull
~iof~ictf ----middot-
t~L f ef a attf j az ~ E I cfft ~ fiipound wuamp J1 -------- --4----bull- - -- --
iS
l ----=-----------
47
I middot--- - -- - -- I
j It~middot~ ~~I ~CJ m bKpound fy nt-l a~ PJtttfd (Ul A ~
t Ybull T 0 A I I I
~ -t-I I I - bull I I l bull I I I bull bull J I 1 bull I I I
A - bull ~ I
1
-~-- -- ---middot-------------+
-------middot---middot~---------
1----- --------~---
48
middot- middot---- -- ------middot --~___middot---~- ~--middotmiddot ~
49
Contra tenor
middot -bullmiddota --~ilirtttwbullnbullmiddot d_rl_ mr
I ~
i-----------------------_)_
F------ --
______ _
-------middot--middot-----middot -~-- ----- middot-middot-middotmiddot --~----middot- ------- ------shy+----- ------------ -----r=-~----_____middot ~~~---~--~- ~~~-~~-~-----_ --I
I
(I
bull
middot~
I ii l
l
l Imiddot
-I
(
50
Tenor
------
fwaft qtmiddoto( tft~ tfttttt~l hF Ibull bull ~ l~~r---~-~- ~ - =13
t)tl) tfc G11 pound th (b ir th~ tf~~ v
~-f~~-~3 -----+ ~ ------middot =-==~-~-fi I 1Ppoundf ft t1 c If r 11 a h -middot qCo ~~ l-K~-
I I I
bull
51
Tenor
l ~
~ ~r--=t-~ ~ J middot~middot bull I I
13fon ~ lppt ~fie bmpt~H1 tfv1VC btpound lLi hum( Efl J A t I o bull
H-1----r~ni----=ll bull1 -----i - r~ n middot bull -~ t i ~ -J j) I l 1 bull 1 bull l
~ bull bull T _ obull bull -x I n _PI I I I T I I amp bull T 1 1 middot y tl- 1 L~t--I ----J-middot-middotmiddotmiddot1_--1-- _-~--~~--Jmiddot middotL__-1L --1-- -
- I 1 I _ 1___1 - -4-1-J - +--+1--ll- J ) 0 I 1 I I I I -~-- ----- ~ A bull bull I (I V =-
---- - --------- middot------
I he Oxford Anthem 52 Robert Jones
5 J J J ) J f r middot r I
Sing joy ful ly un to the Lord our I 1) I Js - I 0 I ) ) ]I ) 11 J bull v- l l
Sing JOY ful ly un I to the Lord Si ngl I I - _ f r
1 r t7 t r t l middot~ I I I ~ _l I I
I l I
Sing joy ful ly un to the Lord our i strength
1 6J
J I
i - ( J amp J
-plusmn=-
I Sing joy ful ly
-c un to the
r r2 c= f r F ( f z 0 r I l ~ 1
Sing joy ful - ly un to the Lord our
10 j J r
I I I l r I I 1 I f I
0 0 tJ bull middot I ~ I I I t _a l r
II I I strength Sing joy - ful -t ly un - to the ~middot Lord our I I I i
I
_I 1 I I I I l I
I ) I 0 I ~I I j l Ll I I
$ j I lfO J I - -~~ L7 t I -v - _
~ joy - ful - l y un - to the Lord our I I
~ ) _ IQoll I ~ 1 y middott I -
I I j I l r I I I -r r 1
I Sing joy - ful - ly un - 1o the I Lord our
I I I I I 1
0 0 I ~ Q - -~
- I - -~ - lord our l strength Sinmiddot] _
I I 1 - I I ) i j J middot __ ___ -- t -
strength Sing loud un-to the
I r I J () h fl e J j (~ I I II r- j 0 I v 0 i r c
53
I i
I - I - I - I r r r ( J I _J_ I 11 _l [
~ I I I
I
~
I strength Sing 1oud un-to the I
I I I I r r r J y r J - 1 v I I 1 l -l - I - -
I str ~ength Sing 1 oud un-to the j god of I la -
t I I J J l J r
11 - f~ t v I I I L y
r l I
I
strength Sing 1 oud un to the god of j I
I
- ~ ~
r r 1 r r t Igt I
J r I I I r - I
I - loud un to the god of I Jq -
I
v I () p 0 I I _ I ~
I I
god of Ja cob Ja
5
god of Ja cob
cob Sing I lou un to t e j I I
] l ~ ~ i
r - I r r r I v I I (7 I v I I I i
I t
Ja cob Sing loud to thf god of I~
- un I l
~ bull
I I L A 1 I I f- I 1 _J _I L l_ l I t I I ~ t r __ __
-fi I l I I
cob Sing loud un to the god
0 eO 0 __ =J
of j Ja cob i middot
----------~--------------------------~1---o----------~l ~ gt~ f middot
cob Sing
20
- I r j I 11
C I r
I
loud Sing un ~ - r 0
I
god of Ja
r 1 I t7 J _J
~
Ja cob -
1 -I J p 0
Ja cob
r c r f
(l
loud un to the god
I l I JI I
-1
0 l-
cob the god - y 0
I I I
the god
0
I
cob f
~ I I 1 I I J
I ~ t I J middot 0 t--1 J I
t to the g od
c9
god of
r I
to
-I
fvO
Ja
I I
l
Sing l
~~
of
I r I I
the
I
I -
---L--1 I
I J ~
54
y
god
L-
cob
I J
cob
_j
I 0
I amp
Ja
25
l 1
--of
- a I
of
Ja
0
i
I of l Ja
I 1
~ t 1 _ Q _ ~ middot
of
Ja
Ja
I I -J I I
- 0
of Ja -I -middot I
J l _ I I
rl 0 0 - -
I of Ja middot-
I j j I _ J I
~
~ (_ I ~
loud un
ampI _
j9
cob the
r
J I I -1 --11 2_ ~~~~
I
Ja - middotcob
i-1 I -f-1
I bulli cob
I
I
- j - w cob j
i l i
J I ------ I t-1 I I - I cob
cob
1n I
I I I J (7
c_ -
-Take I the
- bull- I I r 7 A_ f I r
0 I ---
j
Take the harp t the I
J ~middot
I bull I f~ [ I [ I
J -Take the harp the
1 1 -I I I _
( y
~
Take the
p f bull
Take the
35
f J J I
I 15 Z
) lt I
brell I
tym tym
I 0
CJ ) J forth the tym- 1 bre 11
I I l _ I I I 1 j I
omiddot i I I
harp and ~ bring forth the I I I
1 r
I I + and bring I
~)
r t harp and bring
55
_ -
harp
j fr
r - ti (J J ____ r
-
f ) I
v J
harp the
a
(2
harp the
f
brell
1__ J
and
0 I tl
-
)
harp
~
harp
I J
harp
harp
~ the
r bring
r [I
I I y
rJ I
11
and I bring
f I
and I
f
I ~
I
t take
___
I
I
r ta ke
J 1
tym bull
( r forth the
- _ --- r
tym - brell I j J
I I I J I r I i
_) middot forth the tym - bre 11 the
( t
f I r r-I I z
forth the tym brell the
I 1 1
amp
forth the
1 A ~
bring
I A
7
the
t )
the
I
~ I ~
I I
l
56
40 I I I I I
I t I 0 I _i I I i ~ ~ --middot
li 11 11 I -
- brell and bring forth the I tym - bre 11 tym - brel 1
I ~ - I 1 () 0 1 I r 1 - --- i
I
tym brell and brin9 forth the I - I
_ 17 - i 77 j
- r - T T _ I I J ~ I I I I
I I 1 ( bre 11 ) the tym - brell I the
i I I II
u I pound I A J ~ -1
I -
~
tym - brel l and bring I forth the tym -I
J amp Fyen tji
F l
tym brell tym brell
I I -- I I j I
I l
-J ~ I ~ ~
J
harp and the sweet the ~ I plea sant
middot - --f ) I i I e 61 0 J ( z
bull
tym - brell the tym brell ~ the ft ~middot c t r 19 ufJ f ( c t I
pleasant harp and the vi 0 ll the pleasant harp
j ) j middot99 J GJ or gt _ -5
brell bring forth the tym brel1 th ~e
9 l f~ ( __ r I ~~
-- -
Bring forth the tym brell
57
45 J
I I I [ f I C) A A I A I j l - -
-
~~ ( _
vi - I 011 t sweet vi - oll the I I
I -- 1 - l l 1 (7 I I I J 0 A I J bull
$ r - I brell I
themiddot 1 pleasant harp and the sweet i I
- p I I
r I I lt I_ c I I I r
I I and the vi - I 011
l vi - 011 I
I I I 0 I I
r I -J y v - I I I ~
p~~~~~nt harp and the sweet vi - 011
I
_ v - 0 I I r t I I II 1 I J I I
the plea sant harp and the sweet vi - oll
50 1 I I I I j tl I l bull I
I J L t- 0 J I
-
I ~
J I
pleasant harp and the sweet vi I ollll the I
~ -- _f I A middot bull 0 J i r 1 l I I
vi I oll the plea - sant p
r I i T 0 - 0 I I
I f I I - ------I I I I j
i
the ple~sant harp ~nd the vi - -
I
--- I _l I I I --1 0 I r l
C-
vmiddoti I - 011 the ~
pl ~ea sant harp - C) r 1-
~ r I I )
r ( I l r
I I t
and the sweet vi - all sweet vi ol1
58
I I I I L_ I J _l J f J
I I I
~ r
pleasant harp bull and the --_
t I I I -_j
harp and the sweet -l I
f middotv A I I I I
011 t the I plea - sant I I
I I
I I I i I J t7 Lc -I
and the sweet I
vi I -i - I -
- J
I c- -
oll and l i I
1 I J J J_ v A
I I
oll the I pleasant harp j _ k
-r= 0 I
t I
t
sweet I vi I I _I I
11 i I I I I I I 11 _j ~ C I J _lj bull
harp and th~e I J I ~
sweet vi - 011
J ~
t
the pleasant harp flnd
55 r J1
1 _r _I_
swe ~et vi - I I
- ~ I I A ~middot _t2_ I
I
vi oll I -
t I _l l
fL
harp and
t
al l
-
j_
A I I
th~ swee~ I
j_ 1 L1_
J _L _r I
I I
and the sweet l A
~
i t l I I
I
011
- I
r r the
the sweet vi
0
-0
vi 0
~
the
I t
the
-
60
0bull
vi
0
vi
-
J
pleasant
-
l I I
J bull
pleasant
-
-
amp l
I
l the
I
I
harp I
----1
59
I I
_ middot-I
- I - - __
I ---- oll I I
~~ - f r I f I J e_ I I _
011 I the plea sant harp and
0 - 11
r - - 1 v I I r l I I --~
J _L I l I
pleasant harp and th ~e sweet I vi --j 011 t I
I _I_ ) - I
_I r D I J I 0 I I
I and the sweet vi -- 011 and l the
J ~
-- -=- 7 r I
I T T r l I I 7 l I
pleasant harp and the sweet
65
- - r I
I I J I I J
I ~J ~ v I bull J cent ~
--
the pleasant harp and the sweet - _ r r ~if L) I I tJ - - I I l I I 0 -1 F _l T 0 j I J l I - -- the ~weet
vi - 0 ll t and the sweet vi -ll n middotmiddot-
I I ~middot r I - - t - f7 I I I l _ (7
j j --w
sweet vi - 011 sweet - vi -
I I I I T T - t i -- A t7 r 1 T 7 T i ~ i
_l J
I I I I
I sweet vi - 011 fhe I pleasant harp and the sweet j I I
u I l I J -1 1 0 I )
f I
vi 011 and the sweet
ou
70
-- - I I I I J
~ I I j ~ (1 77 -~
vi - oll the pleasant harp
I I - j I I I A I 410 7
-- L
- oll the plea - sant t --1
I L I I J 0
I I I I ~ ~ t r _fl_ 0 0 _ II I I
1 I - oll~ the pleasant harp and the swmiddoteet
~ I ~ ~
y JoiO c I- I l I r
I I
vi
I 011 sweet v+ 0 ll - -L
- l I I 0 J --- t 0
I
vi oll the sweet
75 I I
I I T J j I A ~
~
I - _() ] middot -- -- -- bull l I and the sweet vi - 0 ll
_l I 1 77 0 0 0 -I - 0 I y l ---- t ------ I I I
harp and the sweet I vi - 011 bull I I
0 0 C)
poundJ I - t (7
I middot-I
vi - oll sweet vi - 011
I I
~---0 J 1 I t J -middot
I _ _ bull I I 17 ~
I - -
I
f t he sweet vi - - 011 bull
- I CJ I
C if- I I
I I 0 T _ I I l I
vi oll vi
~ bull Scr-ibe error shc~AIJ b~
61
80 111
I I j t - - I - J I I y ( j r 1 bull
amplow the I
up I trum - pet I
~ - - j j I r A j J I t - 1
Blow up the trum - pet oiL - r
p r r Igt t r r r f- I I t J I I i middotp I I
I I J I I
Blow the I
i trum up trum - pet Blow up the l - pet
I I I middotr I
f r l J ~I I r- r _r j A I I I _
I i I I r I
Blow ~p the trum - pet Blow up the I trum - pet _ I bull_ _
0 ~ I I l I I I I I I
I
I I l I
Blow up the trum - middot pe~ the trum - pet
85
f 1 - I I I ~ I I I r ( J-middot I I r J J -1
I r l bull
I
trum pet the I trum pet the trum p ~et - -A - I p - - I t
~middot J I r _1 L I t
I I ~ I
the trum - p ~et 1 the I trum - pett
- i I i ~ _
-l f r r ll _r_ [ middotp t
t I I J l t I I I I l
~ I bull I bullmiddot
Blow the Bl~ ow the r bull
trum pet up trum - pet up -t I
- I t l j_ L _L A I
r r J r J I A J f ~
l I I - I bull I
bull I I
Blow up the trum pet Blm_r up the trum pet I - -I
tt) 7 - 0 _ I 0 i I I -I 7 I I I I I I l I
--J I I _J
Blow up the trum pet the trum pet
0pound
_I I I I - I I J I I I 0 -II I L J I J - j
- Jf o I J 0
ln] the new moont evn i n the time ap -
- -- I
- I t l v t -1 I I_ I l I J ~() -in the new moon the new
I I
~
[ 11 -~ - 0 J - I
I ~ l I I 1 I I
I
in the new moon in I
I I I I - I I j J l J _0 r r J p
I
gt in
I the in the new moon~ new
1 _ - r- r r r - I
I I J I I ~
1
in the new moon
A ~ I I I
r
r f cl - A I _f I I I I I
- _ 0
l I gt _ _ I
I poin - ted at our feast day at
-middot - _
-moon
I l I
_ I I J r ~middot I I J j - t 0 A A
I - r-- ~ ~
the new I moon evbulln [in) the time ap-
J I ~ 7 j I I I ~
r r T I I _I I
1 _ J J t J l - j ~
I I pol nted I sol moon I evn in the time ap at our - emn -
I I + -( _-f- i- ___ - ~middot
_ T I I I J 1 t l r 0 ~-
r I I 1 bull - I I r I I j_ I I I
r
evbulln at the time ap- poin- ted- at our feast day at
93 [ot] Ct =at II otl~ va middot
95 I I [ I l
17
J I
__ J r rJO
r---
our feast
- - I I
v_ ev 1n
0 f6 r I J l - -J I l I I I_ l J
pointed at ou~ast
1 L _ II I y _ r Cl
I r - I
feast day at our I I J
bull _) 0 [j A I _ I - t I
__- I I I
our feast
- - I I
C
evn I
- ~-
--_r r 0 ~ ~
J l I 1
our
u
day
I [ I
J _
in the ~
r I I I
poin - ted
roo -= ~5
q~
I
I r r feast dayt -oGr
- _ I
- _ I
evn I 1
I I I ~
r l l I I
~me~--I ~nted a_p_ I
J I I I I
at our fea~t day
c t ) o t h u o s [1 h) = a~ tr~J))~ribed from
altmne ~cill-ed o~~ ti
- _ _
day 1 I -I I I I
I I J r I I -J I J
in the time ap - poin-ted at
pound)- bull -J _ I j
day our I feast
- l 1 l I
~t _--tf 0 II ~ ( I
I
feast day~ ev 1 n
__ _ r I ~ r I I J
I I 1 -
day the time ap-
100 -Imiddot 6_ __ J J J I I I I J I r t _1 ) - I bull -
in the time ap- pointed at
0 _
feast day
- 0 _
r I _
bull I 1
bull jrlJ the time ap
I
~-
r T o I I I I l A _ J
a or feast day our - o---- r l - f I I I
i
1 _l 1 _ I
at our feast day
Ct VOIC~
b4
105
r r f 6J dmiddot 0 I~ j A our feast day our feast day evn I
- - ~
J I
-
l evn in the time ap- pointed at __
A 0 ~ )
y 0 J I I
poin - ted at our sol - emn
- -0 dl ~ ~- - A middotmiddotmiddotmiddot-
feast day i at our feast at L
LJ
I
- 0 - - _A
v
our feast day sol emn
l -1 I- _pound_
I -_
in the time t
ap- pointed at our feast day evn l
_ 0 1 J l ~
-- - ~ J I 1 1 - I
our feast day evn in the time ap- pointed
0 ~ _ middot- A
feast day evn
- - -d A (
at ourmiddot -f- at our ~ ~ -- 0 - ( I I
feast day evn in the time ap- poin - ted feast
I
110
J omiddot u --1 -I
lt---
in the time ap -I
poin - ted at our
0 - ---1- -I-- I
at our feast day 0middot
I - --
l
(i nJ the time ap- pointed_ at feast day
I our
l Omiddot (_) y l
I feast day
0 ap- poin - ted at o~r I
~ 7 ~bull
I v
day at our feast day in the time
115 I I -middot
I-
-- 0 bull ~ -
middotfeast day evn I in the time ap- poin ted -
I I - - 11 (7 ~ 0 -at our feast day
bull 1- t -
- A ~
I evbull n [in) the time ap-
-middot y
I
~--c CJ
feast day evn in the time pointed at
r 7- ---ap-
J ~
y -ap- pointed at our sol emn feast
iblihing Mil 414 A bullbullbullbullbull
120 -
~ y r tFU
L j _L_ y -
at our feast day at our
- - - _ (7 _ - __ -
at our feast ~ L)
a_ 1 _L r I y r1
pointed at our
feast day middotI evn UnJ th time ap -
0 1 - --I -
A middotbull -
our feast day evn r 0 0 I -- Q_
-
day our feast day feast day evn
11 - -_y 11
_V -J
- __l -
feast day at our - 1 I _L_
_Ql_ A (7 I r-i 0
daymiddot ap - poin - ted at our 0
v I y ---d I
poi n - ted at our feast day at our
____
I I - -1 v J 1
FJ Cl bO L
I I ( t-I in the time pointed at ap - our
_)_ 1 ~ ~
Ll f
_r I
in the time ap - poin -ted at our
11ishing MP 454 A bullbullbullbullbull
67
A ~ ~
Ai 0 -- C-
-feast day
I
c- _- I - -
feast day
I I --
- _ _
-- -bull
I
I
feast I
day
u -I
feast I
day
I - I
~
middot~ lt-
feast day
130 f A -J I 0 A
-7 bull - -
A - men ~
~ v j middotmiddot r I I I _ l _
A - - - - - - _ -- -- -
- j -A men
_t - - -1
0 --
I - - - - -A
I I 7
A I ~
A
i
I -I I t- 7 -t I -~
A - -
~ I I - l I
t-- 0 I A
I I
- A men I M - I
- r ~I r v t I 1 I I _t J I I T I
A - - - ~ - men
c-~ I
- -I -
mmiddoten A I I I
--- 1 I I I J
I I T J _t A - I -
men A
135 l
I I I I _I -1 I ~~I I I 1 0 -l - I I I J rj~
- _
r --- ___ A -~ - - - - -01en -
I 11 - ~ - I t _ r p
r I J I I v I l J I
- - men A - -I I - I I -p - v_
v C7 I I -- __ I
-A men A
~ J I I I
I l I J I A _ - L7 JJ J ~
~ v p
- - - - - --
I I I J y __ I T r I I
~ I I I 0 ~~ - V
men A
lblishint MP 414 A bull
I I
I --- -~
- - tf a ~ - - _ - -- - men
0 ___
- men - A _ - ~ I --- -
I - men
- i _
- -- ---men
--
~--
_
men
tblishin9 MP 414 A 7
----
l I
72 ___________ ____ Ff gure 1
I I I
middot-
i
l I I r I 1 I
I r
IH pound
FIRST BOOK E I I ofSo11ge or q_fyftlJ of iRetiiu~
rourf parn ilh TJ 1
binsr~l tb( lbullU
paru togethcror ~lther of middot dle1Jlfhur2llynliay be toils it _ l 11l~U~~~r
to dte Lutebull Orpbad~l
or Viol de gllllbo Compoftdby Robct~ ltJ~Xto
f
----
1
l
I ~
1
I I
73
Figure 2
TO THE HO middotNORABJJE Ai~O VETt T OVS GENTLEMAN SIR ROBERT SlDNEY KNlCH -c
Gouernour nder her Mai~fi~e of the tOne f VltlbitJ1
and the CaAJe of the Jldlraquotftns In the low C oumnes and of tJtjorll ojtltf411Jt AJtntLrrpuh thtJbullrr-ifonthenmiddot
In plilctdMTftU D b~ifi~jiUitt
~~~ii~5fil Our great loue and famor Honorable Syreuer rhanifellcd toal OrthyScier ces hath ltnbdened me to offer vppe t
y~ut ~ordfiups Shrnc thefe the vr I wortht~middot labours of my uulicall trau~~middot And though in refpect or their Veake nes they ln~y perhaps leenu vntin1ely
bull=-o=====~ broughtfor[hand theremiddotbre the vnlikelrshyerlo pr~fpermiddot yet doubt I rt~t butj~ renderd by you they fl1all happclbulle find gentle cherdh~ng w h tel~ n1ar be a mea ne to make them more tlronger or elfe mtfcarrytog to etcour~ge my en~ ~ deuours to beget a better for as no arts vinclf at fever errors than muficke fo none greater enimies to thcirDvoe profeffion then Mu 1cians whowhdn in their-own ~tlguaritietheycon demne euery mans ~rkes raquo as fome wate ~duty they are cbe caufe dm an istbcmiddotldfcentc~emcJ ian~ they thuitfelues feEuted as fclfc-com e1enders tnd men man fan[aLlicll Vhcrfore if chis one cen~uringinfirm itie were remoued thefe nty ayres (free l dare fay from groffe crraurs) wauldfitde euery where mort gratious entcrtainement bull Butfince euei thofe who are betlfecneirtthis art cannacvaunt themfelueJ free from fuch de tra~ours~ ~ lhe~ leffc rega ~d irbting_fo w~ accompanie Howfaeu~r tfheretn I may gatne yout Honor~goodallOwance fuaU thinke I haae attained co the better en de of my labours (vbicb with my fdfeandthebell of my Ctruite) rcfies eaer more at your Lordihips in1ploimenc
Your LorJjh1ps lmotetl in ~tO dutifiiJfirmce
aobett lonebull
----
middotmiddot
74
Figure 3
ro THpound READER
~ gtltmiddot bull bullbull bull bull bull middot~ EntlettztnJfincem1dtireu)ourtllrtsfoulde middot ~~-- ~imiddots benlindijferentiudgtrfclllnot thin41t nt
-~~i ~ ~rflary to filalt nv trautil or nu hringing -vp ~ tbull middot 01 argtttJmts to plr[Jllade you that f haue a ~Ofd
~ op11110n of 111) feft~ only tht~ much lwzl~tJte 1n~ ~ I ot ihatJmttypretttnttherifhudgnlentsoJ[uch
bull _~~~ ~ t- ) u now n1c not E11er jinre I praflftJ fe4-- middot bull ~ kng I hat~e praRifid inging lbullauin hail not
itr qualitie tobitJder mefro1nmiddot the pifefimiddotI(TIOTPfedgt o(th~]aculu I rtue ~~~n incortngtil kr tbl lParranmiddott oj Jiucts good iugmentr that my
pt~ints herein foal 11tihe eafl proct~re_gooJii~ng if riot delight ~hich Jttfor ntineownetJtitl muflueeder Jeare 111 much 111 defi~e ~efpmiddotecialy
lien I conidtr tb Nptnes ofthu induflriousagtlhtrtillaU mtn tndeshyrwurto nol~t all Ninges I ronfefo I 1as not --nTiiUing to emhract the conctitr of fuch ge1tlemen uraquorere ear til to h11 ue me AfpbullreU thtfo ~~~ tits for them ~hihthough they intendet or their pmiddot_iuate rmeation 11eUcr meaning thfJhoultcomeintothe~tght~tre 1elf(I1Jten~ )pon inshytrtiiJ ~o ma~ thtoncouragementr of tq1s ~ jrfl di~tr~tllre 1Pkere11p~ PO f lilas ~lmrfl ~~to m4~e tnJ flfaJ ftiJt~ne lJJtbtU~OTJ pr~-shymtn~ thAt if lY ctfimiddotnnrfoilttltn( ~ M_~HJI ~~H fllghl P_eakt for theme~ts ~boTPfoeiltr 1~plt4ftth tbtm middottodlaquonunl bl~tt of thest ihen oftbeft1 0 f purp_ofo ( M -ltfiOiddfiemt)tom~t4 mehJ1eut I hm do (omething 1111 onb hope i1 thai fo~ing ntither J cold AJres A nor fheir idedties ( u thgDi[ntedtl hau t cAUthtin) hAue hithn-to Jeene foc~ttd in Ut tdrtJ of rnanie thg maierh~nttlflil)dt f~Kh enshytertllinmentJ llJ conmonlit nn~e1 aoth in tht bullorJ ~thith if I J he fo
middot ~appie~(o he11re lTtiUnoefaie my next jh11H Itt ampttirr1hut I ~a promift tO tfl~middotIJfOft f4intmiddotsroJmJ lliOt fOintsof mfiampJtwbich noJJt coufJ not JohectJuft YlitJtffcllrerPu (ofttlht (Jf~mtk~Jor~ ~~~~hen muflhe-ullJe~ connntDith e11ch IIJantlll))foU cenfurtU IjhJbe giAJ of fomt mtns vndeftrueJ fouourl
-J
--
IJ
Figure 4
~~ ~ A Table of aU the Songs contained in thir7JooJc ~~~Ul
middotImiddot AWordans LookecS middot Fertd Wlnto~ youdu ~~= Sheewhorematd)Jet1ebcaury f+- ~ Qncre did I laue ~~~ L~d ~r~Atongdcfuc l Ltc dOwne poorc bean J ~ bull n Wl I _ ~ -b _nere rngrrnguare
1 - i1 Hcroatenotchougb ~ z- middot ~ Wbcnleucandumo bull ~~ Swee(te come awa t bull -a Wmiddotomenmiddotbullhataicrtbey
EarcweHdccrc louc ~ middot gt ~ ~ 0 my paorc eiu r~ ~ a If fathers knew
bull ~e i Life is a PoeampJ phablo ~~~ Sweere Pbilomdl fi ~- ~ 9 That heart 1 ~
1 VVbit ifl feckc MymiRris
middot~ M ~ Petplcxed _ 1 ~ Can lllodca pbine dctir
I
middot 11 - 1 ~ ~ middotr_ ~ r fl~ - I
l j It I I
~ ~
-I i I
lj middot J ~t ir- I
bull Ill - -middotmiddot - B
L lL m IUL v VL vu VUL IX X XL xn
xm X1Dl-xv XVI xvn
I t
I r-middot
r --- ~ I r- ~ J
I
Figure 5
--------------~- ____ __ t
lf~ flfl TJE
B 0 0 K E 0 F S 0 N G S AND AYRES
Set out to the Lute lhe bafe Violl the pr-ynt Wdl etr tbr 84ft by
tablcturc afitr lhc lctlo ~114
CftftJJ Kobert Iones bull ~middotihl~ by Pr flaquo Afbs by bullbe
~Jm ~f11HtfNI Al~rl)l J tbull6t Cold bulll bullhe Inner l(mplc
u bullr bull 1-ot
_ +- - middot tmiddot bull
~
II
Figure 6
------middot--~ middot-------
T 0 T I-1 E It l G I-I T V E R T V 0 V S A~ D V oR T II Y K ~I G H T S 1 R
H F N It Y L f 0 N i D -middotrmiddot t ~ ~ ---middot~middot 0 R T H) Sir mJ my_ Honourablc fiicnd I giue you thi~ ~~ ~~~1 bull CIJIIJl pr~u~ gtou hnng at vp bccaufc I ttm o1 ~orc mn ami t ~ middot ~ _ can nor maanrunc bull t 1t bulluy ~ulfcc muchaducrfi u~ ~~~ my nam c
middot middot your For~u~c mnc aJ~cr llJS rtJrrcs 1_nd make h1m hJppac bull f ~ I fhopghllllbtherbe ahmiddot oe l ulltec~Uhoun Orpbanrlorpm rc
mens CbddrlfJ -are Orplano borne and more to be piuiCd d~cn they liJJt hJ11c changed thcidltl cr) lor their ltuJ ~ fud1 mlc bullai(e themfduc~hl due time we h0111C oo wJ ic to l lciglncnour being bm by lbulllothcr pomiddotNcr As Gcntlcwo- mtn pecce lhcmfdbullcs with Tij es and Co ronctsto t p flC trt mor~ per fcmablc ~nd t~ll o UltJfi woaJdc VntO OUl )ulctlCS if wew11 not De (corned iardwarfcs) rhccroYlC of Acnllc pC1fons mgtre cmincnt and hi~h Our (Lnurcs ~rc nor fct aboue d3nshygcr i WCcJuJowc hdor CUCflC footetO trcadc vpOtr OUt place IS he cround there icnodnng balc-~trwsandycr dcuil~ion _m pun n lower if wee h~uenotgood ~(reds Th~ y wiH fin_J _me~nc~ lfl digg c and In v s down~ irnu the cllth ~ nd burie yenS
bcfotc ourume Th1s 1s the nufc of pttroua~ct nnd thli ts rho p(rlecutton o( ahem tlpt wouldingroffc ~11 Gloric imo the~r owne hmds But t~cdJt UJl~ o~ rhtfe mcn they bite the truhe~ thcmfdues 01ould fee de vpon Vcrtuc would llrlng fonh mmie h1idrtfl but 1hey hold them an the wombe that lhcy due not come hut As the coshyucrolls maf~~ fi~gcth aU the hind about h1m wath fi3tuus 6ncsand b~nds i1 nd othc r (uch Iike~iumiddot 1 warre (o doth the ambitious intrap the Jinle pori ion of ante commenshydations cha m~ ic fie II bcfidcdilm And like the mercalcff- Souldicn lhe Cafilcs they cmnot t~ kc they blow vp They uc a~ f(nring of cucr ie CmUlrcJun~flc of crcdifbull ~s iflt were I aide vp in oonnnon-bmke and the more were giuco a wile the IelTe would ~orne to tl1cic nbullarcs Theya1 c mafcra~lc men) _f roill onlf br~md (htm wi1h this m rk~ and let dttmgoe Thty were Eaglci tftheyd1d not rJtch Hycsas lheY ate thcy-bullro grculhings)muchldfcthcnnoamphing For my parc)l willnotcorucoa wiJhchcm ( aeiire JlO appf~u(c or commcndadons lei ch~m haue the flmc of Ecchocs and (oundf and let me be a Bird in your C~ge fin~ to Y fclfc ~nd yo-1 Tl)is is uiy coment and this is my llmbition~ if 1 haucthis Jfiile nm in mtcxpclhton il more for rour akcth~t is my ashbntagct andl will owe you duciie for it in the m~anc time lrcfL
fl 0 Jt I ll T 1 0 H R ~
A 2
10
Figure 7
f
TO THE READER
rSI~~---11~~~ E AD E R 1 btt11t atrl moruuuttiWtJ to At~ IIgtJ oujlU rtPhul~r J b411t 6o1ft WU r no td~n( tlull
--=middot ~m~laquoh ft~inen~ rltoife thrt e~tU th4t jwiUf-1 fortify j - ~ry inrtnl toJll~rJdbtt lllll JJ 1tt btctufo
z kow tlwcwot r middot41d I IU jtlllrl ftDf gr~flJ(t D
comftlirltfto Wilrrant J tnJtutJMrs lll-bullfl o~U met~ ~ J bull JqJ it 110 fJ1J1111t tJ ()~~ Vfri~btrztQt ~~~ thttiJJkJt 1 ~~
J tntlfflt IUJtl~ AUfljt my Jrlfrof~lliJtnltt yluggbullJ ~~a~ ~~~~ iby fat~olll ~ whrrtin l t~sft rt~tiJti tJ itftritk rkJt ~D11bull
II~~~~~-~~ llllldllllorlt 1 then PJ my ownt bullfi 1 to frt 9 l4hD~ifl ~Ill (o Jbulllr The llNIIb b lllthlugh l wbull nbulll fo nilt
Jllltll J rptnpofol l~rt cA7rn t~Jt J J4n1Jt~t jl11d c tbrbbull~r~ of t~rirt~~min~tion Ttt Jwould bt ~it~J( if 1t ~IJtbi) thfl~tlt J1nJI7 tpptabat~tm mtJbtgtlltll1t mcouragtmtntto foutJJm t1Jan4rfoltJumfltt JrtlltfJJJJ rlmu t4ttJ hertJttr bull Jftb( Dtt~itr aiftk dJrlmiddot 1
1ll mjiullt- th~tt lJU fo e~DlJ til flbfffll 1J_
pri~su rt~nttnrntu(JilltrJ Gnt(tmt~ith~ut tbti~tonj~IUJ lhh ( lmiddotbPfl J nor 4middot gbullmJltbdr tltls RPtrtm if t~oN ftrJJ afllltiJmg to rnrtttfllltbmiddotrlq Jefiri rblt~k m~ jtlr th] rtltre ~uwr mr~nt tiNt~ J (nmiddotow nDJ l11w 11 ttiiIbullrt~ttmt Q(lr~IJt bullMtillllb~n~l tkrt p~NJ btn~ GtJ~thmbulln ( btn H 1tJ4j ~middot1 fo mfcb pbullrnufor fo hulltMJ) tbl wbullD n ~911middot cl11~1ht c~n 4~ ItA k bull~ loiftr bi Imiddot~~~middot 1l~~JtMjrlrJIJ g_olll bullJtiK tlritil bullfhu tNnmng JifJbulltlltmtbulltJJ tblttll) bt(t11TiflfllJ ~~JUJhlllfJ nolliIYIIJ hu tiJN)t rl1tfo Jrtlo dtjilehim Cif ht-6middott nt~~zruiiPbullP bulllirbnmiddotz ii) tb41hfmaj(J 4ctrp1tbt N6inrri DnDfiiiJ Nt1111t M 11 f~cirnl Tiflsmonit th~t J ttm wat bAiflrJ oinflrt~DJ~Il Jflhtrtifl Iter 1 iraquo94fftt~r rt~hbullffibullNJ7rll ~ ~ J~fiijitJIIjon ~so~middotrbrr~fl tb~l1fDMJj~inc in formt llltil tbtY ktofMttlhm~ Jytbur gmzt411Jtjl~ ~INtrltlbltlg J IJ n1t j11 rnbullch 41 tltfirtthtm o 6elftbulltbull ltARJf11ould hfrrbl teacluhmr At lr~tp bow tbl) IJII~ bt ttmt je F r 1hl 1Jc)Dl 1 will foit 1n1J t hHJ mMch tbtrt blllh not bttnl u~tPttt of tbil fojhitm wampicblf tha jh11l1 pron~gturt to bt blWirtbmiddottb btAtHitJ rtfl fJfifjitJ) if tlbJtit~tor Pbullrewell~
Leaftanie ntan fi1ouldfeen1e to acctlfc tneoflingularitit for expref~ fing thetimeo( myfong~s by prlcke fong Neres neuer b~reto fore vfemiddotd Ihaueforhis ~euer innruction hcr~un~o indeuoored to fatiffie him
amp t r f A Scmlbrcofe Minnum~ ChrocberQampIItr
-----
~ qA~ ~- ~ 1b [G~ ir~1
~~J ~ v 1
~ ~~ c a
c ~ ~79 - =-m
IC~~
~ p _l
9t ~ ~
ll4 ~ l
-- 79
Figure 8
-
A Table of all the Songs contain~d in thitltBook
I loue wing middotd my hopes I I Jly louc bound m~ with ~ kiffe
1 I f bull 0 how my thoughts doe be~ t me II [ Ore ames ~nd I magi Oitiom V Nfcc thought thi~other night V l IVho fo is tidmiddot= 1 II fie fie V Ill e~~utic (bndc further I X Now what is loUI X loues God it a boy X I Ouerthcfebrookcs X I ( Whither 1Unnc1h my fw cct hart X II I Once did lloue X II I 1 F1ire womtn X V D~mtic d~rling
X V l My Jouc is neither yoong nor otd X VI I Loue is a b~blo X V I I I A rife XIX Did cuerman
middot XX To lighandtohefad X X I Come fa tro-w con1e
0
I l Jl
iir 01 11 -~
~~~ ~~ ~
t~ ~1
~P J
~~8 L e
( _] middot~- - ~
v lft -amp A
l -
I
~u
Figure 9
-----------------------------~
VLTMfiM fl IILE virh a triplicity ofMuficke
W HEREOF lbt firfl p~trt ir (or t~t Llltt J tbt Voyc~ and the Vbullolc Deg1mbo The Jcflt lbt Lbulltt tfH Yllt 2J IMrt
p1ne1 to fine The third part is foe twoTtcbl~t to 1fint ~it hc 10
lbtAr n- rhll 1~ bullr t-
bull bf ~ Compofed byR obull bull T lo bullbullmiddot
fl fr1fbull1JibullJ~ ~ 4111 Priorcd It london br r~ i JIIiWd
~re robcfoJd l)yS pfn (lw J bt sJ-laquo
ttfiN C01bull1 I 6 G l bull
81
Figure 10
r~IW~- ~~~middot middot~- middot ~middot bull bull
TO THE GREAT lOY AND HOPpound OF PCZ(ESB~Tuf ~Jgt rUTUfF
Times H E N R ~ E P ri nee of lf a cr Duke Cl~r41wt1 ElJieoflhc CIJjtJirfbullibulltifttfchtjltr Knight ~fthdiDIN ribkoJenf
dl G4rUr Hcyu App rant 10 tht Rcllmcs of Elrjuntl Scotbnd France and JrdoJnd
Ojl Exrelknt Prince T Jr flrengtb of our d rt (] houJ aythrrPuaf(ncsgt) cannot endure tbc force of Soueraigne
erltlCpoundOf1tcncarcitwemay tU ncarc u to you your poundarcJ TPillyet_ be arc to deale wuhfottndes tbougb nor to
dwcU there yet to pajfe by tbcm1nd by teJiJ to learn to tune Jenjcs lJ a nper a~c c-A lmo all attr k[JlPicdge ir drallme through the ftnfirtbey arc the Saulctntclligencfrf -wbcrciy (he paffith into tbc -world a11J theTPorld into bcrttnd tJntangl ali ~(than )there is none fo learned__ a1 the tare~ none hatbobtainedfa cxccllrnt tJJJ ufrtJjodelicate1[a ablrufe fo p_irituaJ thAt itCIJtChftb rup TPifde fo undet in tbe Jitt and brin~~J tk Under tJ goucrtJC1fttnt ntJt to he expreffi1gtbut donegt and done by no sQll buf it otPn~ Thereu Mufic-k in all thinretbttt ettery tnan cannotfinde i t Ot4t)
iltampAJJjeofbilo~neurri11ghee MJlft baue 4 harmo1J_J in hiinftl[e)hat hold goe-about it and then bt u in~ good way 111 be that ht~th a gwti ~artJ in d
oudfot1llardtUJ to our focultit [ onceitc u but aTPtll tundejat~ry done in tinu ~ pLsce ~~~ ex(ellezt fintencril hut a TPell lHn~e rea(vn Dell nit ltgethtr P ollte or the fubt efl therof a [omit 1on IJ1ellltbu6utll lite I tuul middot e
Song T~htr~-allr41ltl Joettgrec ana lnccte together~ith foil C011ftneanti lJartiJOnJ one Jertung otherand cuery ont rhemfeltlet in tht Jam~ lAbour ButnolP] intrudeintoJOilr llrtin whicb 411 pnry(anJ ftc hoper)thal q oJ ~iff giucyou a oJy aru profpetOI~S k_JoIIJfedge anJ t)en aJ orhtr eJ rtCS foal profPpoundrnder it Our gracious S tll7aigt7(Tour H~h11ei dear FatJcr) hath ar11trd atul conortedjomc great prOfifiolH areaJy~ fi~eh1ittleoneJ dJ this )oo e for itgtand heg il cfw OJ4 your p ri nccb nature promi[eth it J hich m4 es nv boJJnet bopefor p4r on ltJucbfiifc tne(mojl exctllcnt Pr1nce) )ourProte8ion Ph(f1flt)on41lowJall Qtbtrs rPill conrmtnd theircenfitrer n A it fobulluoflrlikjngthst ot~~rraquoJift1Pold Jifpift me bull EN en your n meJ the forefrTJntu ll charmifor ~~talttiOHl trmgtu ThAI praJtng thatyour Htghnt IIJ aDtaet h~ttte dtJ tttre t~be te alir bulllltuJijingulj1J ~tht _fo14tuJ of lTlCth l necl tftJOUr Higbnes feet
Your Highnes in all hom blc tl~~tJt AIIJ cruice
RoaampampT
lo N s
82
Figure 11
- ~ H c ldndc A pplauf~ vherevith I hau~ been~ revardcd in n1y former A yrcs hr fuch Gcndemen as can iudg~
~~~mJ Imiddotb middot Y the e bull are~ an not other 1n~ns Echo~s hath nov du s ~ middot durd t1me gmcn n1e heart fron1 then to hope for the
like in tbcfe V hich l hauc corn ofed cuen to hew n1y
graticude rovarcles them I lulO eucry Father is paniall ouer the i ue ofhis body)and hauing his iudge1nentcorrupced by Insaffecti- onis VOn[ rofpe~J e bis Chtldrens prayfesaccordingto hisovn de fires rather the i1 I he ir de f~r ts 1 t tna y bcJ h aue thuS oucrlookcd this iffue ofn~~ br3iue whereforel wiU onely comm~nd my pur_pofceto ntakc tlus lail my bdt expcchng to reade the rruchof my fdfe out of thy reporc AnJ becaufe ant notignorancenough)to b ~egroffely taxed by any of our cunningJvlaiJlers nor bigge enouamph to beflar te~ed or c n u yed 1 hope I 01a1J not be driuen toe nq utre out my en~ 1 middotes) co heare of n1y fa~cs nor to befpeake mylriendes~uour F or ho1rvloeuer l an1 fe t in an vndetfortune thac hath need ofampicndlhip y~cit n1y Vorl e~cannot 1ufiifie n1erny wordes Htalluotl bad rather dye a be g r 1tbcn Jiue a boaler what skilltimeand mycontinuall
radifehath biucnme)hcre I gladly impantocuery wel wiUert lat gr(tuntcs me buc acc~tanae for my paines And fa I comn1it my icfe to thy cenfuse1 F arevcJI middot
7ohertloner
( middot
83
Figure 12
A TABLE CONT AI-ning all the Songs in rhis
BooK E
1 ooenotO do not prize thy be11utie 2 middot 73ea utic fote bathing h y a j pri ng ~ CjoctobedfrJJcct6lvluzcgttak thyrcjl 4Shalil loaktampoenogriifc 5 ~Pbar1jJ fpcd1t1hert 1 leafl cxpeEled 6 Slpeetcijyoulik and lotte 1ne fliJ 7 SetifetrothledrhoughtJtofgh 8 Scinrhia~cene ojSeas and Lands 9 rB la111enot tn) chee 1 I l o There is a qardci1 in hc1 forc 11 S1reete Loue my oney Trcafr4re u ~hinkft thou 1_ate to put me doUJne I) Jfhen willtltfounraineojmy tea res bedrye J+ F lye ji-o11J tbe TParld 11 Happy he botofrraquo etebomc retirdc
-Thcfc following are for z Tr~blcs
l61Jiftlaine thntjoll amph Jilfne 7 middot o) et)erchangeandjjttre not
I8SirctiuftJijJAineh 1~to ri t
19 cuftler ry hands lo vh ue lgrt~ceintreatetl ~o Oft haut fmJe the cartfe to ftn e ll J(o hAuefleamd-mithmuch4doot~tfpjl
B
84
Figure 13
ORTHE FOVRTHBOOmiddotICEOF A Y R E s
The Firlt partisfor tbe Lute poundVO Voyce s and the Viole de G ambo The Second part it for tbe ~amptte ebe Viole and joure V oices to Sing The 7 bird paramp
is for one Voycealon~ ono ~he Lumiddote the llafTe Violeot to bach if you pleaf~ VYIrrtoj~ tAlo ut ltzlitn AJrtt middot
CompufcJ by R o bull l ~ T 1 a bull s
2f trfont (intIJ J1fJJmiddotil4 iMMJifl
L o P n w lrnplintedbyloHN WI~ D T andaretobcColdcbv StCO-rt w TElSO lol inPowlcs
ChMhmiddot]tlfd)bulltlhl SlJt j lit Cfll~middot l o 9bull gt
-----
I
--- 85
Figure 14
1
- ~~
TOTHERIGHT YV 0 RmiddotS HIP F V L L AN D VV 0 R--
thy Gcndcn1nn Sir I o H N ~ E v r N T u o u r pound Knigbc pcrptlll3ll liafpinrffe and [or~tcrlt
~~)1-lpound--- -- fmiddotts not vnkncvne =nco your wcl deft ruing fdfe 0 R igh~ V Vorfhipfull that not long fince 1 cooke n-1y
V~tiltttm )a[t vith a refoluing in my ldft lHter co
put llfh aoy VOdc~sof che f1mC Natllre and Fan ion VJlereupon) betooke n1e co the eafe of n1y PJIIov
middot where SompUI -auing taken poffehionofmyeyesand u 1orphttlf the charge of my feofes it happenrd
~~~~Mmiddot~~~bull rnee to fall into aM uftcal dreame wherein Jbulldl middot nc~d - to haue many opinions and extrauagant hun1ors Lf
di uers Natures and Condttionsfome of rnodet mt rth fame of a marc llS Louc ~nd orne of mofi diuine contemplacion all (hefe I hope 1 fl1all not gue any dtilafie to the eareror d nde to the mind eyther in their words or in their r~~ ueraUfoundsalchough it is not nec~ffarie co relate or diuulge all Drean1es or PhanrafiesthatOpinioo hegcrsin lleepcor happeneth to the n1indes apparbull[i onAnd continuing long in chis my dreaming humber I btgan to avake anJ vp n my eyes v ndofin~ l bethought n1 y fclte being full a Vak~d aJu itlng n my n1ind Vhom~ to dec1 and chute as a Patrone for the lan1~ l Vas eafily in -ued to n11J~e choice of yqur V orO~ip a3 one to V hom~ I necelfarily ou ht
both lou~ and duety l nJ howfocuer l m1ght feare that you Vil not adamp0
ledge it yec in thlt Nature ha th inricheJ you Yith more chen ord1nlrie know le oe in th ~ Art~ be~inga Vi ntsofthat Lo~t~ Vbich you haue ahvaycsl ffor
ded to Mufick gtI en1boldened my fel fe the rather ro pre(ent it vntu ycu Accept itthen(good Sir) as a T oken of vnfained Loueand a e be
worthily Jue ynto middotyou for your many fauours done to him [hat is
uft)middotour lforhiju conJmaund
----
86
figure 15
Thi~ Greetin ~middot bullbull
~~~~ HoulPhofo dare itcbeJ ltJith the VJrietie of opinion h~aring thinr oraquome otlJdtJf tJc ecchqc nuerbcrtJ~ ing otfJeTJ fubflt~nCC and lmprofit4hfr ~n it
middot jtlfefhclpt s to tbe IVorld comfJrtaJie liJc though to thy orvne ~Je bttle middot~~~~pleajurcLJ retjon of)lnch-umiddotirbl~ctn[ure I fpc zlte tot bee m ujirall Mo tuusthotljimiddotcm ruboft Jucctie IUimhcrr ~1 J rajiy pafeJJ drop1 foil in tbc jhonre Dt4l
)ithlrjfiprofiufcomprutmiddotthcetothqhlt nuy Jr4l tbatjlitr int0 11UJUCJCf and ltJill twt tbcncertJithout much troubli) or tbuu rn t JJ Jfper[el iulgemeiltgt not oneamp art afo jeniru tofecing kJonde~~c hut moj fo ttlty f ct o d jcruing i~Jdamptflr]fL~~gtg 1110zte r ctU of the 111oilpurt Bilfoaud Jmoothiu~ tbt~ plztncl Citttl ~ rvben on ely thine on~ne opt 11iltJ1J it more nJrinc~lcd and more vitiotH mit ~( then grcjJcr10Yle lo tbJt 11 a brujh 111
jcFlcdlPilhfithgttbott ralbcrjomiddotlcfl theti iiMI( pebullje( 41VWl) I ha~1e jlooJ atthi11c e lho1PJ andh~arJ tbcl prop~Jtne cur a 1 dlfit c1 bcfl J(ryu and 1tJith thy lntu~zde ref 1b Jot f~rde~J rfl gnoh iy l4J1l ltJJilre~ ~nil f f~ renot g~eaty_tJat tboul~iltlay to raquo1J ciJatg t 1 111 lD vtfu111C )Oll11 ~Cttrrag1tRf 6ecaufe fft011tied a r ~nuch but 1md~rflauJ me tbou-ns ~VIitll dojcanterdtriur Ji o 11 tba t JCrue fPlaineSong charit4bletJtlm hers)and tbotl (hale fnd harb Joicr I ttr~ ojtrtl t1 J0te ahoue pound redr1c el hJ tn~er
izulgtment n bicb 1 htrc4Uc tht of tJmiddotorPinrl by RJtler are as orr nelll cmne Lutf be~ -_ ing ofrJany ftri~I(CfIJOt((ffamp tJjJJlmlcflr ~~~ ~dllefittlreti1 praf1i(tput fon~4rd it1to
dcjerurng Dst4ijtaiJ rr hH nIJ aduerJI ure I r nomiddot rtccd but drtanze) and utJat art tlrcamei poundut aiJie fCtjcfi iotJgtandjcttrall ayrc s 6reathll)~ Jarmonio111 llilijperitJgt tbongh to thee difcordlmiddotet toolbcrs indffirent 1rvill not ttY cxcellel~(~ becHfe it is 4J
othen otflce 110ttni1u 6ru let tbcm6~ as thtY arto~lmiddotcn propuu tul my p~inct _(rt forth j ar pleafurcgt uot for pw1HJIc~l poJou Jiucfl itntrginatioiJIJO but aJ a fhorPrcjt~llitiJ i1 ~urcdfuil ft~fouJ~ 7 jJtUr m fmiddotlje atlrajlaJJd wrl(ay fo et4er bY au otbmiddotrj lPhofe IJ bourfhJI vfJ(t Alujt~udl uuulu~ztt -~ Jbe rmeiy rPiug fJ IrJe courage being tl1e mofl pltttfo~~ 1luice ~(11~ 1) nmiddothotjnmiddoteet~rc J t t11chcr h 1m to hcaiHIJ itfelf~ Jt ir Jjara if a thi r pztt1cs rcpt ntgood romm~ndJti~Jniand it lf t~ttr Ulrtlll out of 11 Flint itJ the toll ith l hou ntHer rl ink (I u ell of di1J 1 Jn ~rlJ bull(rt in tb) fjto v nri(Jifi1 encr aJ l lJ Tt~tor jranJ tbr I ~ Jllol middotrc fotdtlneuct Jnn rbcc 1~1~ it~ irune be 4J thott art a h1mp of Jc(onnity lllbm I Jjhonbrcldt i11 tbe Ufvdr ampi diAI~ir~e nd 6rontht forth b1 b~n~iulr l1emiddot g~r ~ t htftt r1 11idn fc to ~til t i nc m n rt f
j i umiddotme lc u todrplrt Jmiddotor ifnd J1Ntbout it J $111 gonec rtltfic o~ til)middot crnfitrillifi arf jJ~IIy p( ~(n 1dcd thuu ca1Jjl110t thiole tlrlnd tcrefurc art crufl tiJ thy [raJie 11 IHr pound0 1e btu (rttclltJntl being 6on1c wit b rce tb irJ tly bc11dbit eucryeuronJC D47111ele t jJ tbir orwbat rijeboncfl iudujlry~nxcr th) ~111 egosip trJo
fucwdl1f thou wilt in ~in~llclfeot hoi~ tlly fClfltfitgtm1inthcr cupmg
87
Figure 16
lee Caldi fopitmiddoti Samor nfltJ c t~t du119Uc
B
lO
l~
------
88
Figure 17
Or [he tift Bookeof Ayres onelyfor rhe Lure che Bafc vyoll J and the Voyce
[ompofedb) RoBs R T IoN E s
QEe profontjingula mdta ibullmant __ _ ___________________ __ middot~-middot -middot middot--- -
L 0 N DC
rrintcd hy tlbullc Afigur~ ol ~~
Jij0ilfm lJdr ley t 6 1 o
I 89
I Figure 18
TO THE TRVE HONOVRABLE AND ESTEEM ED VVOR THIE THE
1 f q H T If 0 7 S H I P F V L L r If E LAVY vv R 0 T ll
~~~~~~On Honoured Lady my ddcfl anJ firft iiTuc hautngthr(ud fo ~middotdl vnder the protec1ion of your Right Honourable Facher blame not this my yonshygell and h1tl Babe if it dcfiroul1y fecke ampnctit~ric
~ with your fdfe as being a mopound1 vonhy branch frotn fo Noble and renov1ned a flocke It is here uarie tc I
a - your whole houfc noton ly to be trudy Honoura7 bl~ i o your feluesh ut to be the fa u ou rers and fu rd1ercrs of all hone 0 and crtuous end~uourpound in others And [hJt n1akes n1e fo farr~ daringas ro prefunle to offer rhis o~dicadon to your fJire acceptlOCP- AnJ hovfoe uermy defeCts therein may happily (or rather v1happtl y) be n1any ~t an1 I moficonfiJent(and tl1atgrow~s fion1 tbe worthinefleofyourowne nature) that your 1-Ionourable minde middotviii he plea fed (fince it cg s c fc lfc moll humbly in your annes) to giue it villin~ eqtcnain~ment and to countenance it Vith the fairc Liuca ie of your nobl~ Name It may bee flighted in ref peel of its ovne valev bur your f1uourable acceptance
wil~ bot~ grace it andmy fdfe a~ a poore Table hung vp euen tn Pnnces G lJoncs ndt for lhe VVoo ~hut for the Ptdurc
And fo (Noble ~ad y) not d~ring to bee ir~Ious of your rlonourable entercaine
menc I rcll
-I our LaJyjhip Jellcted in all dutit
I
RonERT I o Npounds
-----
~
90
Figure 19
~ )~To the friendly Cenfurcrs
- Eart jriend1 for fi I ~sJIyou ~(you pltbulltJ(e to acctpt my 7ood lllttJning i prefented yot l~fl rraquouh a Vreame i1j
middot wbich 1 doubt not ttt Ottr jJJta(ies htJue receuud fame rcafota6e contentment and now f JO~t pleaje to lee 1l9afd ortt of that VreiJJne f jhaU for your rerre JIJOIJ 1nd rcfi pound(bing guide you to tbe_1v( v s ~ s G A u ~
~=-o~-o~~ o EN Pberrytu (halljindj~cbVttrittiemiddot of Jelighn tiJt quc-ihunltfeJmiddoton n ill wilitt~Jjcnd fome time in the vien
t rrtof 1 n )Ot~r 1jentr411Ce into -which Cjardtmiddotn) yotl jhJIJ mtett ~ith Lout 1 CJr r and li6tl6ht bHt L4Jur frt foortb at lt~rge i11 biJ colourrby JFay ofdecypht t in6 bim in hit 11 ~1turt_~ ln the midfl ofzt yat4 fbaU find Lcmt rciefleJ) vpon t~rLnfu~cie 1nd b1rd mtajuteoj-ingrt~titude T ruching them that ar~lourrt gtI cr1 tumiddot tl1em to tltiro1~ne Ctl~(ure in Lout I defcripttou eJrul nowfor tht end it tf )liJn~ble UJ anorbcr ~ tur)for tbedcligbt oftht ettrf tnjamptUJjit opbull~1io1 14111
nM ft lrogant loco 1mf1Jd mi1te onme gitt neither yet fo Jegtnerate IU to be-g )Uto tdl(rartvn fftbejt d hgbtroFloftl(rt) or)4r(tico[PruittY ruaymJ
)1 ~1~Yt J -t rle _rjtng WJOffr_(ut i 1 jla1 bl gitJd Othel TPije J raquoiiJ )O)) nelIICr to J~middot t_fot~gtPluu orgraft and my ittbourJ butcrflrtb jh111l rtaft to trou61e)middot~ott
iJ Jt41)middotilln retlr lniflil r ~-tren ot will f1etunty ourctnforesl and dcfi~ your malice if you drJfe iht 1 a111 rifolute 1
ijyou11[e me r~ith rtjfe(l 1 bidJou mojl bearti_v
R I
--I
91
Figure 20
THE ry A11 L E
~Ouelouc=
middot~ tpound1 Soft Cupid fofi middot~ Alec 1 the fiUy 6th begu1c 1middotmiddote lounuhtcs ~~noake o =okin~ hy ti~( Riocr ride 1 n nnot (n 1fc but liuc 1 (mile loy in lhy Imiddotmiddot ( S
How rn~uy New yccrcs luuc grow ~n nldc There vvas lt~~ ll lcptCoJrd bull hn d~d litH The Sea h~h 1nany tbo~L~nd llnd Omiddotlmiddote dimiddotJ tnt thoHgh 5-both cLbc bullnd Sow l ~m b t~rrt ftom piuyh g th rc h 1 2] lately in a d1 came There wu 2 wil y a ddt My f~thtt fampinc would hluc me uke Mv loue harh hcr trot L ue bctro11d All roy fenC~e thy tweeuncfl~ g2incd T middot t~ CC de1fe A fpc wnh dyna voice Ddwld her I d ct like wire~ ofemn Gold 1lhouwb d1lt 1iogs ufmy ddirc h( dipt _l~ht 1 rcdccun cnln cu on witu mtnc ryet
middot
92
I Figure 21
Robert Iones bull XIX CANTVS
-~----- middot_ - ---------~- htl_ _+--=--= =- middot __ - -middot ---=---- - middot- --- -==== ramp-1==+~- - middot -~------- middot-- ---- ---___-
kt her goc
rtmiddot-w
bull And 0019 lbc rwofa dit but hu Nzyny)l moRneoctdlyou An yri I will ltis fo ( 1
A5 tlaquobelt tahha ~hen loucn IIKGC
5trt ~oma~oo tk ~ ~ Tatdl you mateilis necdldft~ I nnnt md c u hew by middotthe 1ooe And tbcnlQll chis wu ooJ~
93
Figure 22 ------~--- ---
bullsAtlV
llil 11 ~ middotl llh1J 11111 lllll t ~ I l ~ ~ I II II II I ttJ S amp I a HIH lf lll It g I J ~ I L~ Ill~ lt lll
vi i i II t middot1 ~ ~ I I II I ll
r
I l I I
l I bull
l 0 middot bl
1J 1 bull i ] _ Q
middot a middotmiddott kl U I I I I
_____~_=~=-~JIlW~ wrong bdccue htr not it wu not fo I dJd but lilfc her I did b~ Lilfc bcr aac~
-__1---------- -middot- ------middotjmiddot------ ------------- - --- -~-- middotbull - ___~__-- ~
~ ~__ - ~--- middot --~--~
----- -------------middot--------------------===-================-=-=~--middot---------
4
Figure 23
Rob~ rt lonts Xlr CANTVS
~ F 1 r ~ l ~ - ~ ~ - P r lt1 J c r bull ~ ~ r t r- r n t b c- - c
- middot (~-middot~ ~ ( - ~)7-47-~- ~ ~ amp --_-_ ---_- ~sectC-~---_---~- -(--~- --~-- -- -~ -_- - _ E - -- middot- --- --~ -L-~L-middot = middot ( -- --~middot-- f -=---~~ -77-_-C_ - t _ c ( t2 - -= ---~---- -- middot-----------
middot~ middot
n_ tt=l= -iIt~_plusmnt_~~poundltr=t=~~~=middotumiddot==---= -_ ~t=-==t=-=xtptl--~=t---=-t-x~-E~=-------
go there be many mo I fcltC nor why then let her goe 1 care DO[
---middot-------
l
Far--cwt UfJrewdllincc d1ls 1 finde it llllt 1 will not fpCod more nme in wooing you
nul I iH cce d w htre lfl mivfindhctthcrc S1=-ll l bid hct goc Vh1~ and rll Jocf
Sh~lbid her go and fparc not tll oo oo no I date noc
J Ten Lhoufand imes f1rcwcll yet fl2y I hilt Swca kilfe me onceJ t t ltdfcs limcbcguic 1
l h~ue no pow ~r lo mouc
How oow 1lt2m 1 io laue W ilr d10u nec middotbe gone Go then all is one
Viit thou need be goncoh hi~ thee Nay 01y ~nd doc no lnoampe dcwcmec
Once moce flrewcll t ~lorn rodcrrwrct Bids oamp adcw to her due holdcs Ill bm
But fcdh~ r mnR kgtof~
7hy loucwbi h ldid chufc Go rhy waies for 111t_ smiddotncc irmay nOt k
Gothywaiesfor mehucwhithcr Go oh burwhcrcl may come lhitber
r Wh~cCh~D I doe~ my laue is novvdqnr d Shccinsramiddot~ -a -c iscrucUhart d
Shcc would nor be intrc-attd Wirh pnicrs oft ~~ -J neccomc no more Shall I die ther(forc
H tb~e come no mor what c~rc II Faithlctbcr go or c-owe oa
(
95
Figure 24
---middot -- _____-- ~ -- ~
I
- --__ -----~ -------__- ~-~~ _ _ ____ ___-__ -
- middot --~~--~ ______ ------------111middotmiddot-middot ~-_--------middot ----middot---___- ___ __ _______ _ ____ ~------~--~-- ~__~___ __ _
------ -~ _~-----~- -~-middot----------------
96
Figure 25
204 SONG
CoMIOS-U uv middotnoLn nT Jor-o Js
~ - I middot middotluoted by ShakbullHiU~are - ~~~~ homiddotm tht 1 Hnukpul1lliOI
middot~ h-51 Jggff==r middot r~ Fate- ~ wtdl (l~arl loe since thou wilt needs he gem~
-=-t middot g-one
luC 111inn~ thnn wile IHls lu ()UC
J J loftgt since thou rilt nteds middot lumiddot
1 Jp4 J =-amp=imiddot------middot -r~--t-11---+-middot r=~-r=----middotJ__tJJ middot Jnine ttcs tloe tth~w my life i almost done
--
fl-=t~ -
IPg I WlH y middot t
~fLSI==r=f=lplusmna min~ eie doe _ 11hew
r nbully middot lite middot is almost douc yetmiddot J wilt
rplusmnHmiddot ~ ~ff my lilc iJ ycmiddott I will
Imiddot r--d E4 m y life ia almost yet 1 will
( -~
~__~middot--==--==t~- ~~plusmn 1
ne Vtr die HO lni1J t I ran tpit 1lumiddotnmiddot l)l- trHlll)
~- Jl==q=T-=_==~-middot- ~T~ - 11~~----e= - =r=-=ct ~middot - r--==EF~----=I-~-===+=FL0 - middotFJ==Z=c~~middotmiddotmiddot- - -
n-=- wer dit~ lon~ as I taU 51lio tlu-nmiddot ltl ny nm
~MIEF F i t~sect E tr l I c=middotreg~-~~~~-D bull v~r dit bulln oug a~ CiR hllie thn c 1-tmiddot uuuy inu
a~ t==t~~ r _ q~~~-=-~ ~= lllt - tr tlic ~ ~0 long lUI I I can illh t1wr htmiddot Utmy UIU
97
Figure 26
LO)
J t W=- --~4-~ middot thoughtlmt 5heeclre gomiddot -there he rnan u1u I If~ -1110
I I b P c ~ -B - j- -k=tJ4--t==fi=4D_ I ~middotrt thouKb that Hbec llo e Jeo fhuc be nuny mo not
not 1 _why tlnm let laer gne 1
Eamp--e - ~ - 1 r
1
uot ~middotby th~n let her gne I
1 F~nbullwell fflttbullwl1 sintmiddot tlll i I rt11ltltt li truemiddot I will 110t 11p~ml rn~bulln~ time iu wouing- )Oil~
Unt I lt~ ill fttbull(bullk tmiddotl~ wlwnbull If I m~y fhnt l1r hlaquo~tt
Shall 1 hid hlr gnf hat litnl if I de~
Sha)) 1 bid lwr gne and middotpar~
0 no no tut no 1 dare nut not
l i
Ten thnmbulland bullimt-11 lart-wllII)Lbullt 11taymiddot Jwh ile Swevt kisse me onctlfmiddotWNt kis~d t ime b(J~middotuile
l hamiddote uo flPWer to mmmiddottbull lluw uow arn I iu I on Vilt tbon n~tgtd8 be gonemiddot
Go then) all i~ onbull Wilt thnn umiddotN)~ btgt gontbulloh hie the4l Ny ~tay oUHt lintbull 11U lnonbull thmiddotuhbull lll~middotmiddotmiddot
J L IJ_ -
0
cnr-r lOt
-~ 1-e lg
care not J
JJi I 11laquo1 ) ~ar-e not -
0 IIi
ca re nut
4- middot bull ~ Onc-e more fu~wbullmiddotll~ l 5ee )Qth to dlaquo part j middot
1
llid R ull bulldew ifl lwr that l1ohtfbullbull my b umiddoth Butmiddot ~~ting I nnut )O()In~
_Thy love whkh I did chuite
Go thy wRie Jbr me _ Shlfe itnu1y not he ~ middot
(4) Uy WHit~ for me~ lu1t whithfr~ bull 0 J - f
Go oh hut wlu~re 1 mRy come th~~lur
f bull bull lmiddot I It tihaH I doer my lo~ it now middot-middot~middotpart~middotd ~ Sheto is ttll fnirr asmiddot6hee ls cruel1 harted
Slu~middot would nnt h~ intr~ated
With pra irra oft repeated ~ _ ~ If slw~ f()rne nq more middot middot ~ ~
Shnll I middot11~ thtoreforf I
lrsh6e come no mor~ batwh9t cbullr middote I~~ -1 FHifh)rt htr gnor lomfor tarry
98
Figure 27
CANT VS vI I I rCDERT loNE~
== ttf=y-=-t-===~=~~plusmni+==---=middoti--=rr~ -t=-r~==t-=t= W sect~~= - =i middot =clt=cL =~-t=- -middotr ----=i_ --~ ~-- - -middot-- middot-- --middot--- ----middot-----l- --middot----middot- ---middot middot--- -middotmiddotmiddot-
Clut no I phinrly Cu how chou wouldftbinclc~ucauurc l ~a~ t c11rll not to gofatbullu a
1 r 1 l 1 l r l lmiddot r ~ r i r --- ~---n_plusmn ______ ~ ---J middot- ~ s L -d--r--gtlt---- J LL---- J ___ c_ -------j- ~-n1l ~1~( _ _ il_il_ t_ ~----nt_L- -----_[c______ -+~~ 1--L- p ___ -L- -~--Lpound ____ _ ~-____ j__ __ + ------ l -middot~-- ~~- l --1 __ j_ ______ (__ l ~10_ -~---- -- i - -- - - middot - middot -- - ----- - ___ _ I _ __ --middot ~-~ ----- - 4l_ __ ampJLt __ --------~----P-1---~middot 3 __ c__l_J _ _r__-ltJ ___ _ _ _____ L ------
- n
--~- -~--+--middot-1--~ 1 middotmiddot---middot--middot~---- middotmiddotmiddot- -----~~-middott- =--~--- ~~ - middot~---iL-i- -~-- -- -t- r middot-~- middot -l middotjmiddot -bullmiddot I- middot -t ~--~---- -t-~~-tmiddotmiddotH- - middot -----t-~T middot ---- -l -- ~ middot-07- middot- -middot-middot bull ~-Lmiddot- J bull---- ~--- middot-t- - -- - --f -middot-- - -fi-l-L- -+- --[middotmiddot -middot-~ middot--middot--middot--1 --middot-- - -- - bull - -f- ~- --I=_ --middotmiddot---- _I __ __ _ --~- middot- _ _ - _ ______ __L _-t _ middot~_- --_middot--r~ -~~~ Q-- -
fuct 1 wlscnrfiO Jic fi~ nofwtctt lhy amp 1 w 11i leU thee why noafuc 1 wu ace urn JJol bullto goc oat bull
t f t 1 ~ lmiddot t r 1 1 t i ----middot-l~a--__ _ __ St_tLi-3---- --~(~ l-~---1~-d- a aL _ __ _ ______ Jtl a_JAi~-11---~-middot(_---+7Jk~-- - [ A--- -----__ lgt __ ~-1 ----lmiddot l _ ____ i-----middotmiddot-----~--L-----6~ - -
S-( _ 1-h_kJ--middot ----middot ~- L-----Llt-S-L----L__L ------- _______ J_ ______ ---Aplusmn- ---__ _1 ____ -middot---bull ~ ---~-~---1 ~-----L---- 3- ~_t_~- - ____ [ _ __ ~-~- -A - --J
----middot-1---r--t---------t-t-middot-----1---middot ------11-I-t=-~ middot ----L-- - -middot -plusmn --- r-middot-~--- ------middot middot --~middot--- 1--~-middot _-middot- --- ~---------===middot ~-middot-b-1_ --middot- - --- - ----- -~---f- ---fmiddot~-- L- bull - ----- --- middot--- -1-- - ----- --~middot-------~- ---- -1middot-middot1middot-middot--t- --J- -middot- -- - -middot--middot----~-----shy--- middot----~-~ ---- - --middot------------- --~ -~middot ------~- ----------middot
firnrurc I wu l lturfi 0 fie fie oegt rwct lll) uu J will tell thee why no
t I t l t lmiddot~ 1 l -L--~- - - middot-tmiddot J _______ ncU ~A ---S-A-------tl- -11- middot~-- - - --------middotbull-- middotbull----t_ _ _~_ 1 ---middot-~ - ll -o-A--AJl ___ ------middot- t------k- Jt-- -~~ ~--middot- - - - -- -middot- -r~-~ 4- ------llmiddot - middot -
-_~------ _ --~-~---t- -~-----J-- -- A- ------~ _ ----- - bull 1 --middot- -L--middot -- ------------ ~- - c --~--------~----- --------middot ---______ z_j_ _______ __ ___~~ ~-L-------a-e middot- ----middot --
J Oncr m()tdrewdllincc fiJI l 1ord lh_ lpcak
1 uJ bull 1rl bu1 (mlIJrcwcll ubull larHIWout lbullrcalt( Bbull middott bullbullo middot ltn( 1 Joe linJ 1hy loumiddot~ 1lltkt 1he -middotioampl
Wl11 1 l olo-u I Tl llcl-1 cro die
Whlll foolc- lnll u aor Y t fq 1 at l (oulc J ~~lfc nor
)
Wocnne ai~Gc h) diJ lllt[ b_im soc~ 1 hdc be the ~middotutccs of uilc fiym nbull
Now tbu hec o dfproucluchow uullhc cuct loucroe Nay bu t n he gCncbull
lhcn I am bullndunc Nay lnn i1l1c ~oneO hodliD
fl(c-uy hing lU ~CCVD oJcihua
vi gt VI V)
lt a
99
Figure 28
1 tn 1 I I I II
ll 1 I l middotI I I ll l l l tl I I i Imiddot i I i II I 1111 ll I l n I It i i Ill l I d l t I I I ~
f Hif tt I I ~~ I if t
1+1 ~ a j
thll
ALl V S
I Tl Ill i II L I I I II I I
II II I I rL ll1 I t I I
l i I I I I I I I
Iii 1middot I t
IHL IIIli
I I II 1 II l I II 111 I I I I I bull I I I I I
I bull I I ll 1 I I J
L t I llmiddot II ~ I ~ middott
I I ~~ ~ 1
I 1 t I 1
111
t 1middot II I bull
I tJ It I q I I
~~ I I I I
r
I z-1 __ 1 __ =t=-~-----1- - middot -~--~- ~ -f=middot -t=--~--~- middot~-- -===-middot~~-1 N~tsect t-~--_ _ c ~middot _--- __ _ ~-- c -=-b-- _ ~ ~ =-=-=--Xl =plusmn=
- b--- ~--_ __ -- -----middot-middot --middot--- - ~ ___ - ------------~-
nl rJ iiOr-T 1 -
ArCwtll fond )OUt h iflhcu hbulldR llOt bccnc blinCl aut cf Dline emiddotcbull thcu mi~tu n ll)Ut read my mintl ~~ J411
t==+=i =middot -=+-middot---poundmiddot _Emiddot -~ i=j ~ -ti~- -Qt=~ middot=i==- -tl-~- --~ - -~shy~t ~-i ~----+=middot = --~~ - -= bull ~ _ +=a~C -c + -~-=-middot ~ ------ -----~ --- --- --middot -~ - ----------laquo= ---- --~- middot-~ middot--
but now I plaincly fcc how thou wouldll fainc luuc mc(orc lPII~S Uturflnot hJ I)OCIC firtlft~re lu atcurflO hamp
-=t~-----------r+--tmiddot --1-1-l middot 1middotmiddot-r~--- -- middot middotmiddot- --- ~------ - )middot~-----~----- at-middot_t-~--1= 11_ ~tc=l=~ Ei middotmiddot-r- --tI +middotl =0Etmiddot plusmn middot i irlttmiddot ~ - ~-~ middot ~ --plusmnt-~ - - ----middotmiddot-middot---middot--- -middot- -middot _[ - ---- middot- middot---J -- - 1--l-- - -- - - - - -- -~---middot------middot--- - ----middot-- ---- middot---middot---middot+middot--- -~-r-4- -- --middotmiddot fic6cao fwect Aay ~nd I will cell thee why t~ofurc I w~~ accudl not JO goc at firfll(urc 1 wu accudl ~0 fie no f wcct
100
Figure 29
I
CANTVS
lt ll-rllt 1r1t 1 lmiddottl 1 1 - t4---6 A-A~ d~Apound~-fi------ ~ middot ---~
bullmiddot te_- ~I i~~I~- ___ --=~rmiddot --t=Z=j- = --Lt-- -- - middot--- --middotmiddot -- -----middot - - A-- middot - -- _ _~__ __ J ___ _ J_ - - --- - -----~ n a- L r amp_-4--- - -A I - -
~ - - -bull -middot_[- _ - - - - middot - -middotmiddot - - - lt- ~ Ll bull middot- -- ---_ middot- --- ---l~-middotmiddot -~ middot -~gmiddotr ~iiftmiddot- middot--~11--j~-middot _t~middot ~-- plusmn~~ - _-- -- ~- _ J middotmiddot~ - middot J J -- - J~ ~ - bull - ~ -- - ----= ----middot~ --- ------middot -------- J __ ___ --f ___ ~ -~----- -----middot bull middot- - - middot--middot- -bull- middot --- -- middotmiddotbull--- -1-- - middot- - -- I - bull bull --~-
I
bull A Mble d~middot ~fc wH ~ obin Jhlod - V(c l ~t be cbullJultl J ccc 1uc Jumj
yet r- ~r r middot~middotin hh br ltlt H lmiddotllOJ
C u iJ~~I hbulll hrlll bcruuc h middotlll to gr u rn ductelbulltl-hidkn wJltr ~kinmiddot
then lnauty doft lylo~l~ddn womcnt C )CI
Htf i lly jobJh
4
J An Our-b lr as 1his Rollin I lood
H1i l-1fc free and vnruly Yu [O fitc M~bullri~n boull d h~nood
Atul louu debt payed hu duel y Who111 cur be of Ctnc lmllaiyen could nor hold ia
Louc t~ri th obe)middottd~s mJ a winLt could wiltnc Heyiolly Roh
NoW~ w(nd wt l1olll r ilou1 Robi ro HooJ Lc~uc wuhc woodl bchsnd vt
_our fl ho n1 muU nor be w~lhfiood but ~~nr whelt u fi lld ll
1 h t Ill hclIbull11J h)WUC 1 bullud fo ltltd h( I otm( w r icentW~HJdbull 1 1ootlollnwcd r
lhr ullzllt~~J
v~
gt Vl V)
lt
Jlftl
litH ~~rm ~ middot II
I Imiddot~
I
II tt-1 )~
101
Figure 30
I
102
Figure 31
CANTVS bull III
W=tRW=~~~~==--=-------=--=--=--== 0 lollc is but 3 bhu~1-fwtetmiddott I en r r middot r r
~tP ltm~~-~t----~-
Mu1enorvpon hCI fmili ng lookcs Thinke thtr they ~re bttt baitcd hooka
Audu fncy Loudufranzy~
middot e( not J toy Then breed chtc foch annoy1
bur kaue to coke vpponfuch fond booka
)
L(Jtnt ro fotgct fu ch idle royn Finer for youtbcs md youd1full boya
L~ o~ one fwccte frnilc Thy rrue loue igtegllile ~flOibulltiownc
r c-ur uft theedowne- Jlopund jllmiddot to bed iathcf~ioy~
I
bull
103
Figure 32
BASSVS
---------middot--- ----- ------- ---- -- ---------- ---- -~ ------------- - ----------- _ ___ - ~ _____-------~~~------------ - ----- - - ---
- -- -- --~-- - ___ __
CJ
I
-70-
If other sacred music by Robert Jones exists 1 it has not
come to light The Reformation did much to improve English
Church music However the combined effects of Civil war
supremacy of Puritanism suppressed church services disbanded
choirs and the destruction of organs and libraries by the B
soldiers of the Commonwealth resulted in irretrievable loss
The hatred of the Puritans for the English Church and its music
was so strong they seemed to consider it their duty to root out 9
and destroy every office-book they could find lmiddotluch music has
also been lost because of errors and omissions on the part of
scribes the use of old manuscripts as waste paper and in the
binding of new books and in the practice of sending manuscripts 10
to continental bookbinders The fact that any sacred rausic by
Jones exists may possibly be attributed to its inclusion in two
sources meant for secular use
What happened to Robert Jones after the theatre difficulties
remains a mystery Loss of records because of fire or
carelessness only allows speculation in this area Since the
English style of string playing was in fashion in Germany France
8 ~Talker p 56
9 F~ Landon Hunphries The Evolution of Church Music (New
York J J Little and company 1896) p 94~
10 William Joseph King The English Anthem from the Early
Tu ~or Period t roug_ the Restor_fltj gn Era diss Boston University Graduate ~chool 1962 vol I and II (Ann Arbor university Microfilms International 1982) p 12
-71-
and Italy he may have returned to the continent It is equally
possible that he died in any of the plagues which forced the
theatres in London to close so often That his music still
exists to be enjoyed may be epitaph enough
104
Blank
Appendix One
Sources of the Husic of Robert Jones
BookSong
The First Booke of Songs or Ayres
The Pirst and Second Boeke of Songes and Ayres
Ultimum Vale
First Set of Madrigals (inc)
A Husicall Dreame
The Muses Garden for Delights
Hhat if I seeke for love of thee
There is a garden in her face
Doe not o doe not prize Beautie sate bathing 11 Goe to bed sweet museu Shall I locke to ease
griefe 11
11Jhat if I speed Cease troubled thoughts Scinthia queene of seas
and landn Thinkst thou Kate to
put rre down 11
nt1hen will the fountaine of my teares
F1ie flie flie from the world 1
Fy fy 11 (inc)
Date
1600
1601
1605
1607
1609
1610
1600
1605
1605 1605 1605
1605 1605 1605
1605
1605
1605
1605 1601
-105-
Source
British Igtluseum Folger Shakes~eare Library
British 111luseum Central Library
Hanchester
Royal College of Music
Private ownership Furst Alexander
British Nuseurn Royal Library
Brussels
San Marino British 1middotlus eurn Euing Library
Glasgow
San Harino
British Library Add Ms 15117
The First Book of Songes or Ayres
British Library Egerton ~s 2971
Ultimum Vale
British Library Add Ms 24665
Giles Earles his book taken from Ultimum Vale
u
II
fl
fl
n
The First and Second Boeke of Songes and Ayres
-106-
The love of change hath changed the world 11
What shall I render to the 1614 Lord bullbull
Let thy salvation be ~Y joy
Lament lament my soul cry 0 cry
n Sing j oyfull ybull
Arise my thoughts
11 Dreams and imaginations
uFie what a coyle Now what is love
no date
1601
1601
1601 1601
Folio ms in Folger Library
British Museum Royal App 63
The Tears or Lame tations o f a Sorrowful Soul
RISM attributes 4 songs to Jones
Christ Church Music Mss 56-60
Christ Church Husic ~1ss 439
The Second Book of Songes and Ayres
lt
-107-
APPE IDIX THO
Contributors to Manuscripts nu~beren 56 through 60 in Christ Church Oxford
SEC~~ number CC lmiddot1SS Voice 334 Hus 56 c 335 Mus 57 Q 336 Mus 58 Sx 337 Mus 59 Ct 338 Mus 60 T
Bassus lacking ca 1620
a alternate sources published b transcribed c Psalm 81 in two versions
Amner John~ 1579 1641 B r-1 Oxford 1613
Consider all ye passers by (b) 3349835803378633896 verse
I am for peace inc) (with different verse section) 33463356337~6 3386 verse
Bennet John flca 1600-ca 1615
Great God of Gods 0 God of Gods (a) 334 113 33595 33710133811 verse
To the almighty Trinity (ptll of 0 God of Gods)
Bull John ca 1562-16287 B H Oxford 1586
Almighty God who by the leading (ab) 334110 33592 33798338 108 verse
How joyful ana how glad (inc) a) 33448335483374833748 verse
Byrd William ca 1542-1623
Save me 0 God for thy name bull s sake (I) 33410 33510 33710 338 10 fS
Sing joyfully unto God our strength and Blow the trumpet parts I and II and Sing we merrily and Blow up the trumpet parts I and II not in this source from Christ Church (c)
-108-
Corkine William1 fl 1610
Praise the Lord 0 my soul (inc) 33441 335413374133841 f5
Cranford William fl early 17th c
My sinful soul (inc) 33413833512033616337126338136 verse
Daman (Damon) William ca 1540-1591
0 heavel]nly God (b) 33451335513375133851 f5
East Michael ca 1580-16481 B M Oxford 1606
Blow up the trumpet Sing we merrily (Pt II Take the psalm PT III Blov1 up the trumpet) (ab) 33420933520233698337196338214 verse
Take the Psalm
Ferrabosco Alfonso Sr~ 1543-1588
0 remember not our old sins (a) 33414133512333619337129338139 f6
Ford Thomas ca 1580-1648
Miserere my maker (inc) 334151v33513533631337141338151 f6
Gibbons Orlando 1583-1625 Phd Mus Oxford 1622
See the Word is incarnate (ab) 33495335773378333893 verse
Hooper Edmund ca 1553-1621
Hearken ye nations (a) 334211335204336100337198338216 verse
Jeffreys Matthew fl ca 1590 B M Oxford 1593
If the Lor~ himself (a) 33414833513033626337136338146 verse
-109-
Lord rernerr~er David (a) 334142 335124336120337130338140 f6
My love is crucified (inc) 334100335823378833898 fS
Out of the deep (a) 33414633512833624337134338144 verse
Sing we merr-il y (II) (a) 33414433512633622337132338142 verse
Jones Robert fl ca 1600 BM Oxford 1597
Sing joyfully unto the Lord (inc) 33412335123371233812 f5
Lupo Thomas fl 1593-1628 or fl 1605-c1660
For I knowledge my faults Have mercy upOii me (pt IIFor I nowledge my faults) (inc) (ab) 33418335183371833818 f5
Out of the deep (c) 33420335203372033820 pound5
Mundy John d 1630 B M Oxford 1586 Phd Mus Oxford 1624
0 give thanks unto the Lord for he is gracious (a) 33416335163371633816 fS
Mundy William ca 1529-ca 1591
0 Lord I bow the knees (a) 33490335723377833888 f5
Parsons Robert (I) d 1570
Deliver me from mine enemies (ab) 3348335833783388 f5
Peerson Martin ca 1572-1650 B M Oxford 1613
0 Lord in thee is all my trust (inc) 33488 335703377633886 verse
-110-
Philips Peter d ca 1635
Bow down thine ear unto my crying (a) Adapted from the motet Cantai mentre 334217 335210336106337202 338220 f6
Portman Richard~ d ca 1655
Rejoice in the Lord 0 ye righteous (I) (a)334226 verse
Ravenscroft Thomas ca 1590-ca 1633
0 let me hear thy loving kindness (a) 3343133531337 3133731 verse
0 woeful ruins (a) pt II and pt III Those sacred walls and 0 how these graceful piles not in 334-338 33440335403374033840 f5
Simmes William fl ca 1600
Awake (Away (a)) fond thoughts 33415733514233638337148338158 verse 6
Rise 0 my soul (pt II and pt III And thou my soul To theee o Jesu) (a) 3342833528 3372833828 verse And thou my soul To thee o Jesu
Stubbs Simon fl ca 1600
Father of love (a) 3348633568 33774 33884 f5
Tye Christopher ca 1500-ca 1573 Phd Mus Oxford from Cambridge 1545
Christ is risen Christ is rising again (pt II Christ is risen) (inc) 334225335218336114337212338230 f6
I lift my heart to thee (ab) 33492335743378033890 f5
-111-
Ward John fl early 17th c
Down caittiff wretch (a) (pt II Prayer is an enciless chain) 33424 amp 2633524 amp 2633724 amp 2633824 amp 26 verse
How long wilt thou forget me (a) 33422335223372233822 f5
Let God arise (a) 33411633598337104338114 verse
Praise the LordO my soul a Lord my God (a) 334219335212336108337206338224 verse
This is a joyful day (a) 33413333552336523375233852 verse
~~larwick (Warrick Warrocke) Thomas d 1660
0 God of my salvation (a 3349 335933793389 pound5
Weelkes Thornas1 -1623 B M Oxford 1602
Alleluia I heard a voice (ab) 33414335143371433814 pound5
Gloria in excelsis Deo Sing my soul to God (ab) 33415533514033636 337142338156 pound6
Hosanna to the Son of David (ab) 334214335207336103337201338219 f6
Lord to thee I make my moan (ab) 3341023358433790338100 pound5
0 Johnathan woe is me (ab) 334151v33513433630337140v338150 f6
0 my son Absolom (I) (ab) When David heard that Absolom (ab) (~t II 0 my son Absalor1) 33415033513233628337138338148 pound6
-112-
Wilkinson William Thomas
Hear my prayer 0 Lord and with thine ears (a) 3341043358633793338103 verse
Preserve me o Lord (a) 33443354 33743384 verse
Put me not to rebuke (a) 3341063358833794338107 verse
Compiled from
Nan Cooke Carpenter Music in the Medieval and Renaissance Universities
Ralph T Daniel and Peter Le Huray compilers The Source of English Church Music 1549-1660 part I and II
C F Abdy Williams A Short Historical Account of the Degrees in Music at Oxford and Cambridge
-113-
Appendix Three
Graduates of Oxford
Doctors
Robert Fairfax John Gwyneth John Merbecke John Shepeard Robert Stevenson Orlando Gibbons Nathaniel Giles John Hunday Christopher Tye John Bull
Date
1511 1531 1550 1594 1596 1622 1622 1624 1548 1592
Tye and Bull were incorporated as Doctors of Music from Cambridge
Bachelors
tathaniel Giles John Bull John t-1unday Thomas Morley John Dowland Giles Farnaby Edward Gibbons George Waterhouse Arthur Cocke Francis Pilkington Robert Jones Thomas leelkes Thomas Tomkins Richard Deering
1585 15B6 1586 1588 1588 1596 1592 1592 1593 1595 1597 1602 1607 1612
Author
Robert Grossteste
Robert Kilwardly
Roger Bacon
Bartholomaeus Anglicus
Walter Odington
Simon Tunstede
John Hanboys
John Hothby
William Bathe
John Case (attr)
William Barley
Thomas Morley
-114-
Ap~endix Four
Oxford Treatises
Date Title
ca 1175-1253 De artibus liberalibus
d 127 9
ca
ca
ca
1351
ca
1584
1600
1586 1588
1596
1597
1214
1230
1330
1450
94
De ortu et divisione philosophiae
Opus majus and opus tertium
De probrietatibus rerum
De speculatione musice
Quatuor principalia musicae
Surnma super musicam continuam et discretam
Regulae super proportionem De cantu figurate Regulae super contrapuncturn Caliopea legale
A Briefe Introduction to the True Arte of Music
A Briefe Introduction to the Skill of Song
The Praise of Musicke Apoligia musices tam vocalis quam instrumentalis et mixtae
The Pathway
A Plaine and Easie Introduction to fvlusicke
-115-
Appendix Five
Baccalaureus in musica solvet
Imprimis pro cumulatione presentatis Pro comrnuniis Pro scriba universitatis Pro circuita Pro camera Pro curnulatione sex annorum Pro anno instante Pro horolog-io Pro deric[t]o universitatis Pro inferiore bedello artiurn
Si beneficiatus vel patrimoniatus fuerit solvet pro vino
Si non praebat convivia solvet betiellis facultatis suae pro prandio
vj s
i j s
xiij s
vij s
viij d vj d
xij d xij d
iiij d
xij d ij d ij d vj d
iiij d
iiij d
ix d
116
Appendix Six
Words set by Jones for Leighton
Let thy salvation be my joy
Let thy salvation be my joy Confirm me with the spirit of grace Let sadness not my soul annoy For pensive thoughts too much take place 0 let my comfort still reside In Christ who for my sin hath died
In setting the third line Jones uses sixteenth notes on the word spirit 11 to compensate for the extra syllable
What shall I render to the Lord
What shall I render to the Lord For all his blessings poured on me My heart and soul with one accord Shall laud and praise thy majesty All praises do from thee desend Blest be thy name world without end
Lament my soul cry cry o cry
Lament my soul cry cry o cry Swe et Jesus pity pity me Help help help help for sin I die Sweet Christ come ease my misery
BIBLIOGRAPHY
Primary Sources
The Bible That is the Holy Scriptures contained in the Old and Newe Testament London Deputies of Chrlstopher Barker Printer to the Queenes most excellent Maiestie 1596
Book o f Common Prayer and Administration o f the Sacraments and Other Rites and Ceremonies of the Churchof England WiSh the Psalter or Psalms of David Printed by Thomas and John Buch Printers to University of Canbridge 1629
Fellowes Edmund H ed The English Madrigalists val 35A Revised edition edited by Thurston Dart London Stainer and Bell 1960 The First Set of Mad_ri a_l s 1607 by Robert Jones
The English Madri al School val 32 London-stainer and Bell 1923 The Triumphs of Oriana to 5 and 6 voices Compose - y D1vers several Authors published by Thomas Mor ley 1601
Jergens Elise Bickford English Song 1 600-1 67 5 Part I British Library Manuscri ts London
Pu middot- 1sh1ng Inc 1986
Leighton Sir William Th e Teares or Lamentaciones o f a Sor rowful Soule London W2 1arn Stansby 1614
The Teares or Lamentations of a ----Sorrowful Soul Transcr1bed and edited by Cecil Hill Vol ll Early English Church Music London Stainer and Bell 1970
Morley Thomas A Plaine and Easie Introdction to Practical Music Edited by R Alec Harmon New York WW Norton and Co 1952
Smith John Stafford Musica Antigua London Preston 1812
Sternfie1d FW gen ed English Lute Songs 1597-1632 A Co l lect~on o Fac s imiDelRepr ints
ress t Vol 7 edited by David Greer The First Boeke of Songes or Ayres 1600 by Robert Jones The Second Booke of Songs and Ayres 1601 by Rober ones t1mum Vale 1605 by Robert Jones A Musicall Dreame 1609 by Robert Jones The Muses Gardln for Delights 1610 by Robert Jones
-118-
Books and Articles
Abraham Gerald ed New Oxford History of Nusic vol IV uThe Age of Humanism 1540-1630 11 London Oxford UP 1968 3rd impression 1974
Adams Joseph Quincy 11 A New Song by Robert Jones bullbull Modern Language Quarterly I (March 1940) 45-48
Adler Kurt The Art of Accompanying and Coaching Minshyneapolis The University of Minnesota Press 1965
ArkmiddotJright GE P Catalogue of Music in the Library of Christ Church Oxford London Oxford UP 1915 ed 1971
Bateson fW ed The Cambridge Bibliography of English Litshyerature 4 vols Cambridge University Press 1969
Bentley Gerald Eades The Jacobean and Caroline Stage Dramat~c Companies and Players 5 vols Oxford Clarendon Press 1941 reprinted 1949 bull
The Profession of Player in Shakespearebulls Time 1590-1642 Princeton Princeton UP 1984
Blom Eric ed Groves Dictionary of Music and Musicians vol IV New York St Martins Press Inc 5th ed 19B4
Boyd rbulllorrison Comegys Elizabethan Music and Musical Criticism 2nd ed Westport Greenwood Press Publishers 1962 reprinted 1975
Brown David nJones Robert in The New Grove Dictionary of llusic and Husicians vol 9 p 703 Edited by Stanley Sadie 1980
Carpenter Nan Cooke Music in the Medieval and Renaissance Universities Norman Okla University of Oklaho~a Press 1958 reprint eo New York Da Capo Press 1972
Chambers E K The Elizabethan Stage Vol I-IV Oxford Clarendon Press 1923 ed 1961
Crewsdon Henry Alastair Ferguson TD MA comp The Worshipful Company of ~t-lusicians Loncion Constable and Co Ltd 1950 new ed London Charles Knight and Company Ltd 1971
Cutts John P 11 Everie Woman in her Humor Renaissance Nevs 18 (Autunm 1965) 209-213
-119-
Daniel Ralph T and LeHuray Peter compilers The Sources of English Church Music 1549-1660 Part I and II London Starier and Bell 1972
Dart Thurston t-1A The Interpretation of Music 4th ed London Hutchinson University Library 1960
Dodd Gordon 11 A Summary of Nusic for Viols Early flusic 6 (April 1970) 262-267
Doran T s A Dr Annals of the English Stage from Thomas Better ton to Edmund Keen Vol 1 New York bullJ J ~1 iadle ton Publishers 1865 republished St Clair Shores Mich Scholarly Press no date
Doughtie Edward ed Lyrics from English Airs 1596-1622 Cambridge Harvard University Press 1970
Einstein Alfred Essays on Music London Faber and Faber 1956 rev eng ed 1958
Feldman Martha 11 In Defense of Campion A New Look at His Aryres and Observations The Journal of Musicology v
(Spring 1987) 226
Fellowes Edmund Horace CH Mvo MA Mus D English Cathedral l~sic Edited by J A Westrup Westport Greenwood Press Publishers 1981
_________ The English Madrigal Composers 2nd edition London Oxford University Press 1921 1948 reprinted 1967
bull The Text of the Song Books of Robert Jones Music --------middot and Letters VIII (Jan 1927) 25-37
__________ Tudor Church Music Appendix ~lus D New York Brouclex Brothers reprint 1963
Greenberg Noah music ed Auoen ~middotlH and Kallman Chester text ed An Anthology of Elizabethan Lute Songs Mad rigals an Rounds Pew York ~middot1 w Norton amp Co Inc 19 55
Greer David What if a Daybull - an Examination of the Words and r~usicbullt husic and Letters 43 (Oct 1962) 304-319
Gutmann Veronika Instrument oder Diminutionspraxis 11 Archiv fuer Husikrvissenschaft 35 (1978) 187-190
Heseltine Philip and Warlock Peter The English Ayre London Oxford University Press 1926 reprinted Westport The Greenwood Press 1970
-120-
Hesel tine Philip 11 Robert Jones and His Prefaces The rmiddotusical T ime s bull ( Feb -t-1a r 19 2 3 ) 9 9 -1 0 0 16 8 -17 1 bull
Humphreys Rev F Landon ~lus Doc STD The Evolution of Church Music New York J J Little and Co 1896
Jeffrey Brian ed Elizabethan Popular Music for the Lute London Oxford UP 1966
King William Joseph The Englsh Anthem from the Early Tudor Period through the Restora t ion Era PhD dissertation Boston University 1 962 Ann Arbor Mich University Microfilms I~ternational 1982
La Fontaine Henry Cart The Kings Musick New York Oa Capo Press 1973
Lewis c s English Literature in the 16th Century excluding Drama 11 in Oxford History of English Literature p 266 Edited by F P Wilson and B Dobree Oxford Clarendon Press 1954 reprinted 1962
r1ason Dorothy E Husic in Elizabethan England Washington Folger Shakespeare Library booklet 1958
rtaynard Winifred Elizabethan Lyric Poetry and its Music Oxford Clarendon Press 1986
McGrady Richard J The English Solo Song from William Byrd to Henry Lawes 11 PhD dissertation University of Manchester 1963 This dissertation arrived to late to notate McGradys theories on Italian Monady and Jones
Meyer Ernst H Early English Chamber ~iusic ed Diane Poulton London Lawrence and Wishart Ltd 1946 Boston Marion Boyars Inc 1982
Mies Otto Heinrich PrussJan Castle
Elizabethan t1usic Prints in an East rrusica Disciplina III (1949) 171-172
Naylor Edward Noodall Shakespeare and Husic rev ed New York De Capo Press 1931 lew York Benjamin Dlom Inc 1969
Pagallelli Serpoundio Jusical Instruments from the Renaissance to the 19th Century trans Anthony Rhodes Milan Fratelli Fabbrl Editori 1966 7 London Hamlyn Publishing Group 197 0
Pattison K An Analysis of the Ayres of Robert Jones MFA thesis University of Georgia 1965 (Request for this thesis has been submitted through the inter-library loan service but has not arrived)
Phillipps G A Charles 1 11
-121-
11 Crown r1us ical Patronage from Elizabeth to Music and Letters 58 (Jan 1977) 29-42
Phillips Peter 11 Performance Practice in 16th Century English Choral Music~ Early Music 6 (april 1978) 195-199
Prior Roger Jewish Musicians at the Tudor Court The ~~sical Quarterly LXIX (Spring 1983) 253-265
Poulton Diane Graces of play in Renaissance Lute Music 11
Early Music (april 1975) 107-109
Reese Gustave Music in the Renaissance revised ed New York W w Norton and Co Inc 1959
RIS~t Einzeldrucke vor 1800 Karlheinz Schlogervolume III Basel Barenreiter Kassel 1974
RISM Recueil s Imprimis XVIe-XVIIe siecles l-1unchen G -Henle Verlag 1972
Robertson Dora H Sarum Close London Jonathan Capt 1938 Bath Firciurt Publishing Limited 1969
Seng Peter J The vocal songs in the Plays of Shakespeare a Critical History Cambridge Harvard UP 1967
Shakespeare William William Shakespeare The Complete Works Edited by Alfred Harbage Baltimore Pen~middotuin Books rev ed 1969
Smith Irwin Shakespeares Dlackfriars Playhouse Its History and Its Des~gn New York New York University Press 1964
Spink Ian English Song Dowland to Purcell New York Charles Scribnerbulls Sons 1974
Sternfeld F w Music in Shakespearean Tragedy London Routledge and Kegan Paul 1963 rev ed 1967
Stevens Denis Tudor Church t-1us ic Nev York Merlin Press 1955 bull
A History of Song New York W W Norton and Co Inc 1960~ First American Edition 1961
Stevens John Music and Poetry in the Early Tudor Court reprint ed Cambridge Cambridge University Press 1979
Traficante Frank Anthony 11 The Mansell Lyra Viol Tablature parts I and II PhD dissertation University of Pennsylvania 1965
-122-
Walker Earnest A History of Music in England New York Da Capo Press 1978
Wells Robin Headlam John Dowland and Elizabethan Melancholy Early Music 13 (Nov 1985) 514-528
Wickham Glynne Early English Stages 1300 to 1660 2 vols London Routledge and Kegan Paul New York Columbia UP 1972
Williams C F Abcty A short Historical Account of the Degrees in 1usic at Oxford and Cambridge Lonaon lovello Eivers and Co 189 3
Woodfill Walter L Musicians in English Society from Elizabeth to Charles I New York Da Capo Press 1969
CHAPTER I
IDENTIFYING THE HAN
Robert Jones who flourished between 1597 and 1615 is
one of the lesser known Elizabethan composers He has been
claimed not without causing confusion to have taken to
himself a number of QUSical assignments One author asserts 1
that Jones was a composer for virginals Another calls 2
him a composer for viols He is referred to by one historian
as a prominent lutenist to be numbered with Dowland 3
Campion and Byrd He has been called song writer and
1 Kurt Adler The Art of Accompanying and Coaching
(Minneapolis The University of Minnesota Press 1965) p 12
2 Gordon Dodd A Summary of Music for Viols Early
Husic 6 2 (April 1978) 263
3 Elise Bickford Jergens ed British Library
Manuscripts Part I English Song 1600-1675 (New Yorkmiddot Garland Publishing Inc 1986) p 11
-1-
-2-
theatrical manager both controversialist and genial person
Yet some authors such as Edmund H Fellowes in English
Cathedral Music consider his accomplistooents in some areas 5
too meagre to merit mention
In extant records for the period from 1520 to 1620
there are numerous references to R Jones Richard Jones and
Robert Jones There are also references to a w Jones and
an s Jones in the same Stationers Register that lists an R 6
Jones seven times Another Jonest Luke is a
4
contributor of one of the poems in William Leighton bull s Literary
Introduction and Laudatory verses to Teares or Lamentaciones 7
of a Sorrowful Soule from approximately the same period
It is possible to reduce the Richard and Robert Jones
references to four people that is two Robert Joneses and
two Richard Joneses It is also within the realm of
possibility that these rnen were related Their paths
4 Philip Heseltine Robert Jones and His Prefaces The
Musical Times (February and March 1923) 99 171
5 Edmund H Fellowes English Cathedral Music from Edward
VI to Edward VII rev ed Edited by JA Westrup (Westport Greenwood Press Publishers 1981) Fellowes discusses Leightons Teares or Lamentaciones of a Sorrowful Soule yet never discusses Jones contribution of three anthems
6 EK Chambers The Elizabethan Stage 4 vols reprint ed
(Oxford Clarendon Press 1961) vol II pp 380-389
7 Sir William Leighton Teares or Lamentaciones of a
Sorrowful Soule Transcribed and edited by Cecil Hill (Lancon Stainer and Bell 1970) p xviii
-3-
crossed often enough and in at least one instance
scholars have confused them crediting one with the work of
the other Some historians have also preferred to gloss
over the obvious inconsistencies in dates and make no
distinction at all in their references to Jones
The first Robert Jones conceivably the grandfather of
the Elizabethan composer is said to have been a chorister in
Henry VIIs Royal Household Chapel In 1512 it is
claimed that he was a member of Henry VIII s Royal Household
Chapel This Jones furthermore is listed as a meniDer of
the Gentlemen of the Chapel at the Field of the Cloth of
Gold in 1520 Three of his compositions have survived 8
although they are incomplete Thomas Morley cites Jones 9
work in A Plain and Easy Introduction to Practical Music
8 The New Grove Dictionary of Music and Musicians 1980
ed sv Jones Robert (1) The three-part song Who shall have my fair lady is in an anthology XX Songes Gustave Reese Music in the Renaissance (New York ww Norton Co 1956) p 763 discusses this book in a footnote as one of the earlies middott examples of music printing in England which was formerly considered to be a product of the press of bullbullsynken de Warde Denis Stevens Tudor Church Music (New York Merlin Press 1955) p 50 mentions this Robert Jones Mass based on the plainchant cantus firmi Spes Nostra
9 Thomas Morley A Plain and Easy Introduction to
Practical Music R Alex Harman ec (New York ww Norton and Company Inc 1952) p 321 Robert Jones is noted here as a vJelshman active ca 1485-153 5
-4-
The dates for Richard Jones span a time period of
ninety years from 1532 to 1624 Even allowing for
extraordinary good health and ideal living conditions these
dates must at the very least be for two men The first
Richard Jones is listed as the High Master of the Grammer
School for the children of St Pauls from 1532 to 1549 He
followed John Ritwise who was said to have allowed the boys
of the grammar school to perform interludes at the court of
Henry VIII There is no indication that this practice was
continued under the headmastership of Richard Jones The
lack of reliable information in this case can be attributed
to the loss of archives in the Great Fire of 1666 and the 10
confused records of the choir school and the grammar school
It is also possible that this is the R Jones who
entered three plays in the Stationers Register from 1567 to
1569 which had been performed by the Children of the Chapel 11
The headmaster then was Richard Edwardes In 1561
Edwardes received his patent as Master fron1 Queen Elizabeth 12
and this patent was entered into the records by an R Jones
10 Chambers volII pp 8-12
11 Chambers volIV p 381
12 Chambers vol II pp 33-34
-5-
The next two Joneses Richard and Robert have caused
the most confusion They were active during the same time
period and were associated with the same group the Children
of the Revels In addition both men were musicians both
were connected with a theatre troup manager named Robert
Browne and both men travelled to Germany It is a very
real possibility that these men were brothers possibly sons
of the first Richard Jones discussed It may not even be
far-fetched to suggest that all three were related to
the Robert Jones connected with the courts of Henry VII and
Henry VIII
Richard Jones was associated with the acting companies
of the Earl of Worcester in 1583 the Lord Admiral in 1589
1594-1596 and 1597-1602 and the Earl of Pembrokesbulls Hen in
1597 He was in Germany in 1592-1593 1615 1620 and 13
1622-1624 In 1623 he was a musician to the Duke of
Wolgest At this tioe he petitioned the Duke to be allowed
to return to England In 1624 Richard Jones again
petitioned the Duke this time to be taken back into service
as a musician In 1630 he is connected with John Jones a 14
dramatist
13 Chambers vol II p 324
14 Gerald Eades Bentley The Jacobean and Caroline Stage
Dramatic Companies and Players 5 vols reprint ed (Oxford Clarendon Press 1949) val I and II pp 135 485
-6-
Richard Jones entered four plays in the Stationers 15
Register between 1578 and 1594 In 1580 he was the
enterer of the song A newe northern Dittye of ye Ladye
Green Slevesu Jones was granted a license in 1584 to print
a book really a collection of ballads printed in broadsheet
form entitled Very Pleasant Sonets and Stories in Meter by
Clement Robinson Robinson was an Elizabethan poet fl 1566-16
1584 This was in response to a popular interest in signing
to the lute This Jones was not above using the name or initials
of well-known writers to enhance the sale of his verse books
At least three of these books A Smale Handful of Fragrant
Flowers (1575) Brittons Bowre of Delights (1591) and the
The Arbor of Amorous Deuises (1594 and 1597) used the initials
of Nicholas Breton much to Bretonbulls anger These books included
poems by Breton and others used without their consent Other
collections printed by Richard Jones are A Handfull of pleasant 17
delites and A gorgious Gallery
It was this Jones erstwhile actor and printer who was
granted the patent by which the Children of Whitefriars were
once QOre entitled to call themselbulles the Children of the
Queens Revels This patent dated January 4 1610 was
15 Chambers vel IV pp 382-383
16 The Cambridge Bibliography of English Literature
ed F w Bateson 5 vols (1940 Cambridge University Press 1969) p 646
17 Winifred Maynard Elizabethan Lyric Poetry and Its
Music (Oxford Clarendon Press 1986) pp 16 14 48-50
-7-
given by James I It reads in part
Know ye that wee haue appoynted and authorised Robert Daborn Phillipp Rosseter Iohn Tarbuck Richard ones and Robert Browne from tyme to tyme to provide keep and bring vpp a convenient nomber of children and them to practice and exercise in the quality of playing by the name of Children of the Revells to the Queene within the white fryers l8
It is this patent which seems to be the source for
confusing Robert Jones and Richard Jones Several
authorities claim that the Elizabethan COQposer Robert Jones
was involved with the Children of the Revels of the Queene 19
in 1610 However he is not mentioned in their
history until five years later One historian even claims
that Robert Jones is the founder and manager in 1610 of the 20
Children of the Revels to the Queen within White Fryars
18 Chambers vol II p 56 Chambers and Bentley
Jacobean Stage discuss the various associations of Richard Jones and Robert Browne in greater detail than is within the scope of this thesis
19 Edmund H Fellowes The English t-1adrigalist 2nd ed
vol 35 A (London Stainer and Bell 1960) p 4 and Heseltine Prefaces p 171 It is interesting to note that both these works were originally published in 1923 and neither lists sources Chambers also originally published in 1923 clearly states his sources for these patents the original cocuments
20 Morrison Comegys Boyd Elizabethan Music and Musical
Criticism 2nd ed (Westport Greenwood Press Publishers 1973) p 199 Boyd has all references to Robert Jones under one index heading although be discusses the work of the Tudor composer as well as that of the Elizabethan composer No source books on Elizabethan or Jacobean Theatre are included in his bibliographies
-3-
Robert Jonesbull connection with the Children of the
Revels is clearly stated in a patent granted by James I on
June 3 1615 It gave authority for the erection of a new
theatre for the continued training of the Children of the
Revels This theatre would replace the expireci lease on
another house used by Rossiter
And whereas the said Phillipp Roset~r together with Phillipp Kingman Robert Iones and Ralphe Reeve to continue the said service for the keeping and bringing vppe of the children for the solace and pleasure of our said most deere wife bullbullbull by the name of children of the Revelles to the Queene have lately taken in lease and farme divers buildings Cellars sollers chambers and yardes for the building of a Playhouse therevpon bullbullbull All which premisses are scituate and being within the Precinct of the Blacke ffryers neere Puddlewharfe in the Suburbs of London called by the name of lady Saunders house or otherwise Porters hall and now in the occupation of the said Robert Jones Nowe knowe yee that wee of our especial grace bullbullbull doe give and graunte lycense and authoritie vnto the said Phillipp Rosseter Phillipp Kingman Robert ones and Ralphe Reeve at their proper costs and char~~~ to erect build and sett vppe in and vppon the said premisses bullbullbull one conve ient Playhouse for the said ctildren of the Revelles 21
It is interesting to note that Robert Jones is mentioned
three times in this patent
This patent and its various details are confirmed in
other sources of the period The Privy Council was
21 Chambers vol II p 473
-9-
approached by the inhabitants of the Blackfriars area They
maintained that another theatre in Puddle Wharfe would be
too close to the church of St Anne and that it would
disturb the congregation during services Because of a technical
flaw the work that was begun on the building was ordered
stopped in September of the same year (1615) Plays were
performed there as late as January 1617 The last mention of 22
Robert Jones in this instance was the Kings patent
Robert Jones had other connections with the theatre
although he is not called an actor In 1602 he was in
Germany at Frankfort where he was named as a fellow of
Robert Browne Browne was something of a theatre impresario
who specialized in bringing English actors to the continent
and was also included in the patent of 1610 with Richard 23
Jones This year was the start of a three year
publishing hiatus by Robert Jones Appendix One includes
the titles and dates of Jones work An interesting fact
which may or may not be connected with Jonesbull time in
Germany is that his third book Ultimum Vale is one of eight
22 Chambers val II pp 472-473 61 val IV pp 343-345
23 Chambers val II pp 273-282 p 56
-10-
Elizabethan Music books which used to be in the library of 24
the East-Prussian Castle of Schlobitten
This Robert Jones then is the Jones who is the subject of
this paper He was active in the latter years of
Elizabethbulls reign and the early years of the reign of James I
He may or may not have been an actor but he was
associated with actors and the Chilciren of the Revells He
was stable enough to own a house and to enter into a risky
theatre venture
24 Otto Heinrich Meis Elizabethan Music Prints in an
East-Prussian Castle Musica Disciplina III (1949) 171-172
CHAPTER II
EDUCATION A~ID SOCIETY
Robert Jones is known to have graduated from Oxford
University in 1597 It is also known that he was at St Edmund s 1
Hall and was for sixteen years a student His date of death
is unknown although a valid theory has been put forward for 2
his approximate year of birth to have been 1574 This would
have made him only twenty-three when he graduated slightly
younger than n1ost of his contemporaries A comparison may be
rMde by using Appendix Two an outline of works contained in
Christ Church rlusic Mss 56-60 Composers who graduated from
Oxford University are identified as well
Music both sacred and secular was an integral part of
university life Until the Reformation it was customary to
have Masses sung for the souls of the kings and founders of
the various colleges ~ The playing of secular music and
instruments had become so distracting that it was forbidden
at bullbullunseasonable times 11 unless after meals and there was a 3
fire in the fireplace of the hall or communal erea
1 c F Abdy Williams A Short Historical Account of the
Degrees in fiusic at Oxford and Cambridge (London 1893) p75
2 Hese1tine Prefaces p 99 Heseltine combines the fact of
Jonesbull years as a student and Jonesbull admission of practicing music since he practiced speaking to estimate the date of 1574
3 Nan Cooke Carpenter Music in the Medieval and Renaissance
Universities (1958 New York Da Capo Press 1972] p 169 81
-11-
-12-
Since the singing of Masses was required by statute some
means had to be provided for the training of choristers Many
colleges maintained choir schools These younger members of
the college community actually owed their positions at Oxford
to their musical talent and duties In 1547 the Act of
Dissolution under Edward VI closed many church schools but
not the collegiate foundations in the universities the
choirs of St George and Chapel at Windsor and the cathedral 4
schools
The young choristers were taught plainsong and pricksong
and when their voices changed they were preferred for vacancies
in the universitys scholarship lists Among these colleges
were the Schola flusicae of Queens New College Corpus Christi
College Cardinal College (later Henry VIII and nm1 Christ
Church) St Johns College and Magdalen College The statutes
of Magdalen College also provided for places for thirty indigent 5
student-- iemyes) to study plainsong
In the preface addressed to the reader in his First Booke
of Songes or Ayers Jones states that ever since he practiced 6
speaking he practiced singing By his own words it is likely
4 carpenter pp 167 88 388
5 Carpenter pp 267-171
6 F w Sternfield general editor English Lute Songs 1597-
1632 a Collections of Facsimile Reprints (Manston The Scholar Press Ltd 1971) 26 Robert Jones The First Boo~e of Songes or Ayers 1600 David Greer ed
-13-
that Jones was trained in one of these choir schools anG it is
not inconveivable that he was a recipient of a scholarship to the
university of Oxford Indeed Jones was probably at school at
Oxford rather than London and may even have been one of the
demyes of Magdalen College This is especially likely in view of
the fact that Jones had no steady patronage each of his song
books was dedicated to a different person and he was not 7
connected as household musician in the same way that John Wilbe B
and John Ward were involved at Hengrave Hall and with Sir Henry
Fanshawe
The power for presing choristers into service started in
1420 and this practice continued through Elizabeth bull s reign Im-
pressment of exceptional singers men and boys from all over 9
England into service in the Royal Chapel was commonplace
7 Sir w H Hadow English Music (London Longmans Green and
Co 1931) p 65
8 John Aplin Sir Henry Fanshawe and Two Sets of Early
Seventeenth Century Part-Books at Christ Church Oxford Music and Letters 57 (January 1976) 14
9 Carpenter p 341 Foster Watson The English Grammar
Schools to 1660 Their Curriculum and Practice Cambridge University Press 1908 Encyclopedia Britannica Library Resources Inc LEL 10880) pp 155 212 217 Watson mentions several grammar schools in London which incorporated music into their programs at this time They include the Merchant Taylors School St Paul School Thames School and Christ Church Hosshypital It was necessary to know the catechism in English or Latin read perfectly and write co~petently before acceptance at these schools Hulcaster headmaster at Nerchant Taylors claimed that extra subjects like music were studied privately by gentlemens children and that nusic itself was a part of the math curriculum
-14-
It is doubtful that Robert Jones was impressed into such service
He was both eloquent and voluble in the prefaces to his song
books and would certainly have alluded to this aspect of his
life had it been part of his own experiences
The awarding of baccalaureate and doctorate degrees in
music at Oxford was a tradition dating from the early fifteenth
century Music had been established as a separate faculty the
only liberal art so distinguished In fact the English
universities were the only ones to confer degrees in music
There is no indication that a prior arts degree was required for
the Bachelor of Music as was often the case in other fields
Many of England s most talented musicians became bachelors or 10
doctors of music at Oxford Appendix Three is a partial
listing of these musicians drawn fron information in Carpenters
and ~lilliams bull studies Furthermore the University of Oxford
was after the University of Paris the inspiration for more 11
treatises on music than any other medieval university
Appendix Four is a compilation of these treatises taken from the
work by Carpenter
The dichotomy of music that is musica practica versus
musica speculativa was reflected in the requirements placed
upon the degree seeker at Oxford It was as necessary to study
polyphonic music as to study theory Music classified within the
mathematics traditions and the text of Boethius De institutione
10 Carpenter pp 159 89 336 160
11 Carventer p 82
-15-
musica was required by statute since 1431 In 1549 after
Edward VI visited Oxford the candidates for the bachelor of
music degree were to concentrate on the disciplines of the
quadrivium Sixteen terms (four years) were to be spent in
grammar rhetoric dialectic and arithmetic and 11 in musica
Boetium Admission to the bachelor of music granted the right 12
to lecture in any of the music books of Boethius
Each student at Oxford was instructed by his own tutor until
he had obtained his first degree This meant that the musical
careers of some students were actually shaped by the methods of
their tutors Attendance was required at public lectures Aside
from the usual difficulties with student participation and indif-
ference or inability of some faculty these lectures were to be
given in Latin Dr John Bull not being proficient in Latin
was granted permission to read his lectures in English in 1597
Jones of course should have attended these lectures since John
Bull was incorporated as a Doctor of Music from Cambridge in
1592
In order to obtain a degree it was necessary to compose a
Mass song or canticum bull bull bull to be performed before the university bullbullbull 14
on the day of the Cornitia 11 This was not meant to determine
eligibility for a degree rather it was meant to add to the
12 Carpenter pp 89 77 153 159
13 Carpenter pp 154-156 163-164
14 Williams p 21
-16-
solemnity of the occasion This rule specifying a piece of music
to be performed in the university churcl1 at Act time remained un-15
changed from 1516 until 1608 when a hymn only was required
However there was a dispensation from this rule A
candidate could apply for a degree pro circuitah He would
request the Vice-chancellor and proctors to summon a Congrega-
tion On the afternoon before the Congregation the student
preceded by one or both of the bedells of his faculty and accompanied by the person who was to present him in congregation bullbullbull attired in academic dress but bareheaded went round to the schools and also called on the Vice-chancellor and both proctorsl6
Tradition always was an important part of university life
Oxford in the early sixteenth century was no exception Fre-
quently these traditions became codified in statutes Gloves
were an expensive luxury and early in Oxford 1 s history it became
obligatory for the degree seeker to give a pair to the Bedells
and other officials No man could dress above his station and
students fined for wearing silk were required to wear gowns 17
with loose sleeves and square caps in public Following is a
list of graduation fees established by statute at Oxford in 1601
taken from Carpenter Appendix Five is a copy of the original
version According to the custom Jones would have had to pay
some if not all of these fees
15 Williams p 27
16 Carpenter p 165 citing Clark in Register II p 46
17 Williams p 59
-17-
TABLE ONE
Graduation fees at Oxford in 1601
The baccalaureate in music will disburse
First for the total for gifts 6 s For the service of the room For the clerk of the university For possessions For the chamber For the six year total [tuition] 2 s For services during the present year For the clock For the right of the university For the lesser porter of Arts
Total 13 s
IE he has been subsidized by the church 7 s or by patronage he will disburse for wine
If not arranged in advance [] he will pay for the table servants to the porters of his faculty for meals
The greatest expense on this list is for wine [)
a d 6 d
12 d 12 d
4 d
12 d 2 d 2 d 6 d
4 d
4 d
9 d
-18-
It is not indicated in the available sources whether Robert
Jones composed a piece for graduation or used the pro circuitubull
option However a good case can be made for the former there
is an anthem in Christ Church Imiddot1usic Mss 56-6 0 Singe joyfully
which was composed by Jones The words are from Psalm 81 and
are identical with those in an Elizabethan Bible printed in 18
1595 This is two years before Jones graduated from Oxford
Furthermore the Christ Church lbulllus ic t-lss was compiled 11 wi th
most of the material at hand gathering together works which may 19
already have existed in worn or loose copies It was planned
as a memorial to Prince Henry and most of the composers repre-
sented were court-based friends of the composer John Ward who
was in the service of Sir Henry Fanshawe These part-books were
compiled at Fanshawes request and completed by his son before 20
1620 The Oxford anthem Singe joyfully will be discussed
further in the chapter on sacred music
As can be seen music was an important and necessary
part of the education of a gentleman and it was a necessary
18 The kindness of Mr Richard Austin of St Luke bulls Shrine
Smithfield is gratefully appreciated He allowed access to the Bibles there which proved that Jones used the Elizabethan transshylation and not the King James version of Psalm 81
19 Aplin p18
20 Aplin p 14
-19-
21 accomplisr~ent of the perfect courtier Even Morley begins
his book with a description of the embarassment caused by a lack 22
of ffiUsical knrn~ledge Furthermore a degree in music was an
invaluable asset to obtaining a post in the Chapel Royal
Neither Elizabeth nor James I gave honors such as peerages or
knighthoods to musicians rather they used offices in the
Royal Household the Chapel Royal and the Kings Musick as reward 23
for services In 1605 Jones dedicated his Ultimum Vale to
Prince Henry ~hether this earned a reward for Jones is not
known However it is likely that the Mr Jones listed as a 24
Gentleman of the Kings Chappell in 1612 is Robert Jones
It is possible that this position and not great reknown earned
a place for Jones in the Fanshawe part-books
As a Gentleman of the Chappell Jones would be expected to
be quite proficient in reading music and well-versed in plainsong
and pricksong That he could COQpose apart from performing 25
would have been the highest recommendation of all It is note-
21 Carpenter p 343
22 Morley p 9-10
23 G A Philipps Crown Musical Patronage from Elizabeth I
to Charles I Music and Letters 58 (January 1977) 29
24 Henry Cart de Lafontaine The Kingbulls Musick (New York
Da Capo Press 1973) pSO
25 John Stevens Music and Poetry in the Early Tudor Court
(1961) Cambridge Caniliridge University Press 1979) p 309-317
-20-
worthy that although Jones was actively composing in the latter
years of Elizabethbulls reign he was not associated with her court
Like many others he sought patronage elsewhere as can be seen
from the dedications of his song books His appointment as a
Gentleman of the Chappell may indeed have been a result of his
having dedicated his third song book to Prince Henry elder son
of James I Jones published no work after 1610 two years before
his name appears as a Gentleman of the Chappell It is possible
that Jones again travelled to Germany with theatre impresario
Robert Browne or he may well have decided not actively to
compose as he had implied in the prefaces of his last three song
books Records in these areas are incomplete although further
connections with the theatre will be discussed in the following
chapter
CHAPTER III
WAITS V~SQUES AID THE THEATRE
The waits were orisinally watchers at the gates and were
probably descended from the watchmen and sentinels for camps 1
castles and other fortified places In fact wait is the Saxon
word for watcher Eventually they were employed by the cities to
keep watch and guard during the night and to call out the time
and weather Their main purposes were protection order and
safety within the cities To carry out these duties the waits
were furnished with musical instruments These were used to
sound alarms and call for help when needed and were probably an
early type of shawrn or a horn made of metal In 1296 a statute
was enacted in London which required the servants who closed the
gates at night to have waits at their own expense Eventually
the term wait came to mean the man the instrument and the music 2
played on the instrument
The connection between Robert Jones and tte waits only
beco~es clear when the development of the waits and their
1 Walter L Woodfill Musicians in English Society from
Elizabeth to Charles I (New York Da Capo Press 1969) p 33
2 Henry Alastair Ferguson Crewsdon camp The
1-Jorshipful Company of -iusicians ( 19 50 London Charles Knight and Co bull Ltd bull bull 1 9 7 1 ) pp bull 16 2 -16 4 bull
-21~
-22-
place in Elizabethan and Jacobean society is discussed It was
not long after the first statute concerning the waits was passed
that they came to be considered musicians They are included
called by the nanle of wayghte and other variant spellings
among the musicians of Edward III (1327-1377 and are named in
records from Henry VI through Charles I From watchmen with
musical instruments to capable musicians is a logical development
of talent and time For a watchman with musical ability there
was time to acquire skill and thus gain employment publicly or 3
privately as a musician when not on duty
Many of the principal cities in England employed waits In
London the nunilier of groups varied from six to nine and the
number of masters and apprentices in each group was strictly con-
trolled Their places were so coveted that musicians good or
bad bargainea fought or sued for any vacancies Often a place
would pass fron1 father to son Their privileges included
monetary compensations and gifts distinctive livery status in
the city as freemen in the Company of ~usicians without charge
and the right to keep two apprentices at a time Their services
publicly and privately were much in demand by the lord mayor the
sheriffs and aldermen and the playhouses They were required
to meet regularly for rehearsals and only the 11 ancientist
3 Crewsdon pp 165-167
-23-
4 that is the eloest of their society could dispose order and
direct their music
Until 1525 the wait pipe (horn) and shawm were the only
instruments used by the waits The sackbut was added in 1526
In 1561 instrumentation was expanded with the addition of
viols and recorders and cornetts were added in 1568 and 1576
respectively In 1597 the curtal a bassoon-like instrument was
added Records indicate that portable organs keyboards and
harps were hired for special occasions In some waits the lute 5
and singing were included as early as 1555 The waits
provided the music for visiting dignitaries parades and court
masques and dancing The First Book of Consort Lessons by Thomas
Morley was meant as a guide for the groups of instruments used by 6
the waits Their music consisted of traditional wait tunes
(simple airs meant originally for wait pipes and shawms played
with cold fingers) music which may have existed only in
manuscript form written expressly for use in a masque or pageant
and music apt for viols or voyces u including madrigals
Ultimum Vale of Robert Jones contains music for colibination of 7
lute voices and viols Figures 1-20 are facsimiles of tbe
4 Woodfill pp 37-44
5 Woodfill pp 34-36
6 Wood f i 11 p bull 4 5
7 Woodfill pp 44-52 Waits and their history are more
fully discussed by both Woodfill and Crewseon A very brief outline only has been possible in this paper
-24-
title pages dedications and prefaces and tables of contents of
the song bool s of Robert Jones from Greer
Ultimum Vale is probably the book included by Gordon Doad in 8
his list of music for viols This song book is also the source
for ten of eleven songs by Jones included in the Giles Earles 9
book It is this custom of performing vocal and instrumental
music only instrumentally that forms part of the basis for early
chan~er music in England It was advocated by Thomas Morley in
his book and used not only by Jones but also by Sir William 10
Leighton in Teares or Lamentaciones of a Sorrowful Soule
It is possible that this evolutionary process in performance
practices and adaptations of popular pieces for other instruments
may be the basis for the idea that Jones composed for the
virginals Certainly no music specifically for the virginals or
instruments other than lutes has been found to have been
composed by him
When playing for the masques the waits probably performed
in a room or chamber near the pageant rather than on the street
or porch where the masque was being presented Robert Jones bull
8 Dodd p 263
9 Jergens p f 13V-f22V
10 Ernst H Meyer Early Englisn Chamber ~1usic ed Diana
Poulton (1946 Boston Marion Boyers 1982) p 135 149
-25-
11 naroe is not in the lists of appointments to the London Waits
But Jones did have so~e of his music included ill masques Everie
vloman in her Humor a masque by Maclin published in 16 09
includes two songs from The First Booke of songes or Ayres The
title My mistris was not used in notes for the masque rather
lines from the song were used thus hindering our identification
of Jones as its author Figures 21 and 22 are facsimiles of this
song This same song was used in Loves Charity by Shirley in 12
1631 and The Dutch Courtesan by John Marston The latter was
presented at Blackfriars in 1603 performed by the 11 Children of 13
her Maiesties Revels Christ Church Ms 439 which contains
four songs from The Second Boeke of Songs or Ayres is said to be 14
a compilation of songs used in masques
The dates of the songs discussed indicate that Jones was a
source for music used in masques rather than a co~poser of music
for masques This is admittedly a subtle difference but it is
a critical one since Jones is not credited with supplying tPis
music in tle published sources of the time such as the plays
themselves
11 Woodfill p 48 and Appendix A
12 John P Cutts Everie ~loman in her Humor Renaissance
News 18 (Autumn 1965) 210-212
13 Chambers vol III p 431
14 Cut t s p 212 bull
-26-
Songs used in masques were declamatory in vocal style with
rare word-repetitions except towards the end of a song The
lute accompaniment tended to be chordal with an harmonically
15 statis bass The aforementioned 11Ny mistriS 11 (see Figures
21 and 22) very clearly demonstrates this principle The masque
an offshoot of the main dramatic movement was musically con-16
nected with the great nass of songs with lute accompaniment
Robert Jones was a natural choice for the masque authors His
melodies tend to be rhythmically simple and singable By his ow~
admission in the preface to his First Booke of Songes or Ayres
Jones main concern was fitting the note to the word (See Fig-
ure 3)
Shakespeare also liked to use contemporary songs in his
works for the theatre and in the music of Jones Shakespeare
found songs to express the moods of his characters Perhaps the
best known instance of this reliance upon Jones is in the comedy
Twelfth Night The song 11 Farewell dear love bullbull is number twelve
in The First Booke of songes or Ayers
15 Ian Spink English Song Dowland to Purcell (New York
Charles Scribners Sons 1974) p ~0-41
16 Ernest Walker A His tory of Music in England (rJew York
Da Capo Press) p 153
-27-
In Twelfth Night II iii Sir Toby Belch and the clown
Peste sing a version of this song that telescopes the first and 17
second verses Malvolio warns Sir Toby and Feste that
Olivia will bid farewell to Sir Toby unless he reforms It is at
this point that these two characters alternate singing lines of 18
the song This song was set in 1600 and the date of Twelfth
Night is 1601 The obvious conclusion is that Farewell dear
heart was a popular favorite and would have been recognized no
matter how much it was condensed Another testimony to its
popularity is that the tune appears as a hymn setting in a Dutch
psalter The Dutch version is Heilgierig mensch and the 19
psalter was published at Amsterdam in 1713 That Jones himself
favored this song is shown by the fact that in his fourth book
nine years later Jones sets Farewell fond youth Its meter
is identical and its melody is similar to that of 11 Farewell dear 20
heart Farewell dear heart may be seen in Figures 23-26
and bullFarewell fond youth in Figures 27-28
17 John Stafford Smith Musica Antigua (London 1812) p 10
204
18 Peter J Seng The Vocal Songs in the Plays of
Shakespeare A Critical History (Cambridgemiddot Harvard University Press 1967) p106
19 William Shakespeare The Complete Works ed Alfred
Harbage (Baltimore Penguin Books 1969) pp 316-317
20 Edward Woodall Naylor Shakespeare and Music rev ed
(New York Da Capo Press and Benjamin Blom Inc 1969) p70
-28-
Shakespeare also turned to Jones for parts of the mad songs
for Ophelia in Hamlet IV V Although it is not a proven
fact the setting of In Sherwood liude stout Robin Hood see
Figures 29-30 from A Musicall Dreame bears close resemblance to 22
the words sung by Ophelia That it probably is this song is
due more to the nature of the scene and the impropriety of the
words words which would never have been sung by a sane Ophelia
and to the popularity of Jonesbull work rather than contemporary 21
documentation Frequently Shakespeare had his
characters sing snatches of songs or refrains and further
attributions to Jones are possible but not provable without a
shred of documentation Nor in general are Elizabethan
composers who often set the same words identifiable unless the
tune had been transcribed or the composer named in the
manuscript
21 Heseltine Prefaces p 168
22 F w Sternfield Music in Shakespearean Tragedy
rev ed (London Routledge and Kegan Paul 1967) p 57-58 71
CHAPTER IV
THE SECULAR t-1USIC
The secular works of Robert Jones consist of five books of
lute songs or ayres and one book of madrigals One or two copies
of each song book have all survived in excellent condition with
minor problems such as missing title pages The madrigals 1
however exist only in an incomplete state Possibly this is
due to the difference in publishing techniques of the two types
of song The song books include all voice parts printed on
opposite pages in such a way that tt-e performers can stand around
a table and use the same book The madrigals on the other hand
were printed in separate part books with the result that the
loss of one part book took away from the whole
Lute songs increased in popularity and availability
when the printer Peter Short acquired a font of lute tablature
This acquisition in 1597 greatly facilitated the publishing of 2
lute music William Barley had published a book The New
1 Fellowes Madrigalists p iv In the preface
Dr Fellowes describes in depth the location of various part bookst and which madrigals are complete because they were found in alternate sources
2 Spink p 15
-29-
-30-
Book of Tabliture in 1596 which contained the first solo song
with lute accompaniment published in England In the four years
between the publication of this book and the First Boeke of Songs
or Ayres by Robert Jones in 1600 books by Dowland Morley 3
Cavendish and Farnaby in this style were printed Peter
Short by the essence of Thomas Morley was the printer of the
first two song books of Jones and the first book of Dowland It
may thus only have been for practical reasons that the title
pages are virtually the same
Lute and vocal music were easily printed For the lute
tablature letters not notes were placed on a six line staff
Vocal music used about a dozen signs for clefs tempos and
accidentals and thirty individual signs for notes apportioned on
a staff of five lines each with a note on one of the lines or 4
spaces Obviously it is this setting of each individual note
with its staff which gives the music its slightly wavy
appearance
Each of Jones five song books includes twenty-one songs
although contemporaneous song books usually vary in the number of
songs Whether this really has any special significance for
Jones is impossible to know For all his loquacity he did not
3 Phillip Hes~ltine The English Ayre (1926 Westport The
Greenwood Press Publishers 1970) p 138
4 Boyd p 178 Keyboard music was not published until 1611
and tben it was engraved This was because of the difficulty of dividing the staff to print cords of two or more notes
-31-
refer to this in his prefaces All five prefaces are illustrated
as follows The First Booke of songes or Ayresw Figures 1-4
The Second Boeke of Songes or Ayres Figures 5-B Ultimun
Vale Figures 9-12 A Musicale Dreame Figures 13-16 and
A Musebulls Gardin for Delights Figures 17-20 However that it
was important to him could explain why he chose to include two
Italian songs in A Husicall Dreame They are for solo voice with
lute or bass viol accompaniment (or both) and come at the end of
a book of songs for three and four voices
The idea of performing vocal music instrumentally has
already been discussed with the performance practices of the
waits Another common practice of lute playing was to use
alternate tunings of the lute The more usual tuning is gd A 5
F C G Plternate tunings included the sixth or bass string
tunec to F not G or the tunings called the 11 leero fashion 6
These were d a f a F c This method was used by Jones in 7
The Second Book of Songs and A~res published in 1601 The
words 11 Set out to the Lute the base Viall the playne way or the
5 Edmund H Fellowes The English t-ladrigal Composers 2nd ed
(1921 London Oxford University Press 1967) pp 304-5
6 Veronika Gutmann Instrument oder Dininutionspraxis
Archiv fuer Husicwissenschaft 35 (November 1978) 189
7 Frank Anthony Traficante The Hansell Lyra Viol Tablature
Parts I and II diss University of Philadelphia 1965 pp 188-189
-32-
Base by tableture after the leero [lyra] fashion appear on the 8
title page There often was a seventh string added below the
bass string tunec to D To avoid confusion this note was not
annotated on the staff instead ledger lines were added to 9
indicate its implementation This may not have been a popular
practice Jones used it sparingly in Ultimum Vale his third
book However all songs but one in A Musical Dreame call for
the extra string That Jones was criticized for use of this
extra string in Ult1rnuro Vale can be inferred from the preface to
A Musicall Dreame This preface is not addressed to the reader
but rather to all Musicall Murmurers
Understand me thou vnskilfull descanter deriue from that Note of Plaine Song charitable numbers and thou shalt find harsh voices are often a Note aboue Ela reduced by truer iudgement which I bereaue thee of nowing thy Rules are as our new come Lutes being of many strings not easily used vnlesse in aduenture till practice put forward into deseruing Diuision
From this preface it appears that Jones was something of an
innovator often embracing ideas before their full acceptance
Jones also may have ornamented or used graces in his work
However we cannot know this because the art of ornamentation was
a live tradition passed from one player to another The second
reason is that printers of the time did not have the necessary
8 The title page of this book is misleading The correct
title appears to be The First and Second Boeke of Songs and Ayres It is usually referred to as The Second Boeke of Songs and Ayres See Figure 5
9 Fellowes Madrigal Composers p 304-305
-33-
10 signs for ornaments or graces in lute playing
The following chart of lute tablature is adapted from
Fellowes The strongs are labeled treble small mean great
mean countertenor tenor and bass All but the treble string 11
were doubled
Treble ( g I ) a b c d e f g h Small r-Iean (d ) a b c d e f g h Great Mean (A) a b c d e f g h Counter-tenor (F) a b c d e f g h Tenor (C) a b c d e f g h Bass (G) a b c d e f g h
The fingerboard of the lute has ivory frets When stopped
each fret raises the tone of a strong by a half step The small
letters bullbullabullbull bullbullbbullbull 11 C 11 and so forth indicate behind which fret the
fingers are placed to produce the desired tones The letter a
indicates an open string that is one which is not fretted or
stopped b shows to stop the string behind the first fret It
raises the string by a sernitone Each letter represents the
next semitone to be produced on a string
These signs irdicate the duration of the note 1 ~ ~ f ~ ~) and stand for semibreve minim crotchet quaver and semi-
quaver respectively The last sign used gives the duration of
10 Diana Poulton Graces of Playing Renaissance Lute Music
Early Music (April 1975) 108
11 Fellowes Madrigal Composers pp 304-305
-34-
following beats Dots of augmentation with their accepted mean-
ing are used when needed Barring follows the rhythm of the 12
music or the words and is not always indicated It must be
remembered that Jones did not always use this tuning for the lute
rather he indicated it by specific performing instructions on his
title pages
Lute songs have roots in the freemens songs Freemen bulls
could be a corruption of the Anglo-Saxon work 11 freibull meaning 13 14
fesitval or of the term three mens songs In either case
they were lively cheerful songs with the tune in the uppermost
voice the tenor They were the basis for the simple part songs
which were so popular in mid-sixteenth century England These
songs then evolved into the Elizabethan consort songs and finally 15
the lute songs
Lute songs ordinarily were published with only a word or two
of the first line printed in beneath the score The singer
12 Fellowes Madrigal Composers p 306
13 Smith p 10
14 Walker p 45 The book published by Wynken de Warde in
the early sixteenth century which contains the work of the first Robert Jones also includes freemenbulls songs~
15 Spink p 16
-35-
16 either knew the rest of the words by heart or vocalized 11
Jones however is one of the few composers whose words are
carefully and consistently placed beneath the notes in his song
books This note-to-the-word placing allowed him more control of 17
the rhythm in strophic settings of different stanzas of poetry
The lyrics of English lute songs and ayres consisted mostly
of typically short verses The sources for many of the lute
songs and ayres were the ~any Miscellanies published during
Elizabethbulls reign ~ong these The Phoenix llest and Englands
Helicon were the most popular However the collections of
Richard Jones were also used by some composers Richard Jones bull
not properly detailing the authorship of the poems in his
collections is the primary source of confusion in identifying the
authors of the poems set by composers Another problem in the
use of MiscellanieE is the resultant multiple settings of 18
favorite poetry Robert Jones set many poems of Francis
Davison Sir Philip Sidney and Thomas Campion What initially 19
may appear to be plagiarism is really an accepted practice
16 W a 1 ke r p bull 4 6 bull
17 Winifred Maynard Elizabethan Lyric Poetry in Its Music
(Oxford Clarendon Press 1986) p 71
18 Maynard pp 54-55
19 Heseltine pp 130-131
-36-
The main differences between lute songs and ayres tended to
be those of length and rhythm Ayres generally had simpler
settings were more strophic and shorter and usually were better 20
sung as a solo song with lute acconpanirnent The ayre is
normally considered a short lute song with the accompaniment
providing the clue to the difference~ Performances could vary
according to the abilities of the performers and the instru-
mentation they used Frequently this lead to harmonic 21
discrepancies in the vocal and instrumental part-settings
This perhaps is the basis for one claim which has been made
that Jones did not write these parts for what are really solo 22
songs in his last two books
The English Madrigal developed as a result of the
publication in 1588 by Nicholas Yonge of a collection of works
by Italian and Italianized Netherlands composers This book
Musica Transalpina contained fifty-five of the best Italian
madrigals translated into English and proved to be very po~ular
20 Maynard p 55
21 Walker pp 80-81
22 Edmund H Fellowes The text of the song books of Robert
Jones Music and Letters 8 (January 1927) 25-37
-37-
In 1598 ~iichael Cavendish wrote a madrigal with the nLong live
fair Oriana refrain This may have been based on a madrigal
published in Il Trionfo di Dori It was this refrain which may
have been the impetus for The Triumphs of Oriana published by
Thomas Harley in 1601 The Triumphs of Oriana contains twenty-
five madrigals by nearly all the most distinguished English 23
composers of the time 11 Robert Jones contributed Fair Oriana
seerring to wink at folly 11 to this collection
The First Set of Madrigals was published by Jones in 1607
Its being called the First Set is no proof that Jones intended to
publish more sets Rather this avpears to be a publishing
convention of the time Where this set is unique is its
containing madrigals of 3 4 5 6 7 and 8 parts tvhereas
most madrigal sets were in groups of one or two different numbers
of voices this book has six different voice groupings These
combinations alone would give rise to the idea that although
Jones experimented with the madrigal form he either was not
comfortable with it or was not proficient enough with it for
his own standards On the title page~ Jones claims that the
collection is for Viols and Voices or for voices alone~ or as
you please 11 Several of the texts included in this transcribed
edition are poews by Francis Davison and two are by Campion
23 Walker p 78
-38-
The English madrigal was something of a compromise in form
It combined the contrapuntal secular music of the Italian style 24
and the harmonies of such songs as the frottola It typically
was a single stanza of seven to eleven lines in length A line
maybe made up of seven or eleven syllables with short and long
lines in any order The rhymes were mostly feminine and in
random order For this the Italian verse setting was standard 25
but short verse ottara rima or sestina were also used
Perhaps the one concept about the secular work of Robert
Jones that should not be overlooked is that he intended his music
for pleasure He had no rigid rules about performance practices
and he was willing to experiment with new techniques He was not
tied to rules of harmony and counterpoint and he seems to have
been partial to the sounds of open fifths and false relations
He was clever and innovative in his use of rhythm and rests
formed an integral part of his control of rhythm It was an
unhappy man who composed the song Goe to bed sweet muze This
was in Ultimum Vale the book that Jones intended to be his last
He seems to be saying goodbye to his love of music and composi-
tion rather than to an unfaithful lover That music in his muse
can be found in his explanations for publishing again in the
prefaces to A Musical Dreame and A Muses Gardin for Delights
24 Walker p 77
25 Maynard p 55
CHAPTER V
THE SACRED NUSIC
In a fashion typical of the Elizabethan era one music
publication could contain ayres madrigals or religious motets
The Teares or Lamentaciones of a Sorrowfull Soule by 1
Sir William Leighton is one such book It contains eighteen
consort songs twelve songs for four voices and ten songs for
five voices The contributors of songs for this book include
Byrd Milton Bull Ferrabosco Jones Peerson Thopul
Coperario Dowland Ford Gibbons Giles Hooper Johnson
Kindersley Lupo Pilkington Ward Weelkes and vlilbye As can
be seen Jones is numbered among the finest composers of the era
Sir William Leighton was born into an influential family
He had social economic and educational advantages However
because of carelessness and misfortune in his finances he was
imprisoned In 1613 Leighton published a book of his own
poetry The Teares or Lamentaciones of a Sorrowfull Soule This
was followed the next year by a book with the same title cf
musical settings of these poems composed by himself and twenty
composers The purpose of these books was to show Leightons
1 Walker p 81 The consort in this case refers to the
accompaniment of the cantus voice with the treble viol and lute tablature The altus was accompanied by the flute and had tablature for cittern The tenor voice included tablature for the bandora and the bassus was paired with bass viol tablature This was in reality the broken consort
-39-
-40-
repentance But the laudatory verses composed by his friends
and included in the introduction of the book seem to negate
this These poems use word-plays and puns on Leightons name and
deal with his unjust imprisonment
The works in this book are on sacred themes and could be
considered appropriate for use in church However that Leighton
intended for then1 to be domestic fare is seen in the style of
printing used that is on a double folio in the same form as
that used for lute songs and in the performance practices he 2
recommended
Jones set three poems for this work The first two anthems
are included in the poems published as The Teares or
Lamentaciones of a Sorrowful Soule The third piece by Jones is 3
set to words not included in the 1613 edition and the poetry
differs in form from that of the others The words of the first
two anthems consist of six eight syllable lines rhyming ABABCC
The third anthem is a simple quatrain with an ABAB rhyme scheme
The first two anthems closely resemble the favorite form set from
The Phoenix Nest the difference being that the lines in the
2 Leighton p x
3 Leighton p xxv
-41-
4 miscellany are ten syllables long The poetry from these
anthems is included in Appendix Six
Robert Jones composed a fourth sacred work This piece
Sing Joyfully which will be referred to as the Oxford Anthem 5
is included in the Christ Church Mus Mss 56-60 The source
for this manuscript has already been discussed in Chapter II No
modern transcription exists for this anthem and may be attributed
to the fact that the bass part is missing and this anthem is one
of a few anthems in the Christ Church Mss not found in other
sources
The possibility that the Oxford anthem was the piece that
Jones composed to meet degree requirements at Oxford has been
presented in Chapter II To substantiate this claim further the
words of Psalm 81 from the Book of Common Prayer printed in 1619
and from The Bible of 1595 are included here This will
facilitate comparison with the Oxford Anthem facsimile from
Christ Church and its transcription and recreated Bass part
4 Edward Doughtie Lyrics from English Airs 1596-1622
(Cambridge Howard University Press 1970) p 25
5 This manuscript has not been recorded in RISM
-42-
6 The Book of Common Prayer 1619
Sing we merrily unto God our strength Make a cheerful noise unto the god of Jacob
Take the psalme bring hither the tabret The merrie harp with the lute
Blow up the trumpet in the new moon Even in the time appointed And on our solemne feast day
7 The Bible 1595
Sing joyfully unto God our strength Sing loud unto the God of Jaakob
Take the song and bring forth the timbrel The pleasant harpe with the viole
Blow the trumpet in the new moone Even in the time appointed At our feast day
6 The Book of Common Prayer and Administration of the
Sacraments and other Rites and Ceremonies of the Church of England with the Psalter or Psalmes of David Printed by Thomas and John Buch Printers to the University of Cambridge 1619
7 The Bible That is the Holy Scripture contained in the
Old and Newe Testament London Deputies of Christopher Barker printers to the Queenes most excellent Maiestie 1595
-43-
The bass was reconstructed after a study was made of the
style used by Jones in his two madrigals for five voices and the
one anthem for five voices in Leightonbulls work The madrigals
were used for this comparison because of the similarity of style
with the anthem
In general Jones uses the bass as a platform for the other
voices Large skips are used sparingly and the relationships of
thirds and sixths with the tenor voice is usually maintained
The frequent use of whole notes and rests and the rare use of
dotted rhythms and eighth notes emphasizes the stable voice
leading Jones rarely initiates word painting or new rhythmic
patterns in the bass However the bass is used to start an
upward scalar pattern carried through by the other voices in turn
It is hoped that the reconstructed bass for the Oxford
Anthem is in keeping with Jonesbull methods The transcription
would not have been possible without Dr Clyde Brockett It is
possible to include the anthem because of the assistance of Mr
H J R Wing of Christ Church Oxford
44
Cantus middot
( -11 ((
) L ~L I
middotmiddot~middot 0
I I
45
Cantus
------------------------------ ====~====================~ I
I ~
j-- ---====-=--=--=--=---=----=---=--=----~~----------===shy
l I
r
l t
I
~-
t ~
middot r I
(1 c I ( middoto
A ~ -1 bull T I bull 1-Jtc v I
bull
~iof~ictf ----middot-
t~L f ef a attf j az ~ E I cfft ~ fiipound wuamp J1 -------- --4----bull- - -- --
iS
l ----=-----------
47
I middot--- - -- - -- I
j It~middot~ ~~I ~CJ m bKpound fy nt-l a~ PJtttfd (Ul A ~
t Ybull T 0 A I I I
~ -t-I I I - bull I I l bull I I I bull bull J I 1 bull I I I
A - bull ~ I
1
-~-- -- ---middot-------------+
-------middot---middot~---------
1----- --------~---
48
middot- middot---- -- ------middot --~___middot---~- ~--middotmiddot ~
49
Contra tenor
middot -bullmiddota --~ilirtttwbullnbullmiddot d_rl_ mr
I ~
i-----------------------_)_
F------ --
______ _
-------middot--middot-----middot -~-- ----- middot-middot-middotmiddot --~----middot- ------- ------shy+----- ------------ -----r=-~----_____middot ~~~---~--~- ~~~-~~-~-----_ --I
I
(I
bull
middot~
I ii l
l
l Imiddot
-I
(
50
Tenor
------
fwaft qtmiddoto( tft~ tfttttt~l hF Ibull bull ~ l~~r---~-~- ~ - =13
t)tl) tfc G11 pound th (b ir th~ tf~~ v
~-f~~-~3 -----+ ~ ------middot =-==~-~-fi I 1Ppoundf ft t1 c If r 11 a h -middot qCo ~~ l-K~-
I I I
bull
51
Tenor
l ~
~ ~r--=t-~ ~ J middot~middot bull I I
13fon ~ lppt ~fie bmpt~H1 tfv1VC btpound lLi hum( Efl J A t I o bull
H-1----r~ni----=ll bull1 -----i - r~ n middot bull -~ t i ~ -J j) I l 1 bull 1 bull l
~ bull bull T _ obull bull -x I n _PI I I I T I I amp bull T 1 1 middot y tl- 1 L~t--I ----J-middot-middotmiddotmiddot1_--1-- _-~--~~--Jmiddot middotL__-1L --1-- -
- I 1 I _ 1___1 - -4-1-J - +--+1--ll- J ) 0 I 1 I I I I -~-- ----- ~ A bull bull I (I V =-
---- - --------- middot------
I he Oxford Anthem 52 Robert Jones
5 J J J ) J f r middot r I
Sing joy ful ly un to the Lord our I 1) I Js - I 0 I ) ) ]I ) 11 J bull v- l l
Sing JOY ful ly un I to the Lord Si ngl I I - _ f r
1 r t7 t r t l middot~ I I I ~ _l I I
I l I
Sing joy ful ly un to the Lord our i strength
1 6J
J I
i - ( J amp J
-plusmn=-
I Sing joy ful ly
-c un to the
r r2 c= f r F ( f z 0 r I l ~ 1
Sing joy ful - ly un to the Lord our
10 j J r
I I I l r I I 1 I f I
0 0 tJ bull middot I ~ I I I t _a l r
II I I strength Sing joy - ful -t ly un - to the ~middot Lord our I I I i
I
_I 1 I I I I l I
I ) I 0 I ~I I j l Ll I I
$ j I lfO J I - -~~ L7 t I -v - _
~ joy - ful - l y un - to the Lord our I I
~ ) _ IQoll I ~ 1 y middott I -
I I j I l r I I I -r r 1
I Sing joy - ful - ly un - 1o the I Lord our
I I I I I 1
0 0 I ~ Q - -~
- I - -~ - lord our l strength Sinmiddot] _
I I 1 - I I ) i j J middot __ ___ -- t -
strength Sing loud un-to the
I r I J () h fl e J j (~ I I II r- j 0 I v 0 i r c
53
I i
I - I - I - I r r r ( J I _J_ I 11 _l [
~ I I I
I
~
I strength Sing 1oud un-to the I
I I I I r r r J y r J - 1 v I I 1 l -l - I - -
I str ~ength Sing 1 oud un-to the j god of I la -
t I I J J l J r
11 - f~ t v I I I L y
r l I
I
strength Sing 1 oud un to the god of j I
I
- ~ ~
r r 1 r r t Igt I
J r I I I r - I
I - loud un to the god of I Jq -
I
v I () p 0 I I _ I ~
I I
god of Ja cob Ja
5
god of Ja cob
cob Sing I lou un to t e j I I
] l ~ ~ i
r - I r r r I v I I (7 I v I I I i
I t
Ja cob Sing loud to thf god of I~
- un I l
~ bull
I I L A 1 I I f- I 1 _J _I L l_ l I t I I ~ t r __ __
-fi I l I I
cob Sing loud un to the god
0 eO 0 __ =J
of j Ja cob i middot
----------~--------------------------~1---o----------~l ~ gt~ f middot
cob Sing
20
- I r j I 11
C I r
I
loud Sing un ~ - r 0
I
god of Ja
r 1 I t7 J _J
~
Ja cob -
1 -I J p 0
Ja cob
r c r f
(l
loud un to the god
I l I JI I
-1
0 l-
cob the god - y 0
I I I
the god
0
I
cob f
~ I I 1 I I J
I ~ t I J middot 0 t--1 J I
t to the g od
c9
god of
r I
to
-I
fvO
Ja
I I
l
Sing l
~~
of
I r I I
the
I
I -
---L--1 I
I J ~
54
y
god
L-
cob
I J
cob
_j
I 0
I amp
Ja
25
l 1
--of
- a I
of
Ja
0
i
I of l Ja
I 1
~ t 1 _ Q _ ~ middot
of
Ja
Ja
I I -J I I
- 0
of Ja -I -middot I
J l _ I I
rl 0 0 - -
I of Ja middot-
I j j I _ J I
~
~ (_ I ~
loud un
ampI _
j9
cob the
r
J I I -1 --11 2_ ~~~~
I
Ja - middotcob
i-1 I -f-1
I bulli cob
I
I
- j - w cob j
i l i
J I ------ I t-1 I I - I cob
cob
1n I
I I I J (7
c_ -
-Take I the
- bull- I I r 7 A_ f I r
0 I ---
j
Take the harp t the I
J ~middot
I bull I f~ [ I [ I
J -Take the harp the
1 1 -I I I _
( y
~
Take the
p f bull
Take the
35
f J J I
I 15 Z
) lt I
brell I
tym tym
I 0
CJ ) J forth the tym- 1 bre 11
I I l _ I I I 1 j I
omiddot i I I
harp and ~ bring forth the I I I
1 r
I I + and bring I
~)
r t harp and bring
55
_ -
harp
j fr
r - ti (J J ____ r
-
f ) I
v J
harp the
a
(2
harp the
f
brell
1__ J
and
0 I tl
-
)
harp
~
harp
I J
harp
harp
~ the
r bring
r [I
I I y
rJ I
11
and I bring
f I
and I
f
I ~
I
t take
___
I
I
r ta ke
J 1
tym bull
( r forth the
- _ --- r
tym - brell I j J
I I I J I r I i
_) middot forth the tym - bre 11 the
( t
f I r r-I I z
forth the tym brell the
I 1 1
amp
forth the
1 A ~
bring
I A
7
the
t )
the
I
~ I ~
I I
l
56
40 I I I I I
I t I 0 I _i I I i ~ ~ --middot
li 11 11 I -
- brell and bring forth the I tym - bre 11 tym - brel 1
I ~ - I 1 () 0 1 I r 1 - --- i
I
tym brell and brin9 forth the I - I
_ 17 - i 77 j
- r - T T _ I I J ~ I I I I
I I 1 ( bre 11 ) the tym - brell I the
i I I II
u I pound I A J ~ -1
I -
~
tym - brel l and bring I forth the tym -I
J amp Fyen tji
F l
tym brell tym brell
I I -- I I j I
I l
-J ~ I ~ ~
J
harp and the sweet the ~ I plea sant
middot - --f ) I i I e 61 0 J ( z
bull
tym - brell the tym brell ~ the ft ~middot c t r 19 ufJ f ( c t I
pleasant harp and the vi 0 ll the pleasant harp
j ) j middot99 J GJ or gt _ -5
brell bring forth the tym brel1 th ~e
9 l f~ ( __ r I ~~
-- -
Bring forth the tym brell
57
45 J
I I I [ f I C) A A I A I j l - -
-
~~ ( _
vi - I 011 t sweet vi - oll the I I
I -- 1 - l l 1 (7 I I I J 0 A I J bull
$ r - I brell I
themiddot 1 pleasant harp and the sweet i I
- p I I
r I I lt I_ c I I I r
I I and the vi - I 011
l vi - 011 I
I I I 0 I I
r I -J y v - I I I ~
p~~~~~nt harp and the sweet vi - 011
I
_ v - 0 I I r t I I II 1 I J I I
the plea sant harp and the sweet vi - oll
50 1 I I I I j tl I l bull I
I J L t- 0 J I
-
I ~
J I
pleasant harp and the sweet vi I ollll the I
~ -- _f I A middot bull 0 J i r 1 l I I
vi I oll the plea - sant p
r I i T 0 - 0 I I
I f I I - ------I I I I j
i
the ple~sant harp ~nd the vi - -
I
--- I _l I I I --1 0 I r l
C-
vmiddoti I - 011 the ~
pl ~ea sant harp - C) r 1-
~ r I I )
r ( I l r
I I t
and the sweet vi - all sweet vi ol1
58
I I I I L_ I J _l J f J
I I I
~ r
pleasant harp bull and the --_
t I I I -_j
harp and the sweet -l I
f middotv A I I I I
011 t the I plea - sant I I
I I
I I I i I J t7 Lc -I
and the sweet I
vi I -i - I -
- J
I c- -
oll and l i I
1 I J J J_ v A
I I
oll the I pleasant harp j _ k
-r= 0 I
t I
t
sweet I vi I I _I I
11 i I I I I I I 11 _j ~ C I J _lj bull
harp and th~e I J I ~
sweet vi - 011
J ~
t
the pleasant harp flnd
55 r J1
1 _r _I_
swe ~et vi - I I
- ~ I I A ~middot _t2_ I
I
vi oll I -
t I _l l
fL
harp and
t
al l
-
j_
A I I
th~ swee~ I
j_ 1 L1_
J _L _r I
I I
and the sweet l A
~
i t l I I
I
011
- I
r r the
the sweet vi
0
-0
vi 0
~
the
I t
the
-
60
0bull
vi
0
vi
-
J
pleasant
-
l I I
J bull
pleasant
-
-
amp l
I
l the
I
I
harp I
----1
59
I I
_ middot-I
- I - - __
I ---- oll I I
~~ - f r I f I J e_ I I _
011 I the plea sant harp and
0 - 11
r - - 1 v I I r l I I --~
J _L I l I
pleasant harp and th ~e sweet I vi --j 011 t I
I _I_ ) - I
_I r D I J I 0 I I
I and the sweet vi -- 011 and l the
J ~
-- -=- 7 r I
I T T r l I I 7 l I
pleasant harp and the sweet
65
- - r I
I I J I I J
I ~J ~ v I bull J cent ~
--
the pleasant harp and the sweet - _ r r ~if L) I I tJ - - I I l I I 0 -1 F _l T 0 j I J l I - -- the ~weet
vi - 0 ll t and the sweet vi -ll n middotmiddot-
I I ~middot r I - - t - f7 I I I l _ (7
j j --w
sweet vi - 011 sweet - vi -
I I I I T T - t i -- A t7 r 1 T 7 T i ~ i
_l J
I I I I
I sweet vi - 011 fhe I pleasant harp and the sweet j I I
u I l I J -1 1 0 I )
f I
vi 011 and the sweet
ou
70
-- - I I I I J
~ I I j ~ (1 77 -~
vi - oll the pleasant harp
I I - j I I I A I 410 7
-- L
- oll the plea - sant t --1
I L I I J 0
I I I I ~ ~ t r _fl_ 0 0 _ II I I
1 I - oll~ the pleasant harp and the swmiddoteet
~ I ~ ~
y JoiO c I- I l I r
I I
vi
I 011 sweet v+ 0 ll - -L
- l I I 0 J --- t 0
I
vi oll the sweet
75 I I
I I T J j I A ~
~
I - _() ] middot -- -- -- bull l I and the sweet vi - 0 ll
_l I 1 77 0 0 0 -I - 0 I y l ---- t ------ I I I
harp and the sweet I vi - 011 bull I I
0 0 C)
poundJ I - t (7
I middot-I
vi - oll sweet vi - 011
I I
~---0 J 1 I t J -middot
I _ _ bull I I 17 ~
I - -
I
f t he sweet vi - - 011 bull
- I CJ I
C if- I I
I I 0 T _ I I l I
vi oll vi
~ bull Scr-ibe error shc~AIJ b~
61
80 111
I I j t - - I - J I I y ( j r 1 bull
amplow the I
up I trum - pet I
~ - - j j I r A j J I t - 1
Blow up the trum - pet oiL - r
p r r Igt t r r r f- I I t J I I i middotp I I
I I J I I
Blow the I
i trum up trum - pet Blow up the l - pet
I I I middotr I
f r l J ~I I r- r _r j A I I I _
I i I I r I
Blow ~p the trum - pet Blow up the I trum - pet _ I bull_ _
0 ~ I I l I I I I I I
I
I I l I
Blow up the trum - middot pe~ the trum - pet
85
f 1 - I I I ~ I I I r ( J-middot I I r J J -1
I r l bull
I
trum pet the I trum pet the trum p ~et - -A - I p - - I t
~middot J I r _1 L I t
I I ~ I
the trum - p ~et 1 the I trum - pett
- i I i ~ _
-l f r r ll _r_ [ middotp t
t I I J l t I I I I l
~ I bull I bullmiddot
Blow the Bl~ ow the r bull
trum pet up trum - pet up -t I
- I t l j_ L _L A I
r r J r J I A J f ~
l I I - I bull I
bull I I
Blow up the trum pet Blm_r up the trum pet I - -I
tt) 7 - 0 _ I 0 i I I -I 7 I I I I I I l I
--J I I _J
Blow up the trum pet the trum pet
0pound
_I I I I - I I J I I I 0 -II I L J I J - j
- Jf o I J 0
ln] the new moont evn i n the time ap -
- -- I
- I t l v t -1 I I_ I l I J ~() -in the new moon the new
I I
~
[ 11 -~ - 0 J - I
I ~ l I I 1 I I
I
in the new moon in I
I I I I - I I j J l J _0 r r J p
I
gt in
I the in the new moon~ new
1 _ - r- r r r - I
I I J I I ~
1
in the new moon
A ~ I I I
r
r f cl - A I _f I I I I I
- _ 0
l I gt _ _ I
I poin - ted at our feast day at
-middot - _
-moon
I l I
_ I I J r ~middot I I J j - t 0 A A
I - r-- ~ ~
the new I moon evbulln [in) the time ap-
J I ~ 7 j I I I ~
r r T I I _I I
1 _ J J t J l - j ~
I I pol nted I sol moon I evn in the time ap at our - emn -
I I + -( _-f- i- ___ - ~middot
_ T I I I J 1 t l r 0 ~-
r I I 1 bull - I I r I I j_ I I I
r
evbulln at the time ap- poin- ted- at our feast day at
93 [ot] Ct =at II otl~ va middot
95 I I [ I l
17
J I
__ J r rJO
r---
our feast
- - I I
v_ ev 1n
0 f6 r I J l - -J I l I I I_ l J
pointed at ou~ast
1 L _ II I y _ r Cl
I r - I
feast day at our I I J
bull _) 0 [j A I _ I - t I
__- I I I
our feast
- - I I
C
evn I
- ~-
--_r r 0 ~ ~
J l I 1
our
u
day
I [ I
J _
in the ~
r I I I
poin - ted
roo -= ~5
q~
I
I r r feast dayt -oGr
- _ I
- _ I
evn I 1
I I I ~
r l l I I
~me~--I ~nted a_p_ I
J I I I I
at our fea~t day
c t ) o t h u o s [1 h) = a~ tr~J))~ribed from
altmne ~cill-ed o~~ ti
- _ _
day 1 I -I I I I
I I J r I I -J I J
in the time ap - poin-ted at
pound)- bull -J _ I j
day our I feast
- l 1 l I
~t _--tf 0 II ~ ( I
I
feast day~ ev 1 n
__ _ r I ~ r I I J
I I 1 -
day the time ap-
100 -Imiddot 6_ __ J J J I I I I J I r t _1 ) - I bull -
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105
r r f 6J dmiddot 0 I~ j A our feast day our feast day evn I
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feast day i at our feast at L
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110
J omiddot u --1 -I
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l Omiddot (_) y l
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115 I I -middot
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r 7- ---ap-
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iblihing Mil 414 A bullbullbullbullbull
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at our feast day at our
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our feast day evn r 0 0 I -- Q_
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67
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72 ___________ ____ Ff gure 1
I I I
middot-
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FIRST BOOK E I I ofSo11ge or q_fyftlJ of iRetiiu~
rourf parn ilh TJ 1
binsr~l tb( lbullU
paru togethcror ~lther of middot dle1Jlfhur2llynliay be toils it _ l 11l~U~~~r
to dte Lutebull Orpbad~l
or Viol de gllllbo Compoftdby Robct~ ltJ~Xto
f
----
1
l
I ~
1
I I
73
Figure 2
TO THE HO middotNORABJJE Ai~O VETt T OVS GENTLEMAN SIR ROBERT SlDNEY KNlCH -c
Gouernour nder her Mai~fi~e of the tOne f VltlbitJ1
and the CaAJe of the Jldlraquotftns In the low C oumnes and of tJtjorll ojtltf411Jt AJtntLrrpuh thtJbullrr-ifonthenmiddot
In plilctdMTftU D b~ifi~jiUitt
~~~ii~5fil Our great loue and famor Honorable Syreuer rhanifellcd toal OrthyScier ces hath ltnbdened me to offer vppe t
y~ut ~ordfiups Shrnc thefe the vr I wortht~middot labours of my uulicall trau~~middot And though in refpect or their Veake nes they ln~y perhaps leenu vntin1ely
bull=-o=====~ broughtfor[hand theremiddotbre the vnlikelrshyerlo pr~fpermiddot yet doubt I rt~t butj~ renderd by you they fl1all happclbulle find gentle cherdh~ng w h tel~ n1ar be a mea ne to make them more tlronger or elfe mtfcarrytog to etcour~ge my en~ ~ deuours to beget a better for as no arts vinclf at fever errors than muficke fo none greater enimies to thcirDvoe profeffion then Mu 1cians whowhdn in their-own ~tlguaritietheycon demne euery mans ~rkes raquo as fome wate ~duty they are cbe caufe dm an istbcmiddotldfcentc~emcJ ian~ they thuitfelues feEuted as fclfc-com e1enders tnd men man fan[aLlicll Vhcrfore if chis one cen~uringinfirm itie were remoued thefe nty ayres (free l dare fay from groffe crraurs) wauldfitde euery where mort gratious entcrtainement bull Butfince euei thofe who are betlfecneirtthis art cannacvaunt themfelueJ free from fuch de tra~ours~ ~ lhe~ leffc rega ~d irbting_fo w~ accompanie Howfaeu~r tfheretn I may gatne yout Honor~goodallOwance fuaU thinke I haae attained co the better en de of my labours (vbicb with my fdfeandthebell of my Ctruite) rcfies eaer more at your Lordihips in1ploimenc
Your LorJjh1ps lmotetl in ~tO dutifiiJfirmce
aobett lonebull
----
middotmiddot
74
Figure 3
ro THpound READER
~ gtltmiddot bull bullbull bull bull bull middot~ EntlettztnJfincem1dtireu)ourtllrtsfoulde middot ~~-- ~imiddots benlindijferentiudgtrfclllnot thin41t nt
-~~i ~ ~rflary to filalt nv trautil or nu hringing -vp ~ tbull middot 01 argtttJmts to plr[Jllade you that f haue a ~Ofd
~ op11110n of 111) feft~ only tht~ much lwzl~tJte 1n~ ~ I ot ihatJmttypretttnttherifhudgnlentsoJ[uch
bull _~~~ ~ t- ) u now n1c not E11er jinre I praflftJ fe4-- middot bull ~ kng I hat~e praRifid inging lbullauin hail not
itr qualitie tobitJder mefro1nmiddot the pifefimiddotI(TIOTPfedgt o(th~]aculu I rtue ~~~n incortngtil kr tbl lParranmiddott oj Jiucts good iugmentr that my
pt~ints herein foal 11tihe eafl proct~re_gooJii~ng if riot delight ~hich Jttfor ntineownetJtitl muflueeder Jeare 111 much 111 defi~e ~efpmiddotecialy
lien I conidtr tb Nptnes ofthu induflriousagtlhtrtillaU mtn tndeshyrwurto nol~t all Ninges I ronfefo I 1as not --nTiiUing to emhract the conctitr of fuch ge1tlemen uraquorere ear til to h11 ue me AfpbullreU thtfo ~~~ tits for them ~hihthough they intendet or their pmiddot_iuate rmeation 11eUcr meaning thfJhoultcomeintothe~tght~tre 1elf(I1Jten~ )pon inshytrtiiJ ~o ma~ thtoncouragementr of tq1s ~ jrfl di~tr~tllre 1Pkere11p~ PO f lilas ~lmrfl ~~to m4~e tnJ flfaJ ftiJt~ne lJJtbtU~OTJ pr~-shymtn~ thAt if lY ctfimiddotnnrfoilttltn( ~ M_~HJI ~~H fllghl P_eakt for theme~ts ~boTPfoeiltr 1~plt4ftth tbtm middottodlaquonunl bl~tt of thest ihen oftbeft1 0 f purp_ofo ( M -ltfiOiddfiemt)tom~t4 mehJ1eut I hm do (omething 1111 onb hope i1 thai fo~ing ntither J cold AJres A nor fheir idedties ( u thgDi[ntedtl hau t cAUthtin) hAue hithn-to Jeene foc~ttd in Ut tdrtJ of rnanie thg maierh~nttlflil)dt f~Kh enshytertllinmentJ llJ conmonlit nn~e1 aoth in tht bullorJ ~thith if I J he fo
middot ~appie~(o he11re lTtiUnoefaie my next jh11H Itt ampttirr1hut I ~a promift tO tfl~middotIJfOft f4intmiddotsroJmJ lliOt fOintsof mfiampJtwbich noJJt coufJ not JohectJuft YlitJtffcllrerPu (ofttlht (Jf~mtk~Jor~ ~~~~hen muflhe-ullJe~ connntDith e11ch IIJantlll))foU cenfurtU IjhJbe giAJ of fomt mtns vndeftrueJ fouourl
-J
--
IJ
Figure 4
~~ ~ A Table of aU the Songs contained in thir7JooJc ~~~Ul
middotImiddot AWordans LookecS middot Fertd Wlnto~ youdu ~~= Sheewhorematd)Jet1ebcaury f+- ~ Qncre did I laue ~~~ L~d ~r~Atongdcfuc l Ltc dOwne poorc bean J ~ bull n Wl I _ ~ -b _nere rngrrnguare
1 - i1 Hcroatenotchougb ~ z- middot ~ Wbcnleucandumo bull ~~ Swee(te come awa t bull -a Wmiddotomenmiddotbullhataicrtbey
EarcweHdccrc louc ~ middot gt ~ ~ 0 my paorc eiu r~ ~ a If fathers knew
bull ~e i Life is a PoeampJ phablo ~~~ Sweere Pbilomdl fi ~- ~ 9 That heart 1 ~
1 VVbit ifl feckc MymiRris
middot~ M ~ Petplcxed _ 1 ~ Can lllodca pbine dctir
I
middot 11 - 1 ~ ~ middotr_ ~ r fl~ - I
l j It I I
~ ~
-I i I
lj middot J ~t ir- I
bull Ill - -middotmiddot - B
L lL m IUL v VL vu VUL IX X XL xn
xm X1Dl-xv XVI xvn
I t
I r-middot
r --- ~ I r- ~ J
I
Figure 5
--------------~- ____ __ t
lf~ flfl TJE
B 0 0 K E 0 F S 0 N G S AND AYRES
Set out to the Lute lhe bafe Violl the pr-ynt Wdl etr tbr 84ft by
tablcturc afitr lhc lctlo ~114
CftftJJ Kobert Iones bull ~middotihl~ by Pr flaquo Afbs by bullbe
~Jm ~f11HtfNI Al~rl)l J tbull6t Cold bulll bullhe Inner l(mplc
u bullr bull 1-ot
_ +- - middot tmiddot bull
~
II
Figure 6
------middot--~ middot-------
T 0 T I-1 E It l G I-I T V E R T V 0 V S A~ D V oR T II Y K ~I G H T S 1 R
H F N It Y L f 0 N i D -middotrmiddot t ~ ~ ---middot~middot 0 R T H) Sir mJ my_ Honourablc fiicnd I giue you thi~ ~~ ~~~1 bull CIJIIJl pr~u~ gtou hnng at vp bccaufc I ttm o1 ~orc mn ami t ~ middot ~ _ can nor maanrunc bull t 1t bulluy ~ulfcc muchaducrfi u~ ~~~ my nam c
middot middot your For~u~c mnc aJ~cr llJS rtJrrcs 1_nd make h1m hJppac bull f ~ I fhopghllllbtherbe ahmiddot oe l ulltec~Uhoun Orpbanrlorpm rc
mens CbddrlfJ -are Orplano borne and more to be piuiCd d~cn they liJJt hJ11c changed thcidltl cr) lor their ltuJ ~ fud1 mlc bullai(e themfduc~hl due time we h0111C oo wJ ic to l lciglncnour being bm by lbulllothcr pomiddotNcr As Gcntlcwo- mtn pecce lhcmfdbullcs with Tij es and Co ronctsto t p flC trt mor~ per fcmablc ~nd t~ll o UltJfi woaJdc VntO OUl )ulctlCS if wew11 not De (corned iardwarfcs) rhccroYlC of Acnllc pC1fons mgtre cmincnt and hi~h Our (Lnurcs ~rc nor fct aboue d3nshygcr i WCcJuJowc hdor CUCflC footetO trcadc vpOtr OUt place IS he cround there icnodnng balc-~trwsandycr dcuil~ion _m pun n lower if wee h~uenotgood ~(reds Th~ y wiH fin_J _me~nc~ lfl digg c and In v s down~ irnu the cllth ~ nd burie yenS
bcfotc ourume Th1s 1s the nufc of pttroua~ct nnd thli ts rho p(rlecutton o( ahem tlpt wouldingroffc ~11 Gloric imo the~r owne hmds But t~cdJt UJl~ o~ rhtfe mcn they bite the truhe~ thcmfdues 01ould fee de vpon Vcrtuc would llrlng fonh mmie h1idrtfl but 1hey hold them an the wombe that lhcy due not come hut As the coshyucrolls maf~~ fi~gcth aU the hind about h1m wath fi3tuus 6ncsand b~nds i1 nd othc r (uch Iike~iumiddot 1 warre (o doth the ambitious intrap the Jinle pori ion of ante commenshydations cha m~ ic fie II bcfidcdilm And like the mercalcff- Souldicn lhe Cafilcs they cmnot t~ kc they blow vp They uc a~ f(nring of cucr ie CmUlrcJun~flc of crcdifbull ~s iflt were I aide vp in oonnnon-bmke and the more were giuco a wile the IelTe would ~orne to tl1cic nbullarcs Theya1 c mafcra~lc men) _f roill onlf br~md (htm wi1h this m rk~ and let dttmgoe Thty were Eaglci tftheyd1d not rJtch Hycsas lheY ate thcy-bullro grculhings)muchldfcthcnnoamphing For my parc)l willnotcorucoa wiJhchcm ( aeiire JlO appf~u(c or commcndadons lei ch~m haue the flmc of Ecchocs and (oundf and let me be a Bird in your C~ge fin~ to Y fclfc ~nd yo-1 Tl)is is uiy coment and this is my llmbition~ if 1 haucthis Jfiile nm in mtcxpclhton il more for rour akcth~t is my ashbntagct andl will owe you duciie for it in the m~anc time lrcfL
fl 0 Jt I ll T 1 0 H R ~
A 2
10
Figure 7
f
TO THE READER
rSI~~---11~~~ E AD E R 1 btt11t atrl moruuuttiWtJ to At~ IIgtJ oujlU rtPhul~r J b411t 6o1ft WU r no td~n( tlull
--=middot ~m~laquoh ft~inen~ rltoife thrt e~tU th4t jwiUf-1 fortify j - ~ry inrtnl toJll~rJdbtt lllll JJ 1tt btctufo
z kow tlwcwot r middot41d I IU jtlllrl ftDf gr~flJ(t D
comftlirltfto Wilrrant J tnJtutJMrs lll-bullfl o~U met~ ~ J bull JqJ it 110 fJ1J1111t tJ ()~~ Vfri~btrztQt ~~~ thttiJJkJt 1 ~~
J tntlfflt IUJtl~ AUfljt my Jrlfrof~lliJtnltt yluggbullJ ~~a~ ~~~~ iby fat~olll ~ whrrtin l t~sft rt~tiJti tJ itftritk rkJt ~D11bull
II~~~~~-~~ llllldllllorlt 1 then PJ my ownt bullfi 1 to frt 9 l4hD~ifl ~Ill (o Jbulllr The llNIIb b lllthlugh l wbull nbulll fo nilt
Jllltll J rptnpofol l~rt cA7rn t~Jt J J4n1Jt~t jl11d c tbrbbull~r~ of t~rirt~~min~tion Ttt Jwould bt ~it~J( if 1t ~IJtbi) thfl~tlt J1nJI7 tpptabat~tm mtJbtgtlltll1t mcouragtmtntto foutJJm t1Jan4rfoltJumfltt JrtlltfJJJJ rlmu t4ttJ hertJttr bull Jftb( Dtt~itr aiftk dJrlmiddot 1
1ll mjiullt- th~tt lJU fo e~DlJ til flbfffll 1J_
pri~su rt~nttnrntu(JilltrJ Gnt(tmt~ith~ut tbti~tonj~IUJ lhh ( lmiddotbPfl J nor 4middot gbullmJltbdr tltls RPtrtm if t~oN ftrJJ afllltiJmg to rnrtttfllltbmiddotrlq Jefiri rblt~k m~ jtlr th] rtltre ~uwr mr~nt tiNt~ J (nmiddotow nDJ l11w 11 ttiiIbullrt~ttmt Q(lr~IJt bullMtillllb~n~l tkrt p~NJ btn~ GtJ~thmbulln ( btn H 1tJ4j ~middot1 fo mfcb pbullrnufor fo hulltMJ) tbl wbullD n ~911middot cl11~1ht c~n 4~ ItA k bull~ loiftr bi Imiddot~~~middot 1l~~JtMjrlrJIJ g_olll bullJtiK tlritil bullfhu tNnmng JifJbulltlltmtbulltJJ tblttll) bt(t11TiflfllJ ~~JUJhlllfJ nolliIYIIJ hu tiJN)t rl1tfo Jrtlo dtjilehim Cif ht-6middott nt~~zruiiPbullP bulllirbnmiddotz ii) tb41hfmaj(J 4ctrp1tbt N6inrri DnDfiiiJ Nt1111t M 11 f~cirnl Tiflsmonit th~t J ttm wat bAiflrJ oinflrt~DJ~Il Jflhtrtifl Iter 1 iraquo94fftt~r rt~hbullffibullNJ7rll ~ ~ J~fiijitJIIjon ~so~middotrbrr~fl tb~l1fDMJj~inc in formt llltil tbtY ktofMttlhm~ Jytbur gmzt411Jtjl~ ~INtrltlbltlg J IJ n1t j11 rnbullch 41 tltfirtthtm o 6elftbulltbull ltARJf11ould hfrrbl teacluhmr At lr~tp bow tbl) IJII~ bt ttmt je F r 1hl 1Jc)Dl 1 will foit 1n1J t hHJ mMch tbtrt blllh not bttnl u~tPttt of tbil fojhitm wampicblf tha jh11l1 pron~gturt to bt blWirtbmiddottb btAtHitJ rtfl fJfifjitJ) if tlbJtit~tor Pbullrewell~
Leaftanie ntan fi1ouldfeen1e to acctlfc tneoflingularitit for expref~ fing thetimeo( myfong~s by prlcke fong Neres neuer b~reto fore vfemiddotd Ihaueforhis ~euer innruction hcr~un~o indeuoored to fatiffie him
amp t r f A Scmlbrcofe Minnum~ ChrocberQampIItr
-----
~ qA~ ~- ~ 1b [G~ ir~1
~~J ~ v 1
~ ~~ c a
c ~ ~79 - =-m
IC~~
~ p _l
9t ~ ~
ll4 ~ l
-- 79
Figure 8
-
A Table of all the Songs contain~d in thitltBook
I loue wing middotd my hopes I I Jly louc bound m~ with ~ kiffe
1 I f bull 0 how my thoughts doe be~ t me II [ Ore ames ~nd I magi Oitiom V Nfcc thought thi~other night V l IVho fo is tidmiddot= 1 II fie fie V Ill e~~utic (bndc further I X Now what is loUI X loues God it a boy X I Ouerthcfebrookcs X I ( Whither 1Unnc1h my fw cct hart X II I Once did lloue X II I 1 F1ire womtn X V D~mtic d~rling
X V l My Jouc is neither yoong nor otd X VI I Loue is a b~blo X V I I I A rife XIX Did cuerman
middot XX To lighandtohefad X X I Come fa tro-w con1e
0
I l Jl
iir 01 11 -~
~~~ ~~ ~
t~ ~1
~P J
~~8 L e
( _] middot~- - ~
v lft -amp A
l -
I
~u
Figure 9
-----------------------------~
VLTMfiM fl IILE virh a triplicity ofMuficke
W HEREOF lbt firfl p~trt ir (or t~t Llltt J tbt Voyc~ and the Vbullolc Deg1mbo The Jcflt lbt Lbulltt tfH Yllt 2J IMrt
p1ne1 to fine The third part is foe twoTtcbl~t to 1fint ~it hc 10
lbtAr n- rhll 1~ bullr t-
bull bf ~ Compofed byR obull bull T lo bullbullmiddot
fl fr1fbull1JibullJ~ ~ 4111 Priorcd It london br r~ i JIIiWd
~re robcfoJd l)yS pfn (lw J bt sJ-laquo
ttfiN C01bull1 I 6 G l bull
81
Figure 10
r~IW~- ~~~middot middot~- middot ~middot bull bull
TO THE GREAT lOY AND HOPpound OF PCZ(ESB~Tuf ~Jgt rUTUfF
Times H E N R ~ E P ri nee of lf a cr Duke Cl~r41wt1 ElJieoflhc CIJjtJirfbullibulltifttfchtjltr Knight ~fthdiDIN ribkoJenf
dl G4rUr Hcyu App rant 10 tht Rcllmcs of Elrjuntl Scotbnd France and JrdoJnd
Ojl Exrelknt Prince T Jr flrengtb of our d rt (] houJ aythrrPuaf(ncsgt) cannot endure tbc force of Soueraigne
erltlCpoundOf1tcncarcitwemay tU ncarc u to you your poundarcJ TPillyet_ be arc to deale wuhfottndes tbougb nor to
dwcU there yet to pajfe by tbcm1nd by teJiJ to learn to tune Jenjcs lJ a nper a~c c-A lmo all attr k[JlPicdge ir drallme through the ftnfirtbey arc the Saulctntclligencfrf -wbcrciy (he paffith into tbc -world a11J theTPorld into bcrttnd tJntangl ali ~(than )there is none fo learned__ a1 the tare~ none hatbobtainedfa cxccllrnt tJJJ ufrtJjodelicate1[a ablrufe fo p_irituaJ thAt itCIJtChftb rup TPifde fo undet in tbe Jitt and brin~~J tk Under tJ goucrtJC1fttnt ntJt to he expreffi1gtbut donegt and done by no sQll buf it otPn~ Thereu Mufic-k in all thinretbttt ettery tnan cannotfinde i t Ot4t)
iltampAJJjeofbilo~neurri11ghee MJlft baue 4 harmo1J_J in hiinftl[e)hat hold goe-about it and then bt u in~ good way 111 be that ht~th a gwti ~artJ in d
oudfot1llardtUJ to our focultit [ onceitc u but aTPtll tundejat~ry done in tinu ~ pLsce ~~~ ex(ellezt fintencril hut a TPell lHn~e rea(vn Dell nit ltgethtr P ollte or the fubt efl therof a [omit 1on IJ1ellltbu6utll lite I tuul middot e
Song T~htr~-allr41ltl Joettgrec ana lnccte together~ith foil C011ftneanti lJartiJOnJ one Jertung otherand cuery ont rhemfeltlet in tht Jam~ lAbour ButnolP] intrudeintoJOilr llrtin whicb 411 pnry(anJ ftc hoper)thal q oJ ~iff giucyou a oJy aru profpetOI~S k_JoIIJfedge anJ t)en aJ orhtr eJ rtCS foal profPpoundrnder it Our gracious S tll7aigt7(Tour H~h11ei dear FatJcr) hath ar11trd atul conortedjomc great prOfifiolH areaJy~ fi~eh1ittleoneJ dJ this )oo e for itgtand heg il cfw OJ4 your p ri nccb nature promi[eth it J hich m4 es nv boJJnet bopefor p4r on ltJucbfiifc tne(mojl exctllcnt Pr1nce) )ourProte8ion Ph(f1flt)on41lowJall Qtbtrs rPill conrmtnd theircenfitrer n A it fobulluoflrlikjngthst ot~~rraquoJift1Pold Jifpift me bull EN en your n meJ the forefrTJntu ll charmifor ~~talttiOHl trmgtu ThAI praJtng thatyour Htghnt IIJ aDtaet h~ttte dtJ tttre t~be te alir bulllltuJijingulj1J ~tht _fo14tuJ of lTlCth l necl tftJOUr Higbnes feet
Your Highnes in all hom blc tl~~tJt AIIJ cruice
RoaampampT
lo N s
82
Figure 11
- ~ H c ldndc A pplauf~ vherevith I hau~ been~ revardcd in n1y former A yrcs hr fuch Gcndemen as can iudg~
~~~mJ Imiddotb middot Y the e bull are~ an not other 1n~ns Echo~s hath nov du s ~ middot durd t1me gmcn n1e heart fron1 then to hope for the
like in tbcfe V hich l hauc corn ofed cuen to hew n1y
graticude rovarcles them I lulO eucry Father is paniall ouer the i ue ofhis body)and hauing his iudge1nentcorrupced by Insaffecti- onis VOn[ rofpe~J e bis Chtldrens prayfesaccordingto hisovn de fires rather the i1 I he ir de f~r ts 1 t tna y bcJ h aue thuS oucrlookcd this iffue ofn~~ br3iue whereforel wiU onely comm~nd my pur_pofceto ntakc tlus lail my bdt expcchng to reade the rruchof my fdfe out of thy reporc AnJ becaufe ant notignorancenough)to b ~egroffely taxed by any of our cunningJvlaiJlers nor bigge enouamph to beflar te~ed or c n u yed 1 hope I 01a1J not be driuen toe nq utre out my en~ 1 middotes) co heare of n1y fa~cs nor to befpeake mylriendes~uour F or ho1rvloeuer l an1 fe t in an vndetfortune thac hath need ofampicndlhip y~cit n1y Vorl e~cannot 1ufiifie n1erny wordes Htalluotl bad rather dye a be g r 1tbcn Jiue a boaler what skilltimeand mycontinuall
radifehath biucnme)hcre I gladly impantocuery wel wiUert lat gr(tuntcs me buc acc~tanae for my paines And fa I comn1it my icfe to thy cenfuse1 F arevcJI middot
7ohertloner
( middot
83
Figure 12
A TABLE CONT AI-ning all the Songs in rhis
BooK E
1 ooenotO do not prize thy be11utie 2 middot 73ea utic fote bathing h y a j pri ng ~ CjoctobedfrJJcct6lvluzcgttak thyrcjl 4Shalil loaktampoenogriifc 5 ~Pbar1jJ fpcd1t1hert 1 leafl cxpeEled 6 Slpeetcijyoulik and lotte 1ne fliJ 7 SetifetrothledrhoughtJtofgh 8 Scinrhia~cene ojSeas and Lands 9 rB la111enot tn) chee 1 I l o There is a qardci1 in hc1 forc 11 S1reete Loue my oney Trcafr4re u ~hinkft thou 1_ate to put me doUJne I) Jfhen willtltfounraineojmy tea res bedrye J+ F lye ji-o11J tbe TParld 11 Happy he botofrraquo etebomc retirdc
-Thcfc following are for z Tr~blcs
l61Jiftlaine thntjoll amph Jilfne 7 middot o) et)erchangeandjjttre not
I8SirctiuftJijJAineh 1~to ri t
19 cuftler ry hands lo vh ue lgrt~ceintreatetl ~o Oft haut fmJe the cartfe to ftn e ll J(o hAuefleamd-mithmuch4doot~tfpjl
B
84
Figure 13
ORTHE FOVRTHBOOmiddotICEOF A Y R E s
The Firlt partisfor tbe Lute poundVO Voyce s and the Viole de G ambo The Second part it for tbe ~amptte ebe Viole and joure V oices to Sing The 7 bird paramp
is for one Voycealon~ ono ~he Lumiddote the llafTe Violeot to bach if you pleaf~ VYIrrtoj~ tAlo ut ltzlitn AJrtt middot
CompufcJ by R o bull l ~ T 1 a bull s
2f trfont (intIJ J1fJJmiddotil4 iMMJifl
L o P n w lrnplintedbyloHN WI~ D T andaretobcColdcbv StCO-rt w TElSO lol inPowlcs
ChMhmiddot]tlfd)bulltlhl SlJt j lit Cfll~middot l o 9bull gt
-----
I
--- 85
Figure 14
1
- ~~
TOTHERIGHT YV 0 RmiddotS HIP F V L L AN D VV 0 R--
thy Gcndcn1nn Sir I o H N ~ E v r N T u o u r pound Knigbc pcrptlll3ll liafpinrffe and [or~tcrlt
~~)1-lpound--- -- fmiddotts not vnkncvne =nco your wcl deft ruing fdfe 0 R igh~ V Vorfhipfull that not long fince 1 cooke n-1y
V~tiltttm )a[t vith a refoluing in my ldft lHter co
put llfh aoy VOdc~sof che f1mC Natllre and Fan ion VJlereupon) betooke n1e co the eafe of n1y PJIIov
middot where SompUI -auing taken poffehionofmyeyesand u 1orphttlf the charge of my feofes it happenrd
~~~~Mmiddot~~~bull rnee to fall into aM uftcal dreame wherein Jbulldl middot nc~d - to haue many opinions and extrauagant hun1ors Lf
di uers Natures and Condttionsfome of rnodet mt rth fame of a marc llS Louc ~nd orne of mofi diuine contemplacion all (hefe I hope 1 fl1all not gue any dtilafie to the eareror d nde to the mind eyther in their words or in their r~~ ueraUfoundsalchough it is not nec~ffarie co relate or diuulge all Drean1es or PhanrafiesthatOpinioo hegcrsin lleepcor happeneth to the n1indes apparbull[i onAnd continuing long in chis my dreaming humber I btgan to avake anJ vp n my eyes v ndofin~ l bethought n1 y fclte being full a Vak~d aJu itlng n my n1ind Vhom~ to dec1 and chute as a Patrone for the lan1~ l Vas eafily in -ued to n11J~e choice of yqur V orO~ip a3 one to V hom~ I necelfarily ou ht
both lou~ and duety l nJ howfocuer l m1ght feare that you Vil not adamp0
ledge it yec in thlt Nature ha th inricheJ you Yith more chen ord1nlrie know le oe in th ~ Art~ be~inga Vi ntsofthat Lo~t~ Vbich you haue ahvaycsl ffor
ded to Mufick gtI en1boldened my fel fe the rather ro pre(ent it vntu ycu Accept itthen(good Sir) as a T oken of vnfained Loueand a e be
worthily Jue ynto middotyou for your many fauours done to him [hat is
uft)middotour lforhiju conJmaund
----
86
figure 15
Thi~ Greetin ~middot bullbull
~~~~ HoulPhofo dare itcbeJ ltJith the VJrietie of opinion h~aring thinr oraquome otlJdtJf tJc ecchqc nuerbcrtJ~ ing otfJeTJ fubflt~nCC and lmprofit4hfr ~n it
middot jtlfefhclpt s to tbe IVorld comfJrtaJie liJc though to thy orvne ~Je bttle middot~~~~pleajurcLJ retjon of)lnch-umiddotirbl~ctn[ure I fpc zlte tot bee m ujirall Mo tuusthotljimiddotcm ruboft Jucctie IUimhcrr ~1 J rajiy pafeJJ drop1 foil in tbc jhonre Dt4l
)ithlrjfiprofiufcomprutmiddotthcetothqhlt nuy Jr4l tbatjlitr int0 11UJUCJCf and ltJill twt tbcncertJithout much troubli) or tbuu rn t JJ Jfper[el iulgemeiltgt not oneamp art afo jeniru tofecing kJonde~~c hut moj fo ttlty f ct o d jcruing i~Jdamptflr]fL~~gtg 1110zte r ctU of the 111oilpurt Bilfoaud Jmoothiu~ tbt~ plztncl Citttl ~ rvben on ely thine on~ne opt 11iltJ1J it more nJrinc~lcd and more vitiotH mit ~( then grcjJcr10Yle lo tbJt 11 a brujh 111
jcFlcdlPilhfithgttbott ralbcrjomiddotlcfl theti iiMI( pebullje( 41VWl) I ha~1e jlooJ atthi11c e lho1PJ andh~arJ tbcl prop~Jtne cur a 1 dlfit c1 bcfl J(ryu and 1tJith thy lntu~zde ref 1b Jot f~rde~J rfl gnoh iy l4J1l ltJJilre~ ~nil f f~ renot g~eaty_tJat tboul~iltlay to raquo1J ciJatg t 1 111 lD vtfu111C )Oll11 ~Cttrrag1tRf 6ecaufe fft011tied a r ~nuch but 1md~rflauJ me tbou-ns ~VIitll dojcanterdtriur Ji o 11 tba t JCrue fPlaineSong charit4bletJtlm hers)and tbotl (hale fnd harb Joicr I ttr~ ojtrtl t1 J0te ahoue pound redr1c el hJ tn~er
izulgtment n bicb 1 htrc4Uc tht of tJmiddotorPinrl by RJtler are as orr nelll cmne Lutf be~ -_ ing ofrJany ftri~I(CfIJOt((ffamp tJjJJlmlcflr ~~~ ~dllefittlreti1 praf1i(tput fon~4rd it1to
dcjerurng Dst4ijtaiJ rr hH nIJ aduerJI ure I r nomiddot rtccd but drtanze) and utJat art tlrcamei poundut aiJie fCtjcfi iotJgtandjcttrall ayrc s 6reathll)~ Jarmonio111 llilijperitJgt tbongh to thee difcordlmiddotet toolbcrs indffirent 1rvill not ttY cxcellel~(~ becHfe it is 4J
othen otflce 110ttni1u 6ru let tbcm6~ as thtY arto~lmiddotcn propuu tul my p~inct _(rt forth j ar pleafurcgt uot for pw1HJIc~l poJou Jiucfl itntrginatioiJIJO but aJ a fhorPrcjt~llitiJ i1 ~urcdfuil ft~fouJ~ 7 jJtUr m fmiddotlje atlrajlaJJd wrl(ay fo et4er bY au otbmiddotrj lPhofe IJ bourfhJI vfJ(t Alujt~udl uuulu~ztt -~ Jbe rmeiy rPiug fJ IrJe courage being tl1e mofl pltttfo~~ 1luice ~(11~ 1) nmiddothotjnmiddoteet~rc J t t11chcr h 1m to hcaiHIJ itfelf~ Jt ir Jjara if a thi r pztt1cs rcpt ntgood romm~ndJti~Jniand it lf t~ttr Ulrtlll out of 11 Flint itJ the toll ith l hou ntHer rl ink (I u ell of di1J 1 Jn ~rlJ bull(rt in tb) fjto v nri(Jifi1 encr aJ l lJ Tt~tor jranJ tbr I ~ Jllol middotrc fotdtlneuct Jnn rbcc 1~1~ it~ irune be 4J thott art a h1mp of Jc(onnity lllbm I Jjhonbrcldt i11 tbe Ufvdr ampi diAI~ir~e nd 6rontht forth b1 b~n~iulr l1emiddot g~r ~ t htftt r1 11idn fc to ~til t i nc m n rt f
j i umiddotme lc u todrplrt Jmiddotor ifnd J1Ntbout it J $111 gonec rtltfic o~ til)middot crnfitrillifi arf jJ~IIy p( ~(n 1dcd thuu ca1Jjl110t thiole tlrlnd tcrefurc art crufl tiJ thy [raJie 11 IHr pound0 1e btu (rttclltJntl being 6on1c wit b rce tb irJ tly bc11dbit eucryeuronJC D47111ele t jJ tbir orwbat rijeboncfl iudujlry~nxcr th) ~111 egosip trJo
fucwdl1f thou wilt in ~in~llclfeot hoi~ tlly fClfltfitgtm1inthcr cupmg
87
Figure 16
lee Caldi fopitmiddoti Samor nfltJ c t~t du119Uc
B
lO
l~
------
88
Figure 17
Or [he tift Bookeof Ayres onelyfor rhe Lure che Bafc vyoll J and the Voyce
[ompofedb) RoBs R T IoN E s
QEe profontjingula mdta ibullmant __ _ ___________________ __ middot~-middot -middot middot--- -
L 0 N DC
rrintcd hy tlbullc Afigur~ ol ~~
Jij0ilfm lJdr ley t 6 1 o
I 89
I Figure 18
TO THE TRVE HONOVRABLE AND ESTEEM ED VVOR THIE THE
1 f q H T If 0 7 S H I P F V L L r If E LAVY vv R 0 T ll
~~~~~~On Honoured Lady my ddcfl anJ firft iiTuc hautngthr(ud fo ~middotdl vnder the protec1ion of your Right Honourable Facher blame not this my yonshygell and h1tl Babe if it dcfiroul1y fecke ampnctit~ric
~ with your fdfe as being a mopound1 vonhy branch frotn fo Noble and renov1ned a flocke It is here uarie tc I
a - your whole houfc noton ly to be trudy Honoura7 bl~ i o your feluesh ut to be the fa u ou rers and fu rd1ercrs of all hone 0 and crtuous end~uourpound in others And [hJt n1akes n1e fo farr~ daringas ro prefunle to offer rhis o~dicadon to your fJire acceptlOCP- AnJ hovfoe uermy defeCts therein may happily (or rather v1happtl y) be n1any ~t an1 I moficonfiJent(and tl1atgrow~s fion1 tbe worthinefleofyourowne nature) that your 1-Ionourable minde middotviii he plea fed (fince it cg s c fc lfc moll humbly in your annes) to giue it villin~ eqtcnain~ment and to countenance it Vith the fairc Liuca ie of your nobl~ Name It may bee flighted in ref peel of its ovne valev bur your f1uourable acceptance
wil~ bot~ grace it andmy fdfe a~ a poore Table hung vp euen tn Pnnces G lJoncs ndt for lhe VVoo ~hut for the Ptdurc
And fo (Noble ~ad y) not d~ring to bee ir~Ious of your rlonourable entercaine
menc I rcll
-I our LaJyjhip Jellcted in all dutit
I
RonERT I o Npounds
-----
~
90
Figure 19
~ )~To the friendly Cenfurcrs
- Eart jriend1 for fi I ~sJIyou ~(you pltbulltJ(e to acctpt my 7ood lllttJning i prefented yot l~fl rraquouh a Vreame i1j
middot wbich 1 doubt not ttt Ottr jJJta(ies htJue receuud fame rcafota6e contentment and now f JO~t pleaje to lee 1l9afd ortt of that VreiJJne f jhaU for your rerre JIJOIJ 1nd rcfi pound(bing guide you to tbe_1v( v s ~ s G A u ~
~=-o~-o~~ o EN Pberrytu (halljindj~cbVttrittiemiddot of Jelighn tiJt quc-ihunltfeJmiddoton n ill wilitt~Jjcnd fome time in the vien
t rrtof 1 n )Ot~r 1jentr411Ce into -which Cjardtmiddotn) yotl jhJIJ mtett ~ith Lout 1 CJr r and li6tl6ht bHt L4Jur frt foortb at lt~rge i11 biJ colourrby JFay ofdecypht t in6 bim in hit 11 ~1turt_~ ln the midfl ofzt yat4 fbaU find Lcmt rciefleJ) vpon t~rLnfu~cie 1nd b1rd mtajuteoj-ingrt~titude T ruching them that ar~lourrt gtI cr1 tumiddot tl1em to tltiro1~ne Ctl~(ure in Lout I defcripttou eJrul nowfor tht end it tf )liJn~ble UJ anorbcr ~ tur)for tbedcligbt oftht ettrf tnjamptUJjit opbull~1io1 14111
nM ft lrogant loco 1mf1Jd mi1te onme gitt neither yet fo Jegtnerate IU to be-g )Uto tdl(rartvn fftbejt d hgbtroFloftl(rt) or)4r(tico[PruittY ruaymJ
)1 ~1~Yt J -t rle _rjtng WJOffr_(ut i 1 jla1 bl gitJd Othel TPije J raquoiiJ )O)) nelIICr to J~middot t_fot~gtPluu orgraft and my ittbourJ butcrflrtb jh111l rtaft to trou61e)middot~ott
iJ Jt41)middotilln retlr lniflil r ~-tren ot will f1etunty ourctnforesl and dcfi~ your malice if you drJfe iht 1 a111 rifolute 1
ijyou11[e me r~ith rtjfe(l 1 bidJou mojl bearti_v
R I
--I
91
Figure 20
THE ry A11 L E
~Ouelouc=
middot~ tpound1 Soft Cupid fofi middot~ Alec 1 the fiUy 6th begu1c 1middotmiddote lounuhtcs ~~noake o =okin~ hy ti~( Riocr ride 1 n nnot (n 1fc but liuc 1 (mile loy in lhy Imiddotmiddot ( S
How rn~uy New yccrcs luuc grow ~n nldc There vvas lt~~ ll lcptCoJrd bull hn d~d litH The Sea h~h 1nany tbo~L~nd llnd Omiddotlmiddote dimiddotJ tnt thoHgh 5-both cLbc bullnd Sow l ~m b t~rrt ftom piuyh g th rc h 1 2] lately in a d1 came There wu 2 wil y a ddt My f~thtt fampinc would hluc me uke Mv loue harh hcr trot L ue bctro11d All roy fenC~e thy tweeuncfl~ g2incd T middot t~ CC de1fe A fpc wnh dyna voice Ddwld her I d ct like wire~ ofemn Gold 1lhouwb d1lt 1iogs ufmy ddirc h( dipt _l~ht 1 rcdccun cnln cu on witu mtnc ryet
middot
92
I Figure 21
Robert Iones bull XIX CANTVS
-~----- middot_ - ---------~- htl_ _+--=--= =- middot __ - -middot ---=---- - middot- --- -==== ramp-1==+~- - middot -~------- middot-- ---- ---___-
kt her goc
rtmiddot-w
bull And 0019 lbc rwofa dit but hu Nzyny)l moRneoctdlyou An yri I will ltis fo ( 1
A5 tlaquobelt tahha ~hen loucn IIKGC
5trt ~oma~oo tk ~ ~ Tatdl you mateilis necdldft~ I nnnt md c u hew by middotthe 1ooe And tbcnlQll chis wu ooJ~
93
Figure 22 ------~--- ---
bullsAtlV
llil 11 ~ middotl llh1J 11111 lllll t ~ I l ~ ~ I II II II I ttJ S amp I a HIH lf lll It g I J ~ I L~ Ill~ lt lll
vi i i II t middot1 ~ ~ I I II I ll
r
I l I I
l I bull
l 0 middot bl
1J 1 bull i ] _ Q
middot a middotmiddott kl U I I I I
_____~_=~=-~JIlW~ wrong bdccue htr not it wu not fo I dJd but lilfc her I did b~ Lilfc bcr aac~
-__1---------- -middot- ------middotjmiddot------ ------------- - --- -~-- middotbull - ___~__-- ~
~ ~__ - ~--- middot --~--~
----- -------------middot--------------------===-================-=-=~--middot---------
4
Figure 23
Rob~ rt lonts Xlr CANTVS
~ F 1 r ~ l ~ - ~ ~ - P r lt1 J c r bull ~ ~ r t r- r n t b c- - c
- middot (~-middot~ ~ ( - ~)7-47-~- ~ ~ amp --_-_ ---_- ~sectC-~---_---~- -(--~- --~-- -- -~ -_- - _ E - -- middot- --- --~ -L-~L-middot = middot ( -- --~middot-- f -=---~~ -77-_-C_ - t _ c ( t2 - -= ---~---- -- middot-----------
middot~ middot
n_ tt=l= -iIt~_plusmnt_~~poundltr=t=~~~=middotumiddot==---= -_ ~t=-==t=-=xtptl--~=t---=-t-x~-E~=-------
go there be many mo I fcltC nor why then let her goe 1 care DO[
---middot-------
l
Far--cwt UfJrewdllincc d1ls 1 finde it llllt 1 will not fpCod more nme in wooing you
nul I iH cce d w htre lfl mivfindhctthcrc S1=-ll l bid hct goc Vh1~ and rll Jocf
Sh~lbid her go and fparc not tll oo oo no I date noc
J Ten Lhoufand imes f1rcwcll yet fl2y I hilt Swca kilfe me onceJ t t ltdfcs limcbcguic 1
l h~ue no pow ~r lo mouc
How oow 1lt2m 1 io laue W ilr d10u nec middotbe gone Go then all is one
Viit thou need be goncoh hi~ thee Nay 01y ~nd doc no lnoampe dcwcmec
Once moce flrewcll t ~lorn rodcrrwrct Bids oamp adcw to her due holdcs Ill bm
But fcdh~ r mnR kgtof~
7hy loucwbi h ldid chufc Go rhy waies for 111t_ smiddotncc irmay nOt k
Gothywaiesfor mehucwhithcr Go oh burwhcrcl may come lhitber
r Wh~cCh~D I doe~ my laue is novvdqnr d Shccinsramiddot~ -a -c iscrucUhart d
Shcc would nor be intrc-attd Wirh pnicrs oft ~~ -J neccomc no more Shall I die ther(forc
H tb~e come no mor what c~rc II Faithlctbcr go or c-owe oa
(
95
Figure 24
---middot -- _____-- ~ -- ~
I
- --__ -----~ -------__- ~-~~ _ _ ____ ___-__ -
- middot --~~--~ ______ ------------111middotmiddot-middot ~-_--------middot ----middot---___- ___ __ _______ _ ____ ~------~--~-- ~__~___ __ _
------ -~ _~-----~- -~-middot----------------
96
Figure 25
204 SONG
CoMIOS-U uv middotnoLn nT Jor-o Js
~ - I middot middotluoted by ShakbullHiU~are - ~~~~ homiddotm tht 1 Hnukpul1lliOI
middot~ h-51 Jggff==r middot r~ Fate- ~ wtdl (l~arl loe since thou wilt needs he gem~
-=-t middot g-one
luC 111inn~ thnn wile IHls lu ()UC
J J loftgt since thou rilt nteds middot lumiddot
1 Jp4 J =-amp=imiddot------middot -r~--t-11---+-middot r=~-r=----middotJ__tJJ middot Jnine ttcs tloe tth~w my life i almost done
--
fl-=t~ -
IPg I WlH y middot t
~fLSI==r=f=lplusmna min~ eie doe _ 11hew
r nbully middot lite middot is almost douc yetmiddot J wilt
rplusmnHmiddot ~ ~ff my lilc iJ ycmiddott I will
Imiddot r--d E4 m y life ia almost yet 1 will
( -~
~__~middot--==--==t~- ~~plusmn 1
ne Vtr die HO lni1J t I ran tpit 1lumiddotnmiddot l)l- trHlll)
~- Jl==q=T-=_==~-middot- ~T~ - 11~~----e= - =r=-=ct ~middot - r--==EF~----=I-~-===+=FL0 - middotFJ==Z=c~~middotmiddotmiddot- - -
n-=- wer dit~ lon~ as I taU 51lio tlu-nmiddot ltl ny nm
~MIEF F i t~sect E tr l I c=middotreg~-~~~~-D bull v~r dit bulln oug a~ CiR hllie thn c 1-tmiddot uuuy inu
a~ t==t~~ r _ q~~~-=-~ ~= lllt - tr tlic ~ ~0 long lUI I I can illh t1wr htmiddot Utmy UIU
97
Figure 26
LO)
J t W=- --~4-~ middot thoughtlmt 5heeclre gomiddot -there he rnan u1u I If~ -1110
I I b P c ~ -B - j- -k=tJ4--t==fi=4D_ I ~middotrt thouKb that Hbec llo e Jeo fhuc be nuny mo not
not 1 _why tlnm let laer gne 1
Eamp--e - ~ - 1 r
1
uot ~middotby th~n let her gne I
1 F~nbullwell fflttbullwl1 sintmiddot tlll i I rt11ltltt li truemiddot I will 110t 11p~ml rn~bulln~ time iu wouing- )Oil~
Unt I lt~ ill fttbull(bullk tmiddotl~ wlwnbull If I m~y fhnt l1r hlaquo~tt
Shall 1 hid hlr gnf hat litnl if I de~
Sha)) 1 bid lwr gne and middotpar~
0 no no tut no 1 dare nut not
l i
Ten thnmbulland bullimt-11 lart-wllII)Lbullt 11taymiddot Jwh ile Swevt kisse me onctlfmiddotWNt kis~d t ime b(J~middotuile
l hamiddote uo flPWer to mmmiddottbull lluw uow arn I iu I on Vilt tbon n~tgtd8 be gonemiddot
Go then) all i~ onbull Wilt thnn umiddotN)~ btgt gontbulloh hie the4l Ny ~tay oUHt lintbull 11U lnonbull thmiddotuhbull lll~middotmiddotmiddot
J L IJ_ -
0
cnr-r lOt
-~ 1-e lg
care not J
JJi I 11laquo1 ) ~ar-e not -
0 IIi
ca re nut
4- middot bull ~ Onc-e more fu~wbullmiddotll~ l 5ee )Qth to dlaquo part j middot
1
llid R ull bulldew ifl lwr that l1ohtfbullbull my b umiddoth Butmiddot ~~ting I nnut )O()In~
_Thy love whkh I did chuite
Go thy wRie Jbr me _ Shlfe itnu1y not he ~ middot
(4) Uy WHit~ for me~ lu1t whithfr~ bull 0 J - f
Go oh hut wlu~re 1 mRy come th~~lur
f bull bull lmiddot I It tihaH I doer my lo~ it now middot-middot~middotpart~middotd ~ Sheto is ttll fnirr asmiddot6hee ls cruel1 harted
Slu~middot would nnt h~ intr~ated
With pra irra oft repeated ~ _ ~ If slw~ f()rne nq more middot middot ~ ~
Shnll I middot11~ thtoreforf I
lrsh6e come no mor~ batwh9t cbullr middote I~~ -1 FHifh)rt htr gnor lomfor tarry
98
Figure 27
CANT VS vI I I rCDERT loNE~
== ttf=y-=-t-===~=~~plusmni+==---=middoti--=rr~ -t=-r~==t-=t= W sect~~= - =i middot =clt=cL =~-t=- -middotr ----=i_ --~ ~-- - -middot-- middot-- --middot--- ----middot-----l- --middot----middot- ---middot middot--- -middotmiddotmiddot-
Clut no I phinrly Cu how chou wouldftbinclc~ucauurc l ~a~ t c11rll not to gofatbullu a
1 r 1 l 1 l r l lmiddot r ~ r i r --- ~---n_plusmn ______ ~ ---J middot- ~ s L -d--r--gtlt---- J LL---- J ___ c_ -------j- ~-n1l ~1~( _ _ il_il_ t_ ~----nt_L- -----_[c______ -+~~ 1--L- p ___ -L- -~--Lpound ____ _ ~-____ j__ __ + ------ l -middot~-- ~~- l --1 __ j_ ______ (__ l ~10_ -~---- -- i - -- - - middot - middot -- - ----- - ___ _ I _ __ --middot ~-~ ----- - 4l_ __ ampJLt __ --------~----P-1---~middot 3 __ c__l_J _ _r__-ltJ ___ _ _ _____ L ------
- n
--~- -~--+--middot-1--~ 1 middotmiddot---middot--middot~---- middotmiddotmiddot- -----~~-middott- =--~--- ~~ - middot~---iL-i- -~-- -- -t- r middot-~- middot -l middotjmiddot -bullmiddot I- middot -t ~--~---- -t-~~-tmiddotmiddotH- - middot -----t-~T middot ---- -l -- ~ middot-07- middot- -middot-middot bull ~-Lmiddot- J bull---- ~--- middot-t- - -- - --f -middot-- - -fi-l-L- -+- --[middotmiddot -middot-~ middot--middot--middot--1 --middot-- - -- - bull - -f- ~- --I=_ --middotmiddot---- _I __ __ _ --~- middot- _ _ - _ ______ __L _-t _ middot~_- --_middot--r~ -~~~ Q-- -
fuct 1 wlscnrfiO Jic fi~ nofwtctt lhy amp 1 w 11i leU thee why noafuc 1 wu ace urn JJol bullto goc oat bull
t f t 1 ~ lmiddot t r 1 1 t i ----middot-l~a--__ _ __ St_tLi-3---- --~(~ l-~---1~-d- a aL _ __ _ ______ Jtl a_JAi~-11---~-middot(_---+7Jk~-- - [ A--- -----__ lgt __ ~-1 ----lmiddot l _ ____ i-----middotmiddot-----~--L-----6~ - -
S-( _ 1-h_kJ--middot ----middot ~- L-----Llt-S-L----L__L ------- _______ J_ ______ ---Aplusmn- ---__ _1 ____ -middot---bull ~ ---~-~---1 ~-----L---- 3- ~_t_~- - ____ [ _ __ ~-~- -A - --J
----middot-1---r--t---------t-t-middot-----1---middot ------11-I-t=-~ middot ----L-- - -middot -plusmn --- r-middot-~--- ------middot middot --~middot--- 1--~-middot _-middot- --- ~---------===middot ~-middot-b-1_ --middot- - --- - ----- -~---f- ---fmiddot~-- L- bull - ----- --- middot--- -1-- - ----- --~middot-------~- ---- -1middot-middot1middot-middot--t- --J- -middot- -- - -middot--middot----~-----shy--- middot----~-~ ---- - --middot------------- --~ -~middot ------~- ----------middot
firnrurc I wu l lturfi 0 fie fie oegt rwct lll) uu J will tell thee why no
t I t l t lmiddot~ 1 l -L--~- - - middot-tmiddot J _______ ncU ~A ---S-A-------tl- -11- middot~-- - - --------middotbull-- middotbull----t_ _ _~_ 1 ---middot-~ - ll -o-A--AJl ___ ------middot- t------k- Jt-- -~~ ~--middot- - - - -- -middot- -r~-~ 4- ------llmiddot - middot -
-_~------ _ --~-~---t- -~-----J-- -- A- ------~ _ ----- - bull 1 --middot- -L--middot -- ------------ ~- - c --~--------~----- --------middot ---______ z_j_ _______ __ ___~~ ~-L-------a-e middot- ----middot --
J Oncr m()tdrewdllincc fiJI l 1ord lh_ lpcak
1 uJ bull 1rl bu1 (mlIJrcwcll ubull larHIWout lbullrcalt( Bbull middott bullbullo middot ltn( 1 Joe linJ 1hy loumiddot~ 1lltkt 1he -middotioampl
Wl11 1 l olo-u I Tl llcl-1 cro die
Whlll foolc- lnll u aor Y t fq 1 at l (oulc J ~~lfc nor
)
Wocnne ai~Gc h) diJ lllt[ b_im soc~ 1 hdc be the ~middotutccs of uilc fiym nbull
Now tbu hec o dfproucluchow uullhc cuct loucroe Nay bu t n he gCncbull
lhcn I am bullndunc Nay lnn i1l1c ~oneO hodliD
fl(c-uy hing lU ~CCVD oJcihua
vi gt VI V)
lt a
99
Figure 28
1 tn 1 I I I II
ll 1 I l middotI I I ll l l l tl I I i Imiddot i I i II I 1111 ll I l n I It i i Ill l I d l t I I I ~
f Hif tt I I ~~ I if t
1+1 ~ a j
thll
ALl V S
I Tl Ill i II L I I I II I I
II II I I rL ll1 I t I I
l i I I I I I I I
Iii 1middot I t
IHL IIIli
I I II 1 II l I II 111 I I I I I bull I I I I I
I bull I I ll 1 I I J
L t I llmiddot II ~ I ~ middott
I I ~~ ~ 1
I 1 t I 1
111
t 1middot II I bull
I tJ It I q I I
~~ I I I I
r
I z-1 __ 1 __ =t=-~-----1- - middot -~--~- ~ -f=middot -t=--~--~- middot~-- -===-middot~~-1 N~tsect t-~--_ _ c ~middot _--- __ _ ~-- c -=-b-- _ ~ ~ =-=-=--Xl =plusmn=
- b--- ~--_ __ -- -----middot-middot --middot--- - ~ ___ - ------------~-
nl rJ iiOr-T 1 -
ArCwtll fond )OUt h iflhcu hbulldR llOt bccnc blinCl aut cf Dline emiddotcbull thcu mi~tu n ll)Ut read my mintl ~~ J411
t==+=i =middot -=+-middot---poundmiddot _Emiddot -~ i=j ~ -ti~- -Qt=~ middot=i==- -tl-~- --~ - -~shy~t ~-i ~----+=middot = --~~ - -= bull ~ _ +=a~C -c + -~-=-middot ~ ------ -----~ --- --- --middot -~ - ----------laquo= ---- --~- middot-~ middot--
but now I plaincly fcc how thou wouldll fainc luuc mc(orc lPII~S Uturflnot hJ I)OCIC firtlft~re lu atcurflO hamp
-=t~-----------r+--tmiddot --1-1-l middot 1middotmiddot-r~--- -- middot middotmiddot- --- ~------ - )middot~-----~----- at-middot_t-~--1= 11_ ~tc=l=~ Ei middotmiddot-r- --tI +middotl =0Etmiddot plusmn middot i irlttmiddot ~ - ~-~ middot ~ --plusmnt-~ - - ----middotmiddot-middot---middot--- -middot- -middot _[ - ---- middot- middot---J -- - 1--l-- - -- - - - - -- -~---middot------middot--- - ----middot-- ---- middot---middot---middot+middot--- -~-r-4- -- --middotmiddot fic6cao fwect Aay ~nd I will cell thee why t~ofurc I w~~ accudl not JO goc at firfll(urc 1 wu accudl ~0 fie no f wcct
100
Figure 29
I
CANTVS
lt ll-rllt 1r1t 1 lmiddottl 1 1 - t4---6 A-A~ d~Apound~-fi------ ~ middot ---~
bullmiddot te_- ~I i~~I~- ___ --=~rmiddot --t=Z=j- = --Lt-- -- - middot--- --middotmiddot -- -----middot - - A-- middot - -- _ _~__ __ J ___ _ J_ - - --- - -----~ n a- L r amp_-4--- - -A I - -
~ - - -bull -middot_[- _ - - - - middot - -middotmiddot - - - lt- ~ Ll bull middot- -- ---_ middot- --- ---l~-middotmiddot -~ middot -~gmiddotr ~iiftmiddot- middot--~11--j~-middot _t~middot ~-- plusmn~~ - _-- -- ~- _ J middotmiddot~ - middot J J -- - J~ ~ - bull - ~ -- - ----= ----middot~ --- ------middot -------- J __ ___ --f ___ ~ -~----- -----middot bull middot- - - middot--middot- -bull- middot --- -- middotmiddotbull--- -1-- - middot- - -- I - bull bull --~-
I
bull A Mble d~middot ~fc wH ~ obin Jhlod - V(c l ~t be cbullJultl J ccc 1uc Jumj
yet r- ~r r middot~middotin hh br ltlt H lmiddotllOJ
C u iJ~~I hbulll hrlll bcruuc h middotlll to gr u rn ductelbulltl-hidkn wJltr ~kinmiddot
then lnauty doft lylo~l~ddn womcnt C )CI
Htf i lly jobJh
4
J An Our-b lr as 1his Rollin I lood
H1i l-1fc free and vnruly Yu [O fitc M~bullri~n boull d h~nood
Atul louu debt payed hu duel y Who111 cur be of Ctnc lmllaiyen could nor hold ia
Louc t~ri th obe)middottd~s mJ a winLt could wiltnc Heyiolly Roh
NoW~ w(nd wt l1olll r ilou1 Robi ro HooJ Lc~uc wuhc woodl bchsnd vt
_our fl ho n1 muU nor be w~lhfiood but ~~nr whelt u fi lld ll
1 h t Ill hclIbull11J h)WUC 1 bullud fo ltltd h( I otm( w r icentW~HJdbull 1 1ootlollnwcd r
lhr ullzllt~~J
v~
gt Vl V)
lt
Jlftl
litH ~~rm ~ middot II
I Imiddot~
I
II tt-1 )~
101
Figure 30
I
102
Figure 31
CANTVS bull III
W=tRW=~~~~==--=-------=--=--=--== 0 lollc is but 3 bhu~1-fwtetmiddott I en r r middot r r
~tP ltm~~-~t----~-
Mu1enorvpon hCI fmili ng lookcs Thinke thtr they ~re bttt baitcd hooka
Audu fncy Loudufranzy~
middot e( not J toy Then breed chtc foch annoy1
bur kaue to coke vpponfuch fond booka
)
L(Jtnt ro fotgct fu ch idle royn Finer for youtbcs md youd1full boya
L~ o~ one fwccte frnilc Thy rrue loue igtegllile ~flOibulltiownc
r c-ur uft theedowne- Jlopund jllmiddot to bed iathcf~ioy~
I
bull
103
Figure 32
BASSVS
---------middot--- ----- ------- ---- -- ---------- ---- -~ ------------- - ----------- _ ___ - ~ _____-------~~~------------ - ----- - - ---
- -- -- --~-- - ___ __
CJ
I
-70-
If other sacred music by Robert Jones exists 1 it has not
come to light The Reformation did much to improve English
Church music However the combined effects of Civil war
supremacy of Puritanism suppressed church services disbanded
choirs and the destruction of organs and libraries by the B
soldiers of the Commonwealth resulted in irretrievable loss
The hatred of the Puritans for the English Church and its music
was so strong they seemed to consider it their duty to root out 9
and destroy every office-book they could find lmiddotluch music has
also been lost because of errors and omissions on the part of
scribes the use of old manuscripts as waste paper and in the
binding of new books and in the practice of sending manuscripts 10
to continental bookbinders The fact that any sacred rausic by
Jones exists may possibly be attributed to its inclusion in two
sources meant for secular use
What happened to Robert Jones after the theatre difficulties
remains a mystery Loss of records because of fire or
carelessness only allows speculation in this area Since the
English style of string playing was in fashion in Germany France
8 ~Talker p 56
9 F~ Landon Hunphries The Evolution of Church Music (New
York J J Little and company 1896) p 94~
10 William Joseph King The English Anthem from the Early
Tu ~or Period t roug_ the Restor_fltj gn Era diss Boston University Graduate ~chool 1962 vol I and II (Ann Arbor university Microfilms International 1982) p 12
-71-
and Italy he may have returned to the continent It is equally
possible that he died in any of the plagues which forced the
theatres in London to close so often That his music still
exists to be enjoyed may be epitaph enough
104
Blank
Appendix One
Sources of the Husic of Robert Jones
BookSong
The First Booke of Songs or Ayres
The Pirst and Second Boeke of Songes and Ayres
Ultimum Vale
First Set of Madrigals (inc)
A Husicall Dreame
The Muses Garden for Delights
Hhat if I seeke for love of thee
There is a garden in her face
Doe not o doe not prize Beautie sate bathing 11 Goe to bed sweet museu Shall I locke to ease
griefe 11
11Jhat if I speed Cease troubled thoughts Scinthia queene of seas
and landn Thinkst thou Kate to
put rre down 11
nt1hen will the fountaine of my teares
F1ie flie flie from the world 1
Fy fy 11 (inc)
Date
1600
1601
1605
1607
1609
1610
1600
1605
1605 1605 1605
1605 1605 1605
1605
1605
1605
1605 1601
-105-
Source
British Igtluseum Folger Shakes~eare Library
British 111luseum Central Library
Hanchester
Royal College of Music
Private ownership Furst Alexander
British Nuseurn Royal Library
Brussels
San Marino British 1middotlus eurn Euing Library
Glasgow
San Harino
British Library Add Ms 15117
The First Book of Songes or Ayres
British Library Egerton ~s 2971
Ultimum Vale
British Library Add Ms 24665
Giles Earles his book taken from Ultimum Vale
u
II
fl
fl
n
The First and Second Boeke of Songes and Ayres
-106-
The love of change hath changed the world 11
What shall I render to the 1614 Lord bullbull
Let thy salvation be ~Y joy
Lament lament my soul cry 0 cry
n Sing j oyfull ybull
Arise my thoughts
11 Dreams and imaginations
uFie what a coyle Now what is love
no date
1601
1601
1601 1601
Folio ms in Folger Library
British Museum Royal App 63
The Tears or Lame tations o f a Sorrowful Soul
RISM attributes 4 songs to Jones
Christ Church Music Mss 56-60
Christ Church Husic ~1ss 439
The Second Book of Songes and Ayres
lt
-107-
APPE IDIX THO
Contributors to Manuscripts nu~beren 56 through 60 in Christ Church Oxford
SEC~~ number CC lmiddot1SS Voice 334 Hus 56 c 335 Mus 57 Q 336 Mus 58 Sx 337 Mus 59 Ct 338 Mus 60 T
Bassus lacking ca 1620
a alternate sources published b transcribed c Psalm 81 in two versions
Amner John~ 1579 1641 B r-1 Oxford 1613
Consider all ye passers by (b) 3349835803378633896 verse
I am for peace inc) (with different verse section) 33463356337~6 3386 verse
Bennet John flca 1600-ca 1615
Great God of Gods 0 God of Gods (a) 334 113 33595 33710133811 verse
To the almighty Trinity (ptll of 0 God of Gods)
Bull John ca 1562-16287 B H Oxford 1586
Almighty God who by the leading (ab) 334110 33592 33798338 108 verse
How joyful ana how glad (inc) a) 33448335483374833748 verse
Byrd William ca 1542-1623
Save me 0 God for thy name bull s sake (I) 33410 33510 33710 338 10 fS
Sing joyfully unto God our strength and Blow the trumpet parts I and II and Sing we merrily and Blow up the trumpet parts I and II not in this source from Christ Church (c)
-108-
Corkine William1 fl 1610
Praise the Lord 0 my soul (inc) 33441 335413374133841 f5
Cranford William fl early 17th c
My sinful soul (inc) 33413833512033616337126338136 verse
Daman (Damon) William ca 1540-1591
0 heavel]nly God (b) 33451335513375133851 f5
East Michael ca 1580-16481 B M Oxford 1606
Blow up the trumpet Sing we merrily (Pt II Take the psalm PT III Blov1 up the trumpet) (ab) 33420933520233698337196338214 verse
Take the Psalm
Ferrabosco Alfonso Sr~ 1543-1588
0 remember not our old sins (a) 33414133512333619337129338139 f6
Ford Thomas ca 1580-1648
Miserere my maker (inc) 334151v33513533631337141338151 f6
Gibbons Orlando 1583-1625 Phd Mus Oxford 1622
See the Word is incarnate (ab) 33495335773378333893 verse
Hooper Edmund ca 1553-1621
Hearken ye nations (a) 334211335204336100337198338216 verse
Jeffreys Matthew fl ca 1590 B M Oxford 1593
If the Lor~ himself (a) 33414833513033626337136338146 verse
-109-
Lord rernerr~er David (a) 334142 335124336120337130338140 f6
My love is crucified (inc) 334100335823378833898 fS
Out of the deep (a) 33414633512833624337134338144 verse
Sing we merr-il y (II) (a) 33414433512633622337132338142 verse
Jones Robert fl ca 1600 BM Oxford 1597
Sing joyfully unto the Lord (inc) 33412335123371233812 f5
Lupo Thomas fl 1593-1628 or fl 1605-c1660
For I knowledge my faults Have mercy upOii me (pt IIFor I nowledge my faults) (inc) (ab) 33418335183371833818 f5
Out of the deep (c) 33420335203372033820 pound5
Mundy John d 1630 B M Oxford 1586 Phd Mus Oxford 1624
0 give thanks unto the Lord for he is gracious (a) 33416335163371633816 fS
Mundy William ca 1529-ca 1591
0 Lord I bow the knees (a) 33490335723377833888 f5
Parsons Robert (I) d 1570
Deliver me from mine enemies (ab) 3348335833783388 f5
Peerson Martin ca 1572-1650 B M Oxford 1613
0 Lord in thee is all my trust (inc) 33488 335703377633886 verse
-110-
Philips Peter d ca 1635
Bow down thine ear unto my crying (a) Adapted from the motet Cantai mentre 334217 335210336106337202 338220 f6
Portman Richard~ d ca 1655
Rejoice in the Lord 0 ye righteous (I) (a)334226 verse
Ravenscroft Thomas ca 1590-ca 1633
0 let me hear thy loving kindness (a) 3343133531337 3133731 verse
0 woeful ruins (a) pt II and pt III Those sacred walls and 0 how these graceful piles not in 334-338 33440335403374033840 f5
Simmes William fl ca 1600
Awake (Away (a)) fond thoughts 33415733514233638337148338158 verse 6
Rise 0 my soul (pt II and pt III And thou my soul To theee o Jesu) (a) 3342833528 3372833828 verse And thou my soul To thee o Jesu
Stubbs Simon fl ca 1600
Father of love (a) 3348633568 33774 33884 f5
Tye Christopher ca 1500-ca 1573 Phd Mus Oxford from Cambridge 1545
Christ is risen Christ is rising again (pt II Christ is risen) (inc) 334225335218336114337212338230 f6
I lift my heart to thee (ab) 33492335743378033890 f5
-111-
Ward John fl early 17th c
Down caittiff wretch (a) (pt II Prayer is an enciless chain) 33424 amp 2633524 amp 2633724 amp 2633824 amp 26 verse
How long wilt thou forget me (a) 33422335223372233822 f5
Let God arise (a) 33411633598337104338114 verse
Praise the LordO my soul a Lord my God (a) 334219335212336108337206338224 verse
This is a joyful day (a) 33413333552336523375233852 verse
~~larwick (Warrick Warrocke) Thomas d 1660
0 God of my salvation (a 3349 335933793389 pound5
Weelkes Thornas1 -1623 B M Oxford 1602
Alleluia I heard a voice (ab) 33414335143371433814 pound5
Gloria in excelsis Deo Sing my soul to God (ab) 33415533514033636 337142338156 pound6
Hosanna to the Son of David (ab) 334214335207336103337201338219 f6
Lord to thee I make my moan (ab) 3341023358433790338100 pound5
0 Johnathan woe is me (ab) 334151v33513433630337140v338150 f6
0 my son Absolom (I) (ab) When David heard that Absolom (ab) (~t II 0 my son Absalor1) 33415033513233628337138338148 pound6
-112-
Wilkinson William Thomas
Hear my prayer 0 Lord and with thine ears (a) 3341043358633793338103 verse
Preserve me o Lord (a) 33443354 33743384 verse
Put me not to rebuke (a) 3341063358833794338107 verse
Compiled from
Nan Cooke Carpenter Music in the Medieval and Renaissance Universities
Ralph T Daniel and Peter Le Huray compilers The Source of English Church Music 1549-1660 part I and II
C F Abdy Williams A Short Historical Account of the Degrees in Music at Oxford and Cambridge
-113-
Appendix Three
Graduates of Oxford
Doctors
Robert Fairfax John Gwyneth John Merbecke John Shepeard Robert Stevenson Orlando Gibbons Nathaniel Giles John Hunday Christopher Tye John Bull
Date
1511 1531 1550 1594 1596 1622 1622 1624 1548 1592
Tye and Bull were incorporated as Doctors of Music from Cambridge
Bachelors
tathaniel Giles John Bull John t-1unday Thomas Morley John Dowland Giles Farnaby Edward Gibbons George Waterhouse Arthur Cocke Francis Pilkington Robert Jones Thomas leelkes Thomas Tomkins Richard Deering
1585 15B6 1586 1588 1588 1596 1592 1592 1593 1595 1597 1602 1607 1612
Author
Robert Grossteste
Robert Kilwardly
Roger Bacon
Bartholomaeus Anglicus
Walter Odington
Simon Tunstede
John Hanboys
John Hothby
William Bathe
John Case (attr)
William Barley
Thomas Morley
-114-
Ap~endix Four
Oxford Treatises
Date Title
ca 1175-1253 De artibus liberalibus
d 127 9
ca
ca
ca
1351
ca
1584
1600
1586 1588
1596
1597
1214
1230
1330
1450
94
De ortu et divisione philosophiae
Opus majus and opus tertium
De probrietatibus rerum
De speculatione musice
Quatuor principalia musicae
Surnma super musicam continuam et discretam
Regulae super proportionem De cantu figurate Regulae super contrapuncturn Caliopea legale
A Briefe Introduction to the True Arte of Music
A Briefe Introduction to the Skill of Song
The Praise of Musicke Apoligia musices tam vocalis quam instrumentalis et mixtae
The Pathway
A Plaine and Easie Introduction to fvlusicke
-115-
Appendix Five
Baccalaureus in musica solvet
Imprimis pro cumulatione presentatis Pro comrnuniis Pro scriba universitatis Pro circuita Pro camera Pro curnulatione sex annorum Pro anno instante Pro horolog-io Pro deric[t]o universitatis Pro inferiore bedello artiurn
Si beneficiatus vel patrimoniatus fuerit solvet pro vino
Si non praebat convivia solvet betiellis facultatis suae pro prandio
vj s
i j s
xiij s
vij s
viij d vj d
xij d xij d
iiij d
xij d ij d ij d vj d
iiij d
iiij d
ix d
116
Appendix Six
Words set by Jones for Leighton
Let thy salvation be my joy
Let thy salvation be my joy Confirm me with the spirit of grace Let sadness not my soul annoy For pensive thoughts too much take place 0 let my comfort still reside In Christ who for my sin hath died
In setting the third line Jones uses sixteenth notes on the word spirit 11 to compensate for the extra syllable
What shall I render to the Lord
What shall I render to the Lord For all his blessings poured on me My heart and soul with one accord Shall laud and praise thy majesty All praises do from thee desend Blest be thy name world without end
Lament my soul cry cry o cry
Lament my soul cry cry o cry Swe et Jesus pity pity me Help help help help for sin I die Sweet Christ come ease my misery
BIBLIOGRAPHY
Primary Sources
The Bible That is the Holy Scriptures contained in the Old and Newe Testament London Deputies of Chrlstopher Barker Printer to the Queenes most excellent Maiestie 1596
Book o f Common Prayer and Administration o f the Sacraments and Other Rites and Ceremonies of the Churchof England WiSh the Psalter or Psalms of David Printed by Thomas and John Buch Printers to University of Canbridge 1629
Fellowes Edmund H ed The English Madrigalists val 35A Revised edition edited by Thurston Dart London Stainer and Bell 1960 The First Set of Mad_ri a_l s 1607 by Robert Jones
The English Madri al School val 32 London-stainer and Bell 1923 The Triumphs of Oriana to 5 and 6 voices Compose - y D1vers several Authors published by Thomas Mor ley 1601
Jergens Elise Bickford English Song 1 600-1 67 5 Part I British Library Manuscri ts London
Pu middot- 1sh1ng Inc 1986
Leighton Sir William Th e Teares or Lamentaciones o f a Sor rowful Soule London W2 1arn Stansby 1614
The Teares or Lamentations of a ----Sorrowful Soul Transcr1bed and edited by Cecil Hill Vol ll Early English Church Music London Stainer and Bell 1970
Morley Thomas A Plaine and Easie Introdction to Practical Music Edited by R Alec Harmon New York WW Norton and Co 1952
Smith John Stafford Musica Antigua London Preston 1812
Sternfie1d FW gen ed English Lute Songs 1597-1632 A Co l lect~on o Fac s imiDelRepr ints
ress t Vol 7 edited by David Greer The First Boeke of Songes or Ayres 1600 by Robert Jones The Second Booke of Songs and Ayres 1601 by Rober ones t1mum Vale 1605 by Robert Jones A Musicall Dreame 1609 by Robert Jones The Muses Gardln for Delights 1610 by Robert Jones
-118-
Books and Articles
Abraham Gerald ed New Oxford History of Nusic vol IV uThe Age of Humanism 1540-1630 11 London Oxford UP 1968 3rd impression 1974
Adams Joseph Quincy 11 A New Song by Robert Jones bullbull Modern Language Quarterly I (March 1940) 45-48
Adler Kurt The Art of Accompanying and Coaching Minshyneapolis The University of Minnesota Press 1965
ArkmiddotJright GE P Catalogue of Music in the Library of Christ Church Oxford London Oxford UP 1915 ed 1971
Bateson fW ed The Cambridge Bibliography of English Litshyerature 4 vols Cambridge University Press 1969
Bentley Gerald Eades The Jacobean and Caroline Stage Dramat~c Companies and Players 5 vols Oxford Clarendon Press 1941 reprinted 1949 bull
The Profession of Player in Shakespearebulls Time 1590-1642 Princeton Princeton UP 1984
Blom Eric ed Groves Dictionary of Music and Musicians vol IV New York St Martins Press Inc 5th ed 19B4
Boyd rbulllorrison Comegys Elizabethan Music and Musical Criticism 2nd ed Westport Greenwood Press Publishers 1962 reprinted 1975
Brown David nJones Robert in The New Grove Dictionary of llusic and Husicians vol 9 p 703 Edited by Stanley Sadie 1980
Carpenter Nan Cooke Music in the Medieval and Renaissance Universities Norman Okla University of Oklaho~a Press 1958 reprint eo New York Da Capo Press 1972
Chambers E K The Elizabethan Stage Vol I-IV Oxford Clarendon Press 1923 ed 1961
Crewsdon Henry Alastair Ferguson TD MA comp The Worshipful Company of ~t-lusicians Loncion Constable and Co Ltd 1950 new ed London Charles Knight and Company Ltd 1971
Cutts John P 11 Everie Woman in her Humor Renaissance Nevs 18 (Autunm 1965) 209-213
-119-
Daniel Ralph T and LeHuray Peter compilers The Sources of English Church Music 1549-1660 Part I and II London Starier and Bell 1972
Dart Thurston t-1A The Interpretation of Music 4th ed London Hutchinson University Library 1960
Dodd Gordon 11 A Summary of Nusic for Viols Early flusic 6 (April 1970) 262-267
Doran T s A Dr Annals of the English Stage from Thomas Better ton to Edmund Keen Vol 1 New York bullJ J ~1 iadle ton Publishers 1865 republished St Clair Shores Mich Scholarly Press no date
Doughtie Edward ed Lyrics from English Airs 1596-1622 Cambridge Harvard University Press 1970
Einstein Alfred Essays on Music London Faber and Faber 1956 rev eng ed 1958
Feldman Martha 11 In Defense of Campion A New Look at His Aryres and Observations The Journal of Musicology v
(Spring 1987) 226
Fellowes Edmund Horace CH Mvo MA Mus D English Cathedral l~sic Edited by J A Westrup Westport Greenwood Press Publishers 1981
_________ The English Madrigal Composers 2nd edition London Oxford University Press 1921 1948 reprinted 1967
bull The Text of the Song Books of Robert Jones Music --------middot and Letters VIII (Jan 1927) 25-37
__________ Tudor Church Music Appendix ~lus D New York Brouclex Brothers reprint 1963
Greenberg Noah music ed Auoen ~middotlH and Kallman Chester text ed An Anthology of Elizabethan Lute Songs Mad rigals an Rounds Pew York ~middot1 w Norton amp Co Inc 19 55
Greer David What if a Daybull - an Examination of the Words and r~usicbullt husic and Letters 43 (Oct 1962) 304-319
Gutmann Veronika Instrument oder Diminutionspraxis 11 Archiv fuer Husikrvissenschaft 35 (1978) 187-190
Heseltine Philip and Warlock Peter The English Ayre London Oxford University Press 1926 reprinted Westport The Greenwood Press 1970
-120-
Hesel tine Philip 11 Robert Jones and His Prefaces The rmiddotusical T ime s bull ( Feb -t-1a r 19 2 3 ) 9 9 -1 0 0 16 8 -17 1 bull
Humphreys Rev F Landon ~lus Doc STD The Evolution of Church Music New York J J Little and Co 1896
Jeffrey Brian ed Elizabethan Popular Music for the Lute London Oxford UP 1966
King William Joseph The Englsh Anthem from the Early Tudor Period through the Restora t ion Era PhD dissertation Boston University 1 962 Ann Arbor Mich University Microfilms I~ternational 1982
La Fontaine Henry Cart The Kings Musick New York Oa Capo Press 1973
Lewis c s English Literature in the 16th Century excluding Drama 11 in Oxford History of English Literature p 266 Edited by F P Wilson and B Dobree Oxford Clarendon Press 1954 reprinted 1962
r1ason Dorothy E Husic in Elizabethan England Washington Folger Shakespeare Library booklet 1958
rtaynard Winifred Elizabethan Lyric Poetry and its Music Oxford Clarendon Press 1986
McGrady Richard J The English Solo Song from William Byrd to Henry Lawes 11 PhD dissertation University of Manchester 1963 This dissertation arrived to late to notate McGradys theories on Italian Monady and Jones
Meyer Ernst H Early English Chamber ~iusic ed Diane Poulton London Lawrence and Wishart Ltd 1946 Boston Marion Boyars Inc 1982
Mies Otto Heinrich PrussJan Castle
Elizabethan t1usic Prints in an East rrusica Disciplina III (1949) 171-172
Naylor Edward Noodall Shakespeare and Husic rev ed New York De Capo Press 1931 lew York Benjamin Dlom Inc 1969
Pagallelli Serpoundio Jusical Instruments from the Renaissance to the 19th Century trans Anthony Rhodes Milan Fratelli Fabbrl Editori 1966 7 London Hamlyn Publishing Group 197 0
Pattison K An Analysis of the Ayres of Robert Jones MFA thesis University of Georgia 1965 (Request for this thesis has been submitted through the inter-library loan service but has not arrived)
Phillipps G A Charles 1 11
-121-
11 Crown r1us ical Patronage from Elizabeth to Music and Letters 58 (Jan 1977) 29-42
Phillips Peter 11 Performance Practice in 16th Century English Choral Music~ Early Music 6 (april 1978) 195-199
Prior Roger Jewish Musicians at the Tudor Court The ~~sical Quarterly LXIX (Spring 1983) 253-265
Poulton Diane Graces of play in Renaissance Lute Music 11
Early Music (april 1975) 107-109
Reese Gustave Music in the Renaissance revised ed New York W w Norton and Co Inc 1959
RIS~t Einzeldrucke vor 1800 Karlheinz Schlogervolume III Basel Barenreiter Kassel 1974
RISM Recueil s Imprimis XVIe-XVIIe siecles l-1unchen G -Henle Verlag 1972
Robertson Dora H Sarum Close London Jonathan Capt 1938 Bath Firciurt Publishing Limited 1969
Seng Peter J The vocal songs in the Plays of Shakespeare a Critical History Cambridge Harvard UP 1967
Shakespeare William William Shakespeare The Complete Works Edited by Alfred Harbage Baltimore Pen~middotuin Books rev ed 1969
Smith Irwin Shakespeares Dlackfriars Playhouse Its History and Its Des~gn New York New York University Press 1964
Spink Ian English Song Dowland to Purcell New York Charles Scribnerbulls Sons 1974
Sternfeld F w Music in Shakespearean Tragedy London Routledge and Kegan Paul 1963 rev ed 1967
Stevens Denis Tudor Church t-1us ic Nev York Merlin Press 1955 bull
A History of Song New York W W Norton and Co Inc 1960~ First American Edition 1961
Stevens John Music and Poetry in the Early Tudor Court reprint ed Cambridge Cambridge University Press 1979
Traficante Frank Anthony 11 The Mansell Lyra Viol Tablature parts I and II PhD dissertation University of Pennsylvania 1965
-122-
Walker Earnest A History of Music in England New York Da Capo Press 1978
Wells Robin Headlam John Dowland and Elizabethan Melancholy Early Music 13 (Nov 1985) 514-528
Wickham Glynne Early English Stages 1300 to 1660 2 vols London Routledge and Kegan Paul New York Columbia UP 1972
Williams C F Abcty A short Historical Account of the Degrees in 1usic at Oxford and Cambridge Lonaon lovello Eivers and Co 189 3
Woodfill Walter L Musicians in English Society from Elizabeth to Charles I New York Da Capo Press 1969
-2-
theatrical manager both controversialist and genial person
Yet some authors such as Edmund H Fellowes in English
Cathedral Music consider his accomplistooents in some areas 5
too meagre to merit mention
In extant records for the period from 1520 to 1620
there are numerous references to R Jones Richard Jones and
Robert Jones There are also references to a w Jones and
an s Jones in the same Stationers Register that lists an R 6
Jones seven times Another Jonest Luke is a
4
contributor of one of the poems in William Leighton bull s Literary
Introduction and Laudatory verses to Teares or Lamentaciones 7
of a Sorrowful Soule from approximately the same period
It is possible to reduce the Richard and Robert Jones
references to four people that is two Robert Joneses and
two Richard Joneses It is also within the realm of
possibility that these rnen were related Their paths
4 Philip Heseltine Robert Jones and His Prefaces The
Musical Times (February and March 1923) 99 171
5 Edmund H Fellowes English Cathedral Music from Edward
VI to Edward VII rev ed Edited by JA Westrup (Westport Greenwood Press Publishers 1981) Fellowes discusses Leightons Teares or Lamentaciones of a Sorrowful Soule yet never discusses Jones contribution of three anthems
6 EK Chambers The Elizabethan Stage 4 vols reprint ed
(Oxford Clarendon Press 1961) vol II pp 380-389
7 Sir William Leighton Teares or Lamentaciones of a
Sorrowful Soule Transcribed and edited by Cecil Hill (Lancon Stainer and Bell 1970) p xviii
-3-
crossed often enough and in at least one instance
scholars have confused them crediting one with the work of
the other Some historians have also preferred to gloss
over the obvious inconsistencies in dates and make no
distinction at all in their references to Jones
The first Robert Jones conceivably the grandfather of
the Elizabethan composer is said to have been a chorister in
Henry VIIs Royal Household Chapel In 1512 it is
claimed that he was a member of Henry VIII s Royal Household
Chapel This Jones furthermore is listed as a meniDer of
the Gentlemen of the Chapel at the Field of the Cloth of
Gold in 1520 Three of his compositions have survived 8
although they are incomplete Thomas Morley cites Jones 9
work in A Plain and Easy Introduction to Practical Music
8 The New Grove Dictionary of Music and Musicians 1980
ed sv Jones Robert (1) The three-part song Who shall have my fair lady is in an anthology XX Songes Gustave Reese Music in the Renaissance (New York ww Norton Co 1956) p 763 discusses this book in a footnote as one of the earlies middott examples of music printing in England which was formerly considered to be a product of the press of bullbullsynken de Warde Denis Stevens Tudor Church Music (New York Merlin Press 1955) p 50 mentions this Robert Jones Mass based on the plainchant cantus firmi Spes Nostra
9 Thomas Morley A Plain and Easy Introduction to
Practical Music R Alex Harman ec (New York ww Norton and Company Inc 1952) p 321 Robert Jones is noted here as a vJelshman active ca 1485-153 5
-4-
The dates for Richard Jones span a time period of
ninety years from 1532 to 1624 Even allowing for
extraordinary good health and ideal living conditions these
dates must at the very least be for two men The first
Richard Jones is listed as the High Master of the Grammer
School for the children of St Pauls from 1532 to 1549 He
followed John Ritwise who was said to have allowed the boys
of the grammar school to perform interludes at the court of
Henry VIII There is no indication that this practice was
continued under the headmastership of Richard Jones The
lack of reliable information in this case can be attributed
to the loss of archives in the Great Fire of 1666 and the 10
confused records of the choir school and the grammar school
It is also possible that this is the R Jones who
entered three plays in the Stationers Register from 1567 to
1569 which had been performed by the Children of the Chapel 11
The headmaster then was Richard Edwardes In 1561
Edwardes received his patent as Master fron1 Queen Elizabeth 12
and this patent was entered into the records by an R Jones
10 Chambers volII pp 8-12
11 Chambers volIV p 381
12 Chambers vol II pp 33-34
-5-
The next two Joneses Richard and Robert have caused
the most confusion They were active during the same time
period and were associated with the same group the Children
of the Revels In addition both men were musicians both
were connected with a theatre troup manager named Robert
Browne and both men travelled to Germany It is a very
real possibility that these men were brothers possibly sons
of the first Richard Jones discussed It may not even be
far-fetched to suggest that all three were related to
the Robert Jones connected with the courts of Henry VII and
Henry VIII
Richard Jones was associated with the acting companies
of the Earl of Worcester in 1583 the Lord Admiral in 1589
1594-1596 and 1597-1602 and the Earl of Pembrokesbulls Hen in
1597 He was in Germany in 1592-1593 1615 1620 and 13
1622-1624 In 1623 he was a musician to the Duke of
Wolgest At this tioe he petitioned the Duke to be allowed
to return to England In 1624 Richard Jones again
petitioned the Duke this time to be taken back into service
as a musician In 1630 he is connected with John Jones a 14
dramatist
13 Chambers vol II p 324
14 Gerald Eades Bentley The Jacobean and Caroline Stage
Dramatic Companies and Players 5 vols reprint ed (Oxford Clarendon Press 1949) val I and II pp 135 485
-6-
Richard Jones entered four plays in the Stationers 15
Register between 1578 and 1594 In 1580 he was the
enterer of the song A newe northern Dittye of ye Ladye
Green Slevesu Jones was granted a license in 1584 to print
a book really a collection of ballads printed in broadsheet
form entitled Very Pleasant Sonets and Stories in Meter by
Clement Robinson Robinson was an Elizabethan poet fl 1566-16
1584 This was in response to a popular interest in signing
to the lute This Jones was not above using the name or initials
of well-known writers to enhance the sale of his verse books
At least three of these books A Smale Handful of Fragrant
Flowers (1575) Brittons Bowre of Delights (1591) and the
The Arbor of Amorous Deuises (1594 and 1597) used the initials
of Nicholas Breton much to Bretonbulls anger These books included
poems by Breton and others used without their consent Other
collections printed by Richard Jones are A Handfull of pleasant 17
delites and A gorgious Gallery
It was this Jones erstwhile actor and printer who was
granted the patent by which the Children of Whitefriars were
once QOre entitled to call themselbulles the Children of the
Queens Revels This patent dated January 4 1610 was
15 Chambers vel IV pp 382-383
16 The Cambridge Bibliography of English Literature
ed F w Bateson 5 vols (1940 Cambridge University Press 1969) p 646
17 Winifred Maynard Elizabethan Lyric Poetry and Its
Music (Oxford Clarendon Press 1986) pp 16 14 48-50
-7-
given by James I It reads in part
Know ye that wee haue appoynted and authorised Robert Daborn Phillipp Rosseter Iohn Tarbuck Richard ones and Robert Browne from tyme to tyme to provide keep and bring vpp a convenient nomber of children and them to practice and exercise in the quality of playing by the name of Children of the Revells to the Queene within the white fryers l8
It is this patent which seems to be the source for
confusing Robert Jones and Richard Jones Several
authorities claim that the Elizabethan COQposer Robert Jones
was involved with the Children of the Revels of the Queene 19
in 1610 However he is not mentioned in their
history until five years later One historian even claims
that Robert Jones is the founder and manager in 1610 of the 20
Children of the Revels to the Queen within White Fryars
18 Chambers vol II p 56 Chambers and Bentley
Jacobean Stage discuss the various associations of Richard Jones and Robert Browne in greater detail than is within the scope of this thesis
19 Edmund H Fellowes The English t-1adrigalist 2nd ed
vol 35 A (London Stainer and Bell 1960) p 4 and Heseltine Prefaces p 171 It is interesting to note that both these works were originally published in 1923 and neither lists sources Chambers also originally published in 1923 clearly states his sources for these patents the original cocuments
20 Morrison Comegys Boyd Elizabethan Music and Musical
Criticism 2nd ed (Westport Greenwood Press Publishers 1973) p 199 Boyd has all references to Robert Jones under one index heading although be discusses the work of the Tudor composer as well as that of the Elizabethan composer No source books on Elizabethan or Jacobean Theatre are included in his bibliographies
-3-
Robert Jonesbull connection with the Children of the
Revels is clearly stated in a patent granted by James I on
June 3 1615 It gave authority for the erection of a new
theatre for the continued training of the Children of the
Revels This theatre would replace the expireci lease on
another house used by Rossiter
And whereas the said Phillipp Roset~r together with Phillipp Kingman Robert Iones and Ralphe Reeve to continue the said service for the keeping and bringing vppe of the children for the solace and pleasure of our said most deere wife bullbullbull by the name of children of the Revelles to the Queene have lately taken in lease and farme divers buildings Cellars sollers chambers and yardes for the building of a Playhouse therevpon bullbullbull All which premisses are scituate and being within the Precinct of the Blacke ffryers neere Puddlewharfe in the Suburbs of London called by the name of lady Saunders house or otherwise Porters hall and now in the occupation of the said Robert Jones Nowe knowe yee that wee of our especial grace bullbullbull doe give and graunte lycense and authoritie vnto the said Phillipp Rosseter Phillipp Kingman Robert ones and Ralphe Reeve at their proper costs and char~~~ to erect build and sett vppe in and vppon the said premisses bullbullbull one conve ient Playhouse for the said ctildren of the Revelles 21
It is interesting to note that Robert Jones is mentioned
three times in this patent
This patent and its various details are confirmed in
other sources of the period The Privy Council was
21 Chambers vol II p 473
-9-
approached by the inhabitants of the Blackfriars area They
maintained that another theatre in Puddle Wharfe would be
too close to the church of St Anne and that it would
disturb the congregation during services Because of a technical
flaw the work that was begun on the building was ordered
stopped in September of the same year (1615) Plays were
performed there as late as January 1617 The last mention of 22
Robert Jones in this instance was the Kings patent
Robert Jones had other connections with the theatre
although he is not called an actor In 1602 he was in
Germany at Frankfort where he was named as a fellow of
Robert Browne Browne was something of a theatre impresario
who specialized in bringing English actors to the continent
and was also included in the patent of 1610 with Richard 23
Jones This year was the start of a three year
publishing hiatus by Robert Jones Appendix One includes
the titles and dates of Jones work An interesting fact
which may or may not be connected with Jonesbull time in
Germany is that his third book Ultimum Vale is one of eight
22 Chambers val II pp 472-473 61 val IV pp 343-345
23 Chambers val II pp 273-282 p 56
-10-
Elizabethan Music books which used to be in the library of 24
the East-Prussian Castle of Schlobitten
This Robert Jones then is the Jones who is the subject of
this paper He was active in the latter years of
Elizabethbulls reign and the early years of the reign of James I
He may or may not have been an actor but he was
associated with actors and the Chilciren of the Revells He
was stable enough to own a house and to enter into a risky
theatre venture
24 Otto Heinrich Meis Elizabethan Music Prints in an
East-Prussian Castle Musica Disciplina III (1949) 171-172
CHAPTER II
EDUCATION A~ID SOCIETY
Robert Jones is known to have graduated from Oxford
University in 1597 It is also known that he was at St Edmund s 1
Hall and was for sixteen years a student His date of death
is unknown although a valid theory has been put forward for 2
his approximate year of birth to have been 1574 This would
have made him only twenty-three when he graduated slightly
younger than n1ost of his contemporaries A comparison may be
rMde by using Appendix Two an outline of works contained in
Christ Church rlusic Mss 56-60 Composers who graduated from
Oxford University are identified as well
Music both sacred and secular was an integral part of
university life Until the Reformation it was customary to
have Masses sung for the souls of the kings and founders of
the various colleges ~ The playing of secular music and
instruments had become so distracting that it was forbidden
at bullbullunseasonable times 11 unless after meals and there was a 3
fire in the fireplace of the hall or communal erea
1 c F Abdy Williams A Short Historical Account of the
Degrees in fiusic at Oxford and Cambridge (London 1893) p75
2 Hese1tine Prefaces p 99 Heseltine combines the fact of
Jonesbull years as a student and Jonesbull admission of practicing music since he practiced speaking to estimate the date of 1574
3 Nan Cooke Carpenter Music in the Medieval and Renaissance
Universities (1958 New York Da Capo Press 1972] p 169 81
-11-
-12-
Since the singing of Masses was required by statute some
means had to be provided for the training of choristers Many
colleges maintained choir schools These younger members of
the college community actually owed their positions at Oxford
to their musical talent and duties In 1547 the Act of
Dissolution under Edward VI closed many church schools but
not the collegiate foundations in the universities the
choirs of St George and Chapel at Windsor and the cathedral 4
schools
The young choristers were taught plainsong and pricksong
and when their voices changed they were preferred for vacancies
in the universitys scholarship lists Among these colleges
were the Schola flusicae of Queens New College Corpus Christi
College Cardinal College (later Henry VIII and nm1 Christ
Church) St Johns College and Magdalen College The statutes
of Magdalen College also provided for places for thirty indigent 5
student-- iemyes) to study plainsong
In the preface addressed to the reader in his First Booke
of Songes or Ayers Jones states that ever since he practiced 6
speaking he practiced singing By his own words it is likely
4 carpenter pp 167 88 388
5 Carpenter pp 267-171
6 F w Sternfield general editor English Lute Songs 1597-
1632 a Collections of Facsimile Reprints (Manston The Scholar Press Ltd 1971) 26 Robert Jones The First Boo~e of Songes or Ayers 1600 David Greer ed
-13-
that Jones was trained in one of these choir schools anG it is
not inconveivable that he was a recipient of a scholarship to the
university of Oxford Indeed Jones was probably at school at
Oxford rather than London and may even have been one of the
demyes of Magdalen College This is especially likely in view of
the fact that Jones had no steady patronage each of his song
books was dedicated to a different person and he was not 7
connected as household musician in the same way that John Wilbe B
and John Ward were involved at Hengrave Hall and with Sir Henry
Fanshawe
The power for presing choristers into service started in
1420 and this practice continued through Elizabeth bull s reign Im-
pressment of exceptional singers men and boys from all over 9
England into service in the Royal Chapel was commonplace
7 Sir w H Hadow English Music (London Longmans Green and
Co 1931) p 65
8 John Aplin Sir Henry Fanshawe and Two Sets of Early
Seventeenth Century Part-Books at Christ Church Oxford Music and Letters 57 (January 1976) 14
9 Carpenter p 341 Foster Watson The English Grammar
Schools to 1660 Their Curriculum and Practice Cambridge University Press 1908 Encyclopedia Britannica Library Resources Inc LEL 10880) pp 155 212 217 Watson mentions several grammar schools in London which incorporated music into their programs at this time They include the Merchant Taylors School St Paul School Thames School and Christ Church Hosshypital It was necessary to know the catechism in English or Latin read perfectly and write co~petently before acceptance at these schools Hulcaster headmaster at Nerchant Taylors claimed that extra subjects like music were studied privately by gentlemens children and that nusic itself was a part of the math curriculum
-14-
It is doubtful that Robert Jones was impressed into such service
He was both eloquent and voluble in the prefaces to his song
books and would certainly have alluded to this aspect of his
life had it been part of his own experiences
The awarding of baccalaureate and doctorate degrees in
music at Oxford was a tradition dating from the early fifteenth
century Music had been established as a separate faculty the
only liberal art so distinguished In fact the English
universities were the only ones to confer degrees in music
There is no indication that a prior arts degree was required for
the Bachelor of Music as was often the case in other fields
Many of England s most talented musicians became bachelors or 10
doctors of music at Oxford Appendix Three is a partial
listing of these musicians drawn fron information in Carpenters
and ~lilliams bull studies Furthermore the University of Oxford
was after the University of Paris the inspiration for more 11
treatises on music than any other medieval university
Appendix Four is a compilation of these treatises taken from the
work by Carpenter
The dichotomy of music that is musica practica versus
musica speculativa was reflected in the requirements placed
upon the degree seeker at Oxford It was as necessary to study
polyphonic music as to study theory Music classified within the
mathematics traditions and the text of Boethius De institutione
10 Carpenter pp 159 89 336 160
11 Carventer p 82
-15-
musica was required by statute since 1431 In 1549 after
Edward VI visited Oxford the candidates for the bachelor of
music degree were to concentrate on the disciplines of the
quadrivium Sixteen terms (four years) were to be spent in
grammar rhetoric dialectic and arithmetic and 11 in musica
Boetium Admission to the bachelor of music granted the right 12
to lecture in any of the music books of Boethius
Each student at Oxford was instructed by his own tutor until
he had obtained his first degree This meant that the musical
careers of some students were actually shaped by the methods of
their tutors Attendance was required at public lectures Aside
from the usual difficulties with student participation and indif-
ference or inability of some faculty these lectures were to be
given in Latin Dr John Bull not being proficient in Latin
was granted permission to read his lectures in English in 1597
Jones of course should have attended these lectures since John
Bull was incorporated as a Doctor of Music from Cambridge in
1592
In order to obtain a degree it was necessary to compose a
Mass song or canticum bull bull bull to be performed before the university bullbullbull 14
on the day of the Cornitia 11 This was not meant to determine
eligibility for a degree rather it was meant to add to the
12 Carpenter pp 89 77 153 159
13 Carpenter pp 154-156 163-164
14 Williams p 21
-16-
solemnity of the occasion This rule specifying a piece of music
to be performed in the university churcl1 at Act time remained un-15
changed from 1516 until 1608 when a hymn only was required
However there was a dispensation from this rule A
candidate could apply for a degree pro circuitah He would
request the Vice-chancellor and proctors to summon a Congrega-
tion On the afternoon before the Congregation the student
preceded by one or both of the bedells of his faculty and accompanied by the person who was to present him in congregation bullbullbull attired in academic dress but bareheaded went round to the schools and also called on the Vice-chancellor and both proctorsl6
Tradition always was an important part of university life
Oxford in the early sixteenth century was no exception Fre-
quently these traditions became codified in statutes Gloves
were an expensive luxury and early in Oxford 1 s history it became
obligatory for the degree seeker to give a pair to the Bedells
and other officials No man could dress above his station and
students fined for wearing silk were required to wear gowns 17
with loose sleeves and square caps in public Following is a
list of graduation fees established by statute at Oxford in 1601
taken from Carpenter Appendix Five is a copy of the original
version According to the custom Jones would have had to pay
some if not all of these fees
15 Williams p 27
16 Carpenter p 165 citing Clark in Register II p 46
17 Williams p 59
-17-
TABLE ONE
Graduation fees at Oxford in 1601
The baccalaureate in music will disburse
First for the total for gifts 6 s For the service of the room For the clerk of the university For possessions For the chamber For the six year total [tuition] 2 s For services during the present year For the clock For the right of the university For the lesser porter of Arts
Total 13 s
IE he has been subsidized by the church 7 s or by patronage he will disburse for wine
If not arranged in advance [] he will pay for the table servants to the porters of his faculty for meals
The greatest expense on this list is for wine [)
a d 6 d
12 d 12 d
4 d
12 d 2 d 2 d 6 d
4 d
4 d
9 d
-18-
It is not indicated in the available sources whether Robert
Jones composed a piece for graduation or used the pro circuitubull
option However a good case can be made for the former there
is an anthem in Christ Church Imiddot1usic Mss 56-6 0 Singe joyfully
which was composed by Jones The words are from Psalm 81 and
are identical with those in an Elizabethan Bible printed in 18
1595 This is two years before Jones graduated from Oxford
Furthermore the Christ Church lbulllus ic t-lss was compiled 11 wi th
most of the material at hand gathering together works which may 19
already have existed in worn or loose copies It was planned
as a memorial to Prince Henry and most of the composers repre-
sented were court-based friends of the composer John Ward who
was in the service of Sir Henry Fanshawe These part-books were
compiled at Fanshawes request and completed by his son before 20
1620 The Oxford anthem Singe joyfully will be discussed
further in the chapter on sacred music
As can be seen music was an important and necessary
part of the education of a gentleman and it was a necessary
18 The kindness of Mr Richard Austin of St Luke bulls Shrine
Smithfield is gratefully appreciated He allowed access to the Bibles there which proved that Jones used the Elizabethan transshylation and not the King James version of Psalm 81
19 Aplin p18
20 Aplin p 14
-19-
21 accomplisr~ent of the perfect courtier Even Morley begins
his book with a description of the embarassment caused by a lack 22
of ffiUsical knrn~ledge Furthermore a degree in music was an
invaluable asset to obtaining a post in the Chapel Royal
Neither Elizabeth nor James I gave honors such as peerages or
knighthoods to musicians rather they used offices in the
Royal Household the Chapel Royal and the Kings Musick as reward 23
for services In 1605 Jones dedicated his Ultimum Vale to
Prince Henry ~hether this earned a reward for Jones is not
known However it is likely that the Mr Jones listed as a 24
Gentleman of the Kings Chappell in 1612 is Robert Jones
It is possible that this position and not great reknown earned
a place for Jones in the Fanshawe part-books
As a Gentleman of the Chappell Jones would be expected to
be quite proficient in reading music and well-versed in plainsong
and pricksong That he could COQpose apart from performing 25
would have been the highest recommendation of all It is note-
21 Carpenter p 343
22 Morley p 9-10
23 G A Philipps Crown Musical Patronage from Elizabeth I
to Charles I Music and Letters 58 (January 1977) 29
24 Henry Cart de Lafontaine The Kingbulls Musick (New York
Da Capo Press 1973) pSO
25 John Stevens Music and Poetry in the Early Tudor Court
(1961) Cambridge Caniliridge University Press 1979) p 309-317
-20-
worthy that although Jones was actively composing in the latter
years of Elizabethbulls reign he was not associated with her court
Like many others he sought patronage elsewhere as can be seen
from the dedications of his song books His appointment as a
Gentleman of the Chappell may indeed have been a result of his
having dedicated his third song book to Prince Henry elder son
of James I Jones published no work after 1610 two years before
his name appears as a Gentleman of the Chappell It is possible
that Jones again travelled to Germany with theatre impresario
Robert Browne or he may well have decided not actively to
compose as he had implied in the prefaces of his last three song
books Records in these areas are incomplete although further
connections with the theatre will be discussed in the following
chapter
CHAPTER III
WAITS V~SQUES AID THE THEATRE
The waits were orisinally watchers at the gates and were
probably descended from the watchmen and sentinels for camps 1
castles and other fortified places In fact wait is the Saxon
word for watcher Eventually they were employed by the cities to
keep watch and guard during the night and to call out the time
and weather Their main purposes were protection order and
safety within the cities To carry out these duties the waits
were furnished with musical instruments These were used to
sound alarms and call for help when needed and were probably an
early type of shawrn or a horn made of metal In 1296 a statute
was enacted in London which required the servants who closed the
gates at night to have waits at their own expense Eventually
the term wait came to mean the man the instrument and the music 2
played on the instrument
The connection between Robert Jones and tte waits only
beco~es clear when the development of the waits and their
1 Walter L Woodfill Musicians in English Society from
Elizabeth to Charles I (New York Da Capo Press 1969) p 33
2 Henry Alastair Ferguson Crewsdon camp The
1-Jorshipful Company of -iusicians ( 19 50 London Charles Knight and Co bull Ltd bull bull 1 9 7 1 ) pp bull 16 2 -16 4 bull
-21~
-22-
place in Elizabethan and Jacobean society is discussed It was
not long after the first statute concerning the waits was passed
that they came to be considered musicians They are included
called by the nanle of wayghte and other variant spellings
among the musicians of Edward III (1327-1377 and are named in
records from Henry VI through Charles I From watchmen with
musical instruments to capable musicians is a logical development
of talent and time For a watchman with musical ability there
was time to acquire skill and thus gain employment publicly or 3
privately as a musician when not on duty
Many of the principal cities in England employed waits In
London the nunilier of groups varied from six to nine and the
number of masters and apprentices in each group was strictly con-
trolled Their places were so coveted that musicians good or
bad bargainea fought or sued for any vacancies Often a place
would pass fron1 father to son Their privileges included
monetary compensations and gifts distinctive livery status in
the city as freemen in the Company of ~usicians without charge
and the right to keep two apprentices at a time Their services
publicly and privately were much in demand by the lord mayor the
sheriffs and aldermen and the playhouses They were required
to meet regularly for rehearsals and only the 11 ancientist
3 Crewsdon pp 165-167
-23-
4 that is the eloest of their society could dispose order and
direct their music
Until 1525 the wait pipe (horn) and shawm were the only
instruments used by the waits The sackbut was added in 1526
In 1561 instrumentation was expanded with the addition of
viols and recorders and cornetts were added in 1568 and 1576
respectively In 1597 the curtal a bassoon-like instrument was
added Records indicate that portable organs keyboards and
harps were hired for special occasions In some waits the lute 5
and singing were included as early as 1555 The waits
provided the music for visiting dignitaries parades and court
masques and dancing The First Book of Consort Lessons by Thomas
Morley was meant as a guide for the groups of instruments used by 6
the waits Their music consisted of traditional wait tunes
(simple airs meant originally for wait pipes and shawms played
with cold fingers) music which may have existed only in
manuscript form written expressly for use in a masque or pageant
and music apt for viols or voyces u including madrigals
Ultimum Vale of Robert Jones contains music for colibination of 7
lute voices and viols Figures 1-20 are facsimiles of tbe
4 Woodfill pp 37-44
5 Woodfill pp 34-36
6 Wood f i 11 p bull 4 5
7 Woodfill pp 44-52 Waits and their history are more
fully discussed by both Woodfill and Crewseon A very brief outline only has been possible in this paper
-24-
title pages dedications and prefaces and tables of contents of
the song bool s of Robert Jones from Greer
Ultimum Vale is probably the book included by Gordon Doad in 8
his list of music for viols This song book is also the source
for ten of eleven songs by Jones included in the Giles Earles 9
book It is this custom of performing vocal and instrumental
music only instrumentally that forms part of the basis for early
chan~er music in England It was advocated by Thomas Morley in
his book and used not only by Jones but also by Sir William 10
Leighton in Teares or Lamentaciones of a Sorrowful Soule
It is possible that this evolutionary process in performance
practices and adaptations of popular pieces for other instruments
may be the basis for the idea that Jones composed for the
virginals Certainly no music specifically for the virginals or
instruments other than lutes has been found to have been
composed by him
When playing for the masques the waits probably performed
in a room or chamber near the pageant rather than on the street
or porch where the masque was being presented Robert Jones bull
8 Dodd p 263
9 Jergens p f 13V-f22V
10 Ernst H Meyer Early Englisn Chamber ~1usic ed Diana
Poulton (1946 Boston Marion Boyers 1982) p 135 149
-25-
11 naroe is not in the lists of appointments to the London Waits
But Jones did have so~e of his music included ill masques Everie
vloman in her Humor a masque by Maclin published in 16 09
includes two songs from The First Booke of songes or Ayres The
title My mistris was not used in notes for the masque rather
lines from the song were used thus hindering our identification
of Jones as its author Figures 21 and 22 are facsimiles of this
song This same song was used in Loves Charity by Shirley in 12
1631 and The Dutch Courtesan by John Marston The latter was
presented at Blackfriars in 1603 performed by the 11 Children of 13
her Maiesties Revels Christ Church Ms 439 which contains
four songs from The Second Boeke of Songs or Ayres is said to be 14
a compilation of songs used in masques
The dates of the songs discussed indicate that Jones was a
source for music used in masques rather than a co~poser of music
for masques This is admittedly a subtle difference but it is
a critical one since Jones is not credited with supplying tPis
music in tle published sources of the time such as the plays
themselves
11 Woodfill p 48 and Appendix A
12 John P Cutts Everie ~loman in her Humor Renaissance
News 18 (Autumn 1965) 210-212
13 Chambers vol III p 431
14 Cut t s p 212 bull
-26-
Songs used in masques were declamatory in vocal style with
rare word-repetitions except towards the end of a song The
lute accompaniment tended to be chordal with an harmonically
15 statis bass The aforementioned 11Ny mistriS 11 (see Figures
21 and 22) very clearly demonstrates this principle The masque
an offshoot of the main dramatic movement was musically con-16
nected with the great nass of songs with lute accompaniment
Robert Jones was a natural choice for the masque authors His
melodies tend to be rhythmically simple and singable By his ow~
admission in the preface to his First Booke of Songes or Ayres
Jones main concern was fitting the note to the word (See Fig-
ure 3)
Shakespeare also liked to use contemporary songs in his
works for the theatre and in the music of Jones Shakespeare
found songs to express the moods of his characters Perhaps the
best known instance of this reliance upon Jones is in the comedy
Twelfth Night The song 11 Farewell dear love bullbull is number twelve
in The First Booke of songes or Ayers
15 Ian Spink English Song Dowland to Purcell (New York
Charles Scribners Sons 1974) p ~0-41
16 Ernest Walker A His tory of Music in England (rJew York
Da Capo Press) p 153
-27-
In Twelfth Night II iii Sir Toby Belch and the clown
Peste sing a version of this song that telescopes the first and 17
second verses Malvolio warns Sir Toby and Feste that
Olivia will bid farewell to Sir Toby unless he reforms It is at
this point that these two characters alternate singing lines of 18
the song This song was set in 1600 and the date of Twelfth
Night is 1601 The obvious conclusion is that Farewell dear
heart was a popular favorite and would have been recognized no
matter how much it was condensed Another testimony to its
popularity is that the tune appears as a hymn setting in a Dutch
psalter The Dutch version is Heilgierig mensch and the 19
psalter was published at Amsterdam in 1713 That Jones himself
favored this song is shown by the fact that in his fourth book
nine years later Jones sets Farewell fond youth Its meter
is identical and its melody is similar to that of 11 Farewell dear 20
heart Farewell dear heart may be seen in Figures 23-26
and bullFarewell fond youth in Figures 27-28
17 John Stafford Smith Musica Antigua (London 1812) p 10
204
18 Peter J Seng The Vocal Songs in the Plays of
Shakespeare A Critical History (Cambridgemiddot Harvard University Press 1967) p106
19 William Shakespeare The Complete Works ed Alfred
Harbage (Baltimore Penguin Books 1969) pp 316-317
20 Edward Woodall Naylor Shakespeare and Music rev ed
(New York Da Capo Press and Benjamin Blom Inc 1969) p70
-28-
Shakespeare also turned to Jones for parts of the mad songs
for Ophelia in Hamlet IV V Although it is not a proven
fact the setting of In Sherwood liude stout Robin Hood see
Figures 29-30 from A Musicall Dreame bears close resemblance to 22
the words sung by Ophelia That it probably is this song is
due more to the nature of the scene and the impropriety of the
words words which would never have been sung by a sane Ophelia
and to the popularity of Jonesbull work rather than contemporary 21
documentation Frequently Shakespeare had his
characters sing snatches of songs or refrains and further
attributions to Jones are possible but not provable without a
shred of documentation Nor in general are Elizabethan
composers who often set the same words identifiable unless the
tune had been transcribed or the composer named in the
manuscript
21 Heseltine Prefaces p 168
22 F w Sternfield Music in Shakespearean Tragedy
rev ed (London Routledge and Kegan Paul 1967) p 57-58 71
CHAPTER IV
THE SECULAR t-1USIC
The secular works of Robert Jones consist of five books of
lute songs or ayres and one book of madrigals One or two copies
of each song book have all survived in excellent condition with
minor problems such as missing title pages The madrigals 1
however exist only in an incomplete state Possibly this is
due to the difference in publishing techniques of the two types
of song The song books include all voice parts printed on
opposite pages in such a way that tt-e performers can stand around
a table and use the same book The madrigals on the other hand
were printed in separate part books with the result that the
loss of one part book took away from the whole
Lute songs increased in popularity and availability
when the printer Peter Short acquired a font of lute tablature
This acquisition in 1597 greatly facilitated the publishing of 2
lute music William Barley had published a book The New
1 Fellowes Madrigalists p iv In the preface
Dr Fellowes describes in depth the location of various part bookst and which madrigals are complete because they were found in alternate sources
2 Spink p 15
-29-
-30-
Book of Tabliture in 1596 which contained the first solo song
with lute accompaniment published in England In the four years
between the publication of this book and the First Boeke of Songs
or Ayres by Robert Jones in 1600 books by Dowland Morley 3
Cavendish and Farnaby in this style were printed Peter
Short by the essence of Thomas Morley was the printer of the
first two song books of Jones and the first book of Dowland It
may thus only have been for practical reasons that the title
pages are virtually the same
Lute and vocal music were easily printed For the lute
tablature letters not notes were placed on a six line staff
Vocal music used about a dozen signs for clefs tempos and
accidentals and thirty individual signs for notes apportioned on
a staff of five lines each with a note on one of the lines or 4
spaces Obviously it is this setting of each individual note
with its staff which gives the music its slightly wavy
appearance
Each of Jones five song books includes twenty-one songs
although contemporaneous song books usually vary in the number of
songs Whether this really has any special significance for
Jones is impossible to know For all his loquacity he did not
3 Phillip Hes~ltine The English Ayre (1926 Westport The
Greenwood Press Publishers 1970) p 138
4 Boyd p 178 Keyboard music was not published until 1611
and tben it was engraved This was because of the difficulty of dividing the staff to print cords of two or more notes
-31-
refer to this in his prefaces All five prefaces are illustrated
as follows The First Booke of songes or Ayresw Figures 1-4
The Second Boeke of Songes or Ayres Figures 5-B Ultimun
Vale Figures 9-12 A Musicale Dreame Figures 13-16 and
A Musebulls Gardin for Delights Figures 17-20 However that it
was important to him could explain why he chose to include two
Italian songs in A Husicall Dreame They are for solo voice with
lute or bass viol accompaniment (or both) and come at the end of
a book of songs for three and four voices
The idea of performing vocal music instrumentally has
already been discussed with the performance practices of the
waits Another common practice of lute playing was to use
alternate tunings of the lute The more usual tuning is gd A 5
F C G Plternate tunings included the sixth or bass string
tunec to F not G or the tunings called the 11 leero fashion 6
These were d a f a F c This method was used by Jones in 7
The Second Book of Songs and A~res published in 1601 The
words 11 Set out to the Lute the base Viall the playne way or the
5 Edmund H Fellowes The English t-ladrigal Composers 2nd ed
(1921 London Oxford University Press 1967) pp 304-5
6 Veronika Gutmann Instrument oder Dininutionspraxis
Archiv fuer Husicwissenschaft 35 (November 1978) 189
7 Frank Anthony Traficante The Hansell Lyra Viol Tablature
Parts I and II diss University of Philadelphia 1965 pp 188-189
-32-
Base by tableture after the leero [lyra] fashion appear on the 8
title page There often was a seventh string added below the
bass string tunec to D To avoid confusion this note was not
annotated on the staff instead ledger lines were added to 9
indicate its implementation This may not have been a popular
practice Jones used it sparingly in Ultimum Vale his third
book However all songs but one in A Musical Dreame call for
the extra string That Jones was criticized for use of this
extra string in Ult1rnuro Vale can be inferred from the preface to
A Musicall Dreame This preface is not addressed to the reader
but rather to all Musicall Murmurers
Understand me thou vnskilfull descanter deriue from that Note of Plaine Song charitable numbers and thou shalt find harsh voices are often a Note aboue Ela reduced by truer iudgement which I bereaue thee of nowing thy Rules are as our new come Lutes being of many strings not easily used vnlesse in aduenture till practice put forward into deseruing Diuision
From this preface it appears that Jones was something of an
innovator often embracing ideas before their full acceptance
Jones also may have ornamented or used graces in his work
However we cannot know this because the art of ornamentation was
a live tradition passed from one player to another The second
reason is that printers of the time did not have the necessary
8 The title page of this book is misleading The correct
title appears to be The First and Second Boeke of Songs and Ayres It is usually referred to as The Second Boeke of Songs and Ayres See Figure 5
9 Fellowes Madrigal Composers p 304-305
-33-
10 signs for ornaments or graces in lute playing
The following chart of lute tablature is adapted from
Fellowes The strongs are labeled treble small mean great
mean countertenor tenor and bass All but the treble string 11
were doubled
Treble ( g I ) a b c d e f g h Small r-Iean (d ) a b c d e f g h Great Mean (A) a b c d e f g h Counter-tenor (F) a b c d e f g h Tenor (C) a b c d e f g h Bass (G) a b c d e f g h
The fingerboard of the lute has ivory frets When stopped
each fret raises the tone of a strong by a half step The small
letters bullbullabullbull bullbullbbullbull 11 C 11 and so forth indicate behind which fret the
fingers are placed to produce the desired tones The letter a
indicates an open string that is one which is not fretted or
stopped b shows to stop the string behind the first fret It
raises the string by a sernitone Each letter represents the
next semitone to be produced on a string
These signs irdicate the duration of the note 1 ~ ~ f ~ ~) and stand for semibreve minim crotchet quaver and semi-
quaver respectively The last sign used gives the duration of
10 Diana Poulton Graces of Playing Renaissance Lute Music
Early Music (April 1975) 108
11 Fellowes Madrigal Composers pp 304-305
-34-
following beats Dots of augmentation with their accepted mean-
ing are used when needed Barring follows the rhythm of the 12
music or the words and is not always indicated It must be
remembered that Jones did not always use this tuning for the lute
rather he indicated it by specific performing instructions on his
title pages
Lute songs have roots in the freemens songs Freemen bulls
could be a corruption of the Anglo-Saxon work 11 freibull meaning 13 14
fesitval or of the term three mens songs In either case
they were lively cheerful songs with the tune in the uppermost
voice the tenor They were the basis for the simple part songs
which were so popular in mid-sixteenth century England These
songs then evolved into the Elizabethan consort songs and finally 15
the lute songs
Lute songs ordinarily were published with only a word or two
of the first line printed in beneath the score The singer
12 Fellowes Madrigal Composers p 306
13 Smith p 10
14 Walker p 45 The book published by Wynken de Warde in
the early sixteenth century which contains the work of the first Robert Jones also includes freemenbulls songs~
15 Spink p 16
-35-
16 either knew the rest of the words by heart or vocalized 11
Jones however is one of the few composers whose words are
carefully and consistently placed beneath the notes in his song
books This note-to-the-word placing allowed him more control of 17
the rhythm in strophic settings of different stanzas of poetry
The lyrics of English lute songs and ayres consisted mostly
of typically short verses The sources for many of the lute
songs and ayres were the ~any Miscellanies published during
Elizabethbulls reign ~ong these The Phoenix llest and Englands
Helicon were the most popular However the collections of
Richard Jones were also used by some composers Richard Jones bull
not properly detailing the authorship of the poems in his
collections is the primary source of confusion in identifying the
authors of the poems set by composers Another problem in the
use of MiscellanieE is the resultant multiple settings of 18
favorite poetry Robert Jones set many poems of Francis
Davison Sir Philip Sidney and Thomas Campion What initially 19
may appear to be plagiarism is really an accepted practice
16 W a 1 ke r p bull 4 6 bull
17 Winifred Maynard Elizabethan Lyric Poetry in Its Music
(Oxford Clarendon Press 1986) p 71
18 Maynard pp 54-55
19 Heseltine pp 130-131
-36-
The main differences between lute songs and ayres tended to
be those of length and rhythm Ayres generally had simpler
settings were more strophic and shorter and usually were better 20
sung as a solo song with lute acconpanirnent The ayre is
normally considered a short lute song with the accompaniment
providing the clue to the difference~ Performances could vary
according to the abilities of the performers and the instru-
mentation they used Frequently this lead to harmonic 21
discrepancies in the vocal and instrumental part-settings
This perhaps is the basis for one claim which has been made
that Jones did not write these parts for what are really solo 22
songs in his last two books
The English Madrigal developed as a result of the
publication in 1588 by Nicholas Yonge of a collection of works
by Italian and Italianized Netherlands composers This book
Musica Transalpina contained fifty-five of the best Italian
madrigals translated into English and proved to be very po~ular
20 Maynard p 55
21 Walker pp 80-81
22 Edmund H Fellowes The text of the song books of Robert
Jones Music and Letters 8 (January 1927) 25-37
-37-
In 1598 ~iichael Cavendish wrote a madrigal with the nLong live
fair Oriana refrain This may have been based on a madrigal
published in Il Trionfo di Dori It was this refrain which may
have been the impetus for The Triumphs of Oriana published by
Thomas Harley in 1601 The Triumphs of Oriana contains twenty-
five madrigals by nearly all the most distinguished English 23
composers of the time 11 Robert Jones contributed Fair Oriana
seerring to wink at folly 11 to this collection
The First Set of Madrigals was published by Jones in 1607
Its being called the First Set is no proof that Jones intended to
publish more sets Rather this avpears to be a publishing
convention of the time Where this set is unique is its
containing madrigals of 3 4 5 6 7 and 8 parts tvhereas
most madrigal sets were in groups of one or two different numbers
of voices this book has six different voice groupings These
combinations alone would give rise to the idea that although
Jones experimented with the madrigal form he either was not
comfortable with it or was not proficient enough with it for
his own standards On the title page~ Jones claims that the
collection is for Viols and Voices or for voices alone~ or as
you please 11 Several of the texts included in this transcribed
edition are poews by Francis Davison and two are by Campion
23 Walker p 78
-38-
The English madrigal was something of a compromise in form
It combined the contrapuntal secular music of the Italian style 24
and the harmonies of such songs as the frottola It typically
was a single stanza of seven to eleven lines in length A line
maybe made up of seven or eleven syllables with short and long
lines in any order The rhymes were mostly feminine and in
random order For this the Italian verse setting was standard 25
but short verse ottara rima or sestina were also used
Perhaps the one concept about the secular work of Robert
Jones that should not be overlooked is that he intended his music
for pleasure He had no rigid rules about performance practices
and he was willing to experiment with new techniques He was not
tied to rules of harmony and counterpoint and he seems to have
been partial to the sounds of open fifths and false relations
He was clever and innovative in his use of rhythm and rests
formed an integral part of his control of rhythm It was an
unhappy man who composed the song Goe to bed sweet muze This
was in Ultimum Vale the book that Jones intended to be his last
He seems to be saying goodbye to his love of music and composi-
tion rather than to an unfaithful lover That music in his muse
can be found in his explanations for publishing again in the
prefaces to A Musical Dreame and A Muses Gardin for Delights
24 Walker p 77
25 Maynard p 55
CHAPTER V
THE SACRED NUSIC
In a fashion typical of the Elizabethan era one music
publication could contain ayres madrigals or religious motets
The Teares or Lamentaciones of a Sorrowfull Soule by 1
Sir William Leighton is one such book It contains eighteen
consort songs twelve songs for four voices and ten songs for
five voices The contributors of songs for this book include
Byrd Milton Bull Ferrabosco Jones Peerson Thopul
Coperario Dowland Ford Gibbons Giles Hooper Johnson
Kindersley Lupo Pilkington Ward Weelkes and vlilbye As can
be seen Jones is numbered among the finest composers of the era
Sir William Leighton was born into an influential family
He had social economic and educational advantages However
because of carelessness and misfortune in his finances he was
imprisoned In 1613 Leighton published a book of his own
poetry The Teares or Lamentaciones of a Sorrowfull Soule This
was followed the next year by a book with the same title cf
musical settings of these poems composed by himself and twenty
composers The purpose of these books was to show Leightons
1 Walker p 81 The consort in this case refers to the
accompaniment of the cantus voice with the treble viol and lute tablature The altus was accompanied by the flute and had tablature for cittern The tenor voice included tablature for the bandora and the bassus was paired with bass viol tablature This was in reality the broken consort
-39-
-40-
repentance But the laudatory verses composed by his friends
and included in the introduction of the book seem to negate
this These poems use word-plays and puns on Leightons name and
deal with his unjust imprisonment
The works in this book are on sacred themes and could be
considered appropriate for use in church However that Leighton
intended for then1 to be domestic fare is seen in the style of
printing used that is on a double folio in the same form as
that used for lute songs and in the performance practices he 2
recommended
Jones set three poems for this work The first two anthems
are included in the poems published as The Teares or
Lamentaciones of a Sorrowful Soule The third piece by Jones is 3
set to words not included in the 1613 edition and the poetry
differs in form from that of the others The words of the first
two anthems consist of six eight syllable lines rhyming ABABCC
The third anthem is a simple quatrain with an ABAB rhyme scheme
The first two anthems closely resemble the favorite form set from
The Phoenix Nest the difference being that the lines in the
2 Leighton p x
3 Leighton p xxv
-41-
4 miscellany are ten syllables long The poetry from these
anthems is included in Appendix Six
Robert Jones composed a fourth sacred work This piece
Sing Joyfully which will be referred to as the Oxford Anthem 5
is included in the Christ Church Mus Mss 56-60 The source
for this manuscript has already been discussed in Chapter II No
modern transcription exists for this anthem and may be attributed
to the fact that the bass part is missing and this anthem is one
of a few anthems in the Christ Church Mss not found in other
sources
The possibility that the Oxford anthem was the piece that
Jones composed to meet degree requirements at Oxford has been
presented in Chapter II To substantiate this claim further the
words of Psalm 81 from the Book of Common Prayer printed in 1619
and from The Bible of 1595 are included here This will
facilitate comparison with the Oxford Anthem facsimile from
Christ Church and its transcription and recreated Bass part
4 Edward Doughtie Lyrics from English Airs 1596-1622
(Cambridge Howard University Press 1970) p 25
5 This manuscript has not been recorded in RISM
-42-
6 The Book of Common Prayer 1619
Sing we merrily unto God our strength Make a cheerful noise unto the god of Jacob
Take the psalme bring hither the tabret The merrie harp with the lute
Blow up the trumpet in the new moon Even in the time appointed And on our solemne feast day
7 The Bible 1595
Sing joyfully unto God our strength Sing loud unto the God of Jaakob
Take the song and bring forth the timbrel The pleasant harpe with the viole
Blow the trumpet in the new moone Even in the time appointed At our feast day
6 The Book of Common Prayer and Administration of the
Sacraments and other Rites and Ceremonies of the Church of England with the Psalter or Psalmes of David Printed by Thomas and John Buch Printers to the University of Cambridge 1619
7 The Bible That is the Holy Scripture contained in the
Old and Newe Testament London Deputies of Christopher Barker printers to the Queenes most excellent Maiestie 1595
-43-
The bass was reconstructed after a study was made of the
style used by Jones in his two madrigals for five voices and the
one anthem for five voices in Leightonbulls work The madrigals
were used for this comparison because of the similarity of style
with the anthem
In general Jones uses the bass as a platform for the other
voices Large skips are used sparingly and the relationships of
thirds and sixths with the tenor voice is usually maintained
The frequent use of whole notes and rests and the rare use of
dotted rhythms and eighth notes emphasizes the stable voice
leading Jones rarely initiates word painting or new rhythmic
patterns in the bass However the bass is used to start an
upward scalar pattern carried through by the other voices in turn
It is hoped that the reconstructed bass for the Oxford
Anthem is in keeping with Jonesbull methods The transcription
would not have been possible without Dr Clyde Brockett It is
possible to include the anthem because of the assistance of Mr
H J R Wing of Christ Church Oxford
44
Cantus middot
( -11 ((
) L ~L I
middotmiddot~middot 0
I I
45
Cantus
------------------------------ ====~====================~ I
I ~
j-- ---====-=--=--=--=---=----=---=--=----~~----------===shy
l I
r
l t
I
~-
t ~
middot r I
(1 c I ( middoto
A ~ -1 bull T I bull 1-Jtc v I
bull
~iof~ictf ----middot-
t~L f ef a attf j az ~ E I cfft ~ fiipound wuamp J1 -------- --4----bull- - -- --
iS
l ----=-----------
47
I middot--- - -- - -- I
j It~middot~ ~~I ~CJ m bKpound fy nt-l a~ PJtttfd (Ul A ~
t Ybull T 0 A I I I
~ -t-I I I - bull I I l bull I I I bull bull J I 1 bull I I I
A - bull ~ I
1
-~-- -- ---middot-------------+
-------middot---middot~---------
1----- --------~---
48
middot- middot---- -- ------middot --~___middot---~- ~--middotmiddot ~
49
Contra tenor
middot -bullmiddota --~ilirtttwbullnbullmiddot d_rl_ mr
I ~
i-----------------------_)_
F------ --
______ _
-------middot--middot-----middot -~-- ----- middot-middot-middotmiddot --~----middot- ------- ------shy+----- ------------ -----r=-~----_____middot ~~~---~--~- ~~~-~~-~-----_ --I
I
(I
bull
middot~
I ii l
l
l Imiddot
-I
(
50
Tenor
------
fwaft qtmiddoto( tft~ tfttttt~l hF Ibull bull ~ l~~r---~-~- ~ - =13
t)tl) tfc G11 pound th (b ir th~ tf~~ v
~-f~~-~3 -----+ ~ ------middot =-==~-~-fi I 1Ppoundf ft t1 c If r 11 a h -middot qCo ~~ l-K~-
I I I
bull
51
Tenor
l ~
~ ~r--=t-~ ~ J middot~middot bull I I
13fon ~ lppt ~fie bmpt~H1 tfv1VC btpound lLi hum( Efl J A t I o bull
H-1----r~ni----=ll bull1 -----i - r~ n middot bull -~ t i ~ -J j) I l 1 bull 1 bull l
~ bull bull T _ obull bull -x I n _PI I I I T I I amp bull T 1 1 middot y tl- 1 L~t--I ----J-middot-middotmiddotmiddot1_--1-- _-~--~~--Jmiddot middotL__-1L --1-- -
- I 1 I _ 1___1 - -4-1-J - +--+1--ll- J ) 0 I 1 I I I I -~-- ----- ~ A bull bull I (I V =-
---- - --------- middot------
I he Oxford Anthem 52 Robert Jones
5 J J J ) J f r middot r I
Sing joy ful ly un to the Lord our I 1) I Js - I 0 I ) ) ]I ) 11 J bull v- l l
Sing JOY ful ly un I to the Lord Si ngl I I - _ f r
1 r t7 t r t l middot~ I I I ~ _l I I
I l I
Sing joy ful ly un to the Lord our i strength
1 6J
J I
i - ( J amp J
-plusmn=-
I Sing joy ful ly
-c un to the
r r2 c= f r F ( f z 0 r I l ~ 1
Sing joy ful - ly un to the Lord our
10 j J r
I I I l r I I 1 I f I
0 0 tJ bull middot I ~ I I I t _a l r
II I I strength Sing joy - ful -t ly un - to the ~middot Lord our I I I i
I
_I 1 I I I I l I
I ) I 0 I ~I I j l Ll I I
$ j I lfO J I - -~~ L7 t I -v - _
~ joy - ful - l y un - to the Lord our I I
~ ) _ IQoll I ~ 1 y middott I -
I I j I l r I I I -r r 1
I Sing joy - ful - ly un - 1o the I Lord our
I I I I I 1
0 0 I ~ Q - -~
- I - -~ - lord our l strength Sinmiddot] _
I I 1 - I I ) i j J middot __ ___ -- t -
strength Sing loud un-to the
I r I J () h fl e J j (~ I I II r- j 0 I v 0 i r c
53
I i
I - I - I - I r r r ( J I _J_ I 11 _l [
~ I I I
I
~
I strength Sing 1oud un-to the I
I I I I r r r J y r J - 1 v I I 1 l -l - I - -
I str ~ength Sing 1 oud un-to the j god of I la -
t I I J J l J r
11 - f~ t v I I I L y
r l I
I
strength Sing 1 oud un to the god of j I
I
- ~ ~
r r 1 r r t Igt I
J r I I I r - I
I - loud un to the god of I Jq -
I
v I () p 0 I I _ I ~
I I
god of Ja cob Ja
5
god of Ja cob
cob Sing I lou un to t e j I I
] l ~ ~ i
r - I r r r I v I I (7 I v I I I i
I t
Ja cob Sing loud to thf god of I~
- un I l
~ bull
I I L A 1 I I f- I 1 _J _I L l_ l I t I I ~ t r __ __
-fi I l I I
cob Sing loud un to the god
0 eO 0 __ =J
of j Ja cob i middot
----------~--------------------------~1---o----------~l ~ gt~ f middot
cob Sing
20
- I r j I 11
C I r
I
loud Sing un ~ - r 0
I
god of Ja
r 1 I t7 J _J
~
Ja cob -
1 -I J p 0
Ja cob
r c r f
(l
loud un to the god
I l I JI I
-1
0 l-
cob the god - y 0
I I I
the god
0
I
cob f
~ I I 1 I I J
I ~ t I J middot 0 t--1 J I
t to the g od
c9
god of
r I
to
-I
fvO
Ja
I I
l
Sing l
~~
of
I r I I
the
I
I -
---L--1 I
I J ~
54
y
god
L-
cob
I J
cob
_j
I 0
I amp
Ja
25
l 1
--of
- a I
of
Ja
0
i
I of l Ja
I 1
~ t 1 _ Q _ ~ middot
of
Ja
Ja
I I -J I I
- 0
of Ja -I -middot I
J l _ I I
rl 0 0 - -
I of Ja middot-
I j j I _ J I
~
~ (_ I ~
loud un
ampI _
j9
cob the
r
J I I -1 --11 2_ ~~~~
I
Ja - middotcob
i-1 I -f-1
I bulli cob
I
I
- j - w cob j
i l i
J I ------ I t-1 I I - I cob
cob
1n I
I I I J (7
c_ -
-Take I the
- bull- I I r 7 A_ f I r
0 I ---
j
Take the harp t the I
J ~middot
I bull I f~ [ I [ I
J -Take the harp the
1 1 -I I I _
( y
~
Take the
p f bull
Take the
35
f J J I
I 15 Z
) lt I
brell I
tym tym
I 0
CJ ) J forth the tym- 1 bre 11
I I l _ I I I 1 j I
omiddot i I I
harp and ~ bring forth the I I I
1 r
I I + and bring I
~)
r t harp and bring
55
_ -
harp
j fr
r - ti (J J ____ r
-
f ) I
v J
harp the
a
(2
harp the
f
brell
1__ J
and
0 I tl
-
)
harp
~
harp
I J
harp
harp
~ the
r bring
r [I
I I y
rJ I
11
and I bring
f I
and I
f
I ~
I
t take
___
I
I
r ta ke
J 1
tym bull
( r forth the
- _ --- r
tym - brell I j J
I I I J I r I i
_) middot forth the tym - bre 11 the
( t
f I r r-I I z
forth the tym brell the
I 1 1
amp
forth the
1 A ~
bring
I A
7
the
t )
the
I
~ I ~
I I
l
56
40 I I I I I
I t I 0 I _i I I i ~ ~ --middot
li 11 11 I -
- brell and bring forth the I tym - bre 11 tym - brel 1
I ~ - I 1 () 0 1 I r 1 - --- i
I
tym brell and brin9 forth the I - I
_ 17 - i 77 j
- r - T T _ I I J ~ I I I I
I I 1 ( bre 11 ) the tym - brell I the
i I I II
u I pound I A J ~ -1
I -
~
tym - brel l and bring I forth the tym -I
J amp Fyen tji
F l
tym brell tym brell
I I -- I I j I
I l
-J ~ I ~ ~
J
harp and the sweet the ~ I plea sant
middot - --f ) I i I e 61 0 J ( z
bull
tym - brell the tym brell ~ the ft ~middot c t r 19 ufJ f ( c t I
pleasant harp and the vi 0 ll the pleasant harp
j ) j middot99 J GJ or gt _ -5
brell bring forth the tym brel1 th ~e
9 l f~ ( __ r I ~~
-- -
Bring forth the tym brell
57
45 J
I I I [ f I C) A A I A I j l - -
-
~~ ( _
vi - I 011 t sweet vi - oll the I I
I -- 1 - l l 1 (7 I I I J 0 A I J bull
$ r - I brell I
themiddot 1 pleasant harp and the sweet i I
- p I I
r I I lt I_ c I I I r
I I and the vi - I 011
l vi - 011 I
I I I 0 I I
r I -J y v - I I I ~
p~~~~~nt harp and the sweet vi - 011
I
_ v - 0 I I r t I I II 1 I J I I
the plea sant harp and the sweet vi - oll
50 1 I I I I j tl I l bull I
I J L t- 0 J I
-
I ~
J I
pleasant harp and the sweet vi I ollll the I
~ -- _f I A middot bull 0 J i r 1 l I I
vi I oll the plea - sant p
r I i T 0 - 0 I I
I f I I - ------I I I I j
i
the ple~sant harp ~nd the vi - -
I
--- I _l I I I --1 0 I r l
C-
vmiddoti I - 011 the ~
pl ~ea sant harp - C) r 1-
~ r I I )
r ( I l r
I I t
and the sweet vi - all sweet vi ol1
58
I I I I L_ I J _l J f J
I I I
~ r
pleasant harp bull and the --_
t I I I -_j
harp and the sweet -l I
f middotv A I I I I
011 t the I plea - sant I I
I I
I I I i I J t7 Lc -I
and the sweet I
vi I -i - I -
- J
I c- -
oll and l i I
1 I J J J_ v A
I I
oll the I pleasant harp j _ k
-r= 0 I
t I
t
sweet I vi I I _I I
11 i I I I I I I 11 _j ~ C I J _lj bull
harp and th~e I J I ~
sweet vi - 011
J ~
t
the pleasant harp flnd
55 r J1
1 _r _I_
swe ~et vi - I I
- ~ I I A ~middot _t2_ I
I
vi oll I -
t I _l l
fL
harp and
t
al l
-
j_
A I I
th~ swee~ I
j_ 1 L1_
J _L _r I
I I
and the sweet l A
~
i t l I I
I
011
- I
r r the
the sweet vi
0
-0
vi 0
~
the
I t
the
-
60
0bull
vi
0
vi
-
J
pleasant
-
l I I
J bull
pleasant
-
-
amp l
I
l the
I
I
harp I
----1
59
I I
_ middot-I
- I - - __
I ---- oll I I
~~ - f r I f I J e_ I I _
011 I the plea sant harp and
0 - 11
r - - 1 v I I r l I I --~
J _L I l I
pleasant harp and th ~e sweet I vi --j 011 t I
I _I_ ) - I
_I r D I J I 0 I I
I and the sweet vi -- 011 and l the
J ~
-- -=- 7 r I
I T T r l I I 7 l I
pleasant harp and the sweet
65
- - r I
I I J I I J
I ~J ~ v I bull J cent ~
--
the pleasant harp and the sweet - _ r r ~if L) I I tJ - - I I l I I 0 -1 F _l T 0 j I J l I - -- the ~weet
vi - 0 ll t and the sweet vi -ll n middotmiddot-
I I ~middot r I - - t - f7 I I I l _ (7
j j --w
sweet vi - 011 sweet - vi -
I I I I T T - t i -- A t7 r 1 T 7 T i ~ i
_l J
I I I I
I sweet vi - 011 fhe I pleasant harp and the sweet j I I
u I l I J -1 1 0 I )
f I
vi 011 and the sweet
ou
70
-- - I I I I J
~ I I j ~ (1 77 -~
vi - oll the pleasant harp
I I - j I I I A I 410 7
-- L
- oll the plea - sant t --1
I L I I J 0
I I I I ~ ~ t r _fl_ 0 0 _ II I I
1 I - oll~ the pleasant harp and the swmiddoteet
~ I ~ ~
y JoiO c I- I l I r
I I
vi
I 011 sweet v+ 0 ll - -L
- l I I 0 J --- t 0
I
vi oll the sweet
75 I I
I I T J j I A ~
~
I - _() ] middot -- -- -- bull l I and the sweet vi - 0 ll
_l I 1 77 0 0 0 -I - 0 I y l ---- t ------ I I I
harp and the sweet I vi - 011 bull I I
0 0 C)
poundJ I - t (7
I middot-I
vi - oll sweet vi - 011
I I
~---0 J 1 I t J -middot
I _ _ bull I I 17 ~
I - -
I
f t he sweet vi - - 011 bull
- I CJ I
C if- I I
I I 0 T _ I I l I
vi oll vi
~ bull Scr-ibe error shc~AIJ b~
61
80 111
I I j t - - I - J I I y ( j r 1 bull
amplow the I
up I trum - pet I
~ - - j j I r A j J I t - 1
Blow up the trum - pet oiL - r
p r r Igt t r r r f- I I t J I I i middotp I I
I I J I I
Blow the I
i trum up trum - pet Blow up the l - pet
I I I middotr I
f r l J ~I I r- r _r j A I I I _
I i I I r I
Blow ~p the trum - pet Blow up the I trum - pet _ I bull_ _
0 ~ I I l I I I I I I
I
I I l I
Blow up the trum - middot pe~ the trum - pet
85
f 1 - I I I ~ I I I r ( J-middot I I r J J -1
I r l bull
I
trum pet the I trum pet the trum p ~et - -A - I p - - I t
~middot J I r _1 L I t
I I ~ I
the trum - p ~et 1 the I trum - pett
- i I i ~ _
-l f r r ll _r_ [ middotp t
t I I J l t I I I I l
~ I bull I bullmiddot
Blow the Bl~ ow the r bull
trum pet up trum - pet up -t I
- I t l j_ L _L A I
r r J r J I A J f ~
l I I - I bull I
bull I I
Blow up the trum pet Blm_r up the trum pet I - -I
tt) 7 - 0 _ I 0 i I I -I 7 I I I I I I l I
--J I I _J
Blow up the trum pet the trum pet
0pound
_I I I I - I I J I I I 0 -II I L J I J - j
- Jf o I J 0
ln] the new moont evn i n the time ap -
- -- I
- I t l v t -1 I I_ I l I J ~() -in the new moon the new
I I
~
[ 11 -~ - 0 J - I
I ~ l I I 1 I I
I
in the new moon in I
I I I I - I I j J l J _0 r r J p
I
gt in
I the in the new moon~ new
1 _ - r- r r r - I
I I J I I ~
1
in the new moon
A ~ I I I
r
r f cl - A I _f I I I I I
- _ 0
l I gt _ _ I
I poin - ted at our feast day at
-middot - _
-moon
I l I
_ I I J r ~middot I I J j - t 0 A A
I - r-- ~ ~
the new I moon evbulln [in) the time ap-
J I ~ 7 j I I I ~
r r T I I _I I
1 _ J J t J l - j ~
I I pol nted I sol moon I evn in the time ap at our - emn -
I I + -( _-f- i- ___ - ~middot
_ T I I I J 1 t l r 0 ~-
r I I 1 bull - I I r I I j_ I I I
r
evbulln at the time ap- poin- ted- at our feast day at
93 [ot] Ct =at II otl~ va middot
95 I I [ I l
17
J I
__ J r rJO
r---
our feast
- - I I
v_ ev 1n
0 f6 r I J l - -J I l I I I_ l J
pointed at ou~ast
1 L _ II I y _ r Cl
I r - I
feast day at our I I J
bull _) 0 [j A I _ I - t I
__- I I I
our feast
- - I I
C
evn I
- ~-
--_r r 0 ~ ~
J l I 1
our
u
day
I [ I
J _
in the ~
r I I I
poin - ted
roo -= ~5
q~
I
I r r feast dayt -oGr
- _ I
- _ I
evn I 1
I I I ~
r l l I I
~me~--I ~nted a_p_ I
J I I I I
at our fea~t day
c t ) o t h u o s [1 h) = a~ tr~J))~ribed from
altmne ~cill-ed o~~ ti
- _ _
day 1 I -I I I I
I I J r I I -J I J
in the time ap - poin-ted at
pound)- bull -J _ I j
day our I feast
- l 1 l I
~t _--tf 0 II ~ ( I
I
feast day~ ev 1 n
__ _ r I ~ r I I J
I I 1 -
day the time ap-
100 -Imiddot 6_ __ J J J I I I I J I r t _1 ) - I bull -
in the time ap- pointed at
0 _
feast day
- 0 _
r I _
bull I 1
bull jrlJ the time ap
I
~-
r T o I I I I l A _ J
a or feast day our - o---- r l - f I I I
i
1 _l 1 _ I
at our feast day
Ct VOIC~
b4
105
r r f 6J dmiddot 0 I~ j A our feast day our feast day evn I
- - ~
J I
-
l evn in the time ap- pointed at __
A 0 ~ )
y 0 J I I
poin - ted at our sol - emn
- -0 dl ~ ~- - A middotmiddotmiddotmiddot-
feast day i at our feast at L
LJ
I
- 0 - - _A
v
our feast day sol emn
l -1 I- _pound_
I -_
in the time t
ap- pointed at our feast day evn l
_ 0 1 J l ~
-- - ~ J I 1 1 - I
our feast day evn in the time ap- pointed
0 ~ _ middot- A
feast day evn
- - -d A (
at ourmiddot -f- at our ~ ~ -- 0 - ( I I
feast day evn in the time ap- poin - ted feast
I
110
J omiddot u --1 -I
lt---
in the time ap -I
poin - ted at our
0 - ---1- -I-- I
at our feast day 0middot
I - --
l
(i nJ the time ap- pointed_ at feast day
I our
l Omiddot (_) y l
I feast day
0 ap- poin - ted at o~r I
~ 7 ~bull
I v
day at our feast day in the time
115 I I -middot
I-
-- 0 bull ~ -
middotfeast day evn I in the time ap- poin ted -
I I - - 11 (7 ~ 0 -at our feast day
bull 1- t -
- A ~
I evbull n [in) the time ap-
-middot y
I
~--c CJ
feast day evn in the time pointed at
r 7- ---ap-
J ~
y -ap- pointed at our sol emn feast
iblihing Mil 414 A bullbullbullbullbull
120 -
~ y r tFU
L j _L_ y -
at our feast day at our
- - - _ (7 _ - __ -
at our feast ~ L)
a_ 1 _L r I y r1
pointed at our
feast day middotI evn UnJ th time ap -
0 1 - --I -
A middotbull -
our feast day evn r 0 0 I -- Q_
-
day our feast day feast day evn
11 - -_y 11
_V -J
- __l -
feast day at our - 1 I _L_
_Ql_ A (7 I r-i 0
daymiddot ap - poin - ted at our 0
v I y ---d I
poi n - ted at our feast day at our
____
I I - -1 v J 1
FJ Cl bO L
I I ( t-I in the time pointed at ap - our
_)_ 1 ~ ~
Ll f
_r I
in the time ap - poin -ted at our
11ishing MP 454 A bullbullbullbullbull
67
A ~ ~
Ai 0 -- C-
-feast day
I
c- _- I - -
feast day
I I --
- _ _
-- -bull
I
I
feast I
day
u -I
feast I
day
I - I
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feast day
130 f A -J I 0 A
-7 bull - -
A - men ~
~ v j middotmiddot r I I I _ l _
A - - - - - - _ -- -- -
- j -A men
_t - - -1
0 --
I - - - - -A
I I 7
A I ~
A
i
I -I I t- 7 -t I -~
A - -
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t-- 0 I A
I I
- A men I M - I
- r ~I r v t I 1 I I _t J I I T I
A - - - ~ - men
c-~ I
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mmiddoten A I I I
--- 1 I I I J
I I T J _t A - I -
men A
135 l
I I I I _I -1 I ~~I I I 1 0 -l - I I I J rj~
- _
r --- ___ A -~ - - - - -01en -
I 11 - ~ - I t _ r p
r I J I I v I l J I
- - men A - -I I - I I -p - v_
v C7 I I -- __ I
-A men A
~ J I I I
I l I J I A _ - L7 JJ J ~
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- - - - - --
I I I J y __ I T r I I
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men A
lblishint MP 414 A bull
I I
I --- -~
- - tf a ~ - - _ - -- - men
0 ___
- men - A _ - ~ I --- -
I - men
- i _
- -- ---men
--
~--
_
men
tblishin9 MP 414 A 7
----
l I
72 ___________ ____ Ff gure 1
I I I
middot-
i
l I I r I 1 I
I r
IH pound
FIRST BOOK E I I ofSo11ge or q_fyftlJ of iRetiiu~
rourf parn ilh TJ 1
binsr~l tb( lbullU
paru togethcror ~lther of middot dle1Jlfhur2llynliay be toils it _ l 11l~U~~~r
to dte Lutebull Orpbad~l
or Viol de gllllbo Compoftdby Robct~ ltJ~Xto
f
----
1
l
I ~
1
I I
73
Figure 2
TO THE HO middotNORABJJE Ai~O VETt T OVS GENTLEMAN SIR ROBERT SlDNEY KNlCH -c
Gouernour nder her Mai~fi~e of the tOne f VltlbitJ1
and the CaAJe of the Jldlraquotftns In the low C oumnes and of tJtjorll ojtltf411Jt AJtntLrrpuh thtJbullrr-ifonthenmiddot
In plilctdMTftU D b~ifi~jiUitt
~~~ii~5fil Our great loue and famor Honorable Syreuer rhanifellcd toal OrthyScier ces hath ltnbdened me to offer vppe t
y~ut ~ordfiups Shrnc thefe the vr I wortht~middot labours of my uulicall trau~~middot And though in refpect or their Veake nes they ln~y perhaps leenu vntin1ely
bull=-o=====~ broughtfor[hand theremiddotbre the vnlikelrshyerlo pr~fpermiddot yet doubt I rt~t butj~ renderd by you they fl1all happclbulle find gentle cherdh~ng w h tel~ n1ar be a mea ne to make them more tlronger or elfe mtfcarrytog to etcour~ge my en~ ~ deuours to beget a better for as no arts vinclf at fever errors than muficke fo none greater enimies to thcirDvoe profeffion then Mu 1cians whowhdn in their-own ~tlguaritietheycon demne euery mans ~rkes raquo as fome wate ~duty they are cbe caufe dm an istbcmiddotldfcentc~emcJ ian~ they thuitfelues feEuted as fclfc-com e1enders tnd men man fan[aLlicll Vhcrfore if chis one cen~uringinfirm itie were remoued thefe nty ayres (free l dare fay from groffe crraurs) wauldfitde euery where mort gratious entcrtainement bull Butfince euei thofe who are betlfecneirtthis art cannacvaunt themfelueJ free from fuch de tra~ours~ ~ lhe~ leffc rega ~d irbting_fo w~ accompanie Howfaeu~r tfheretn I may gatne yout Honor~goodallOwance fuaU thinke I haae attained co the better en de of my labours (vbicb with my fdfeandthebell of my Ctruite) rcfies eaer more at your Lordihips in1ploimenc
Your LorJjh1ps lmotetl in ~tO dutifiiJfirmce
aobett lonebull
----
middotmiddot
74
Figure 3
ro THpound READER
~ gtltmiddot bull bullbull bull bull bull middot~ EntlettztnJfincem1dtireu)ourtllrtsfoulde middot ~~-- ~imiddots benlindijferentiudgtrfclllnot thin41t nt
-~~i ~ ~rflary to filalt nv trautil or nu hringing -vp ~ tbull middot 01 argtttJmts to plr[Jllade you that f haue a ~Ofd
~ op11110n of 111) feft~ only tht~ much lwzl~tJte 1n~ ~ I ot ihatJmttypretttnttherifhudgnlentsoJ[uch
bull _~~~ ~ t- ) u now n1c not E11er jinre I praflftJ fe4-- middot bull ~ kng I hat~e praRifid inging lbullauin hail not
itr qualitie tobitJder mefro1nmiddot the pifefimiddotI(TIOTPfedgt o(th~]aculu I rtue ~~~n incortngtil kr tbl lParranmiddott oj Jiucts good iugmentr that my
pt~ints herein foal 11tihe eafl proct~re_gooJii~ng if riot delight ~hich Jttfor ntineownetJtitl muflueeder Jeare 111 much 111 defi~e ~efpmiddotecialy
lien I conidtr tb Nptnes ofthu induflriousagtlhtrtillaU mtn tndeshyrwurto nol~t all Ninges I ronfefo I 1as not --nTiiUing to emhract the conctitr of fuch ge1tlemen uraquorere ear til to h11 ue me AfpbullreU thtfo ~~~ tits for them ~hihthough they intendet or their pmiddot_iuate rmeation 11eUcr meaning thfJhoultcomeintothe~tght~tre 1elf(I1Jten~ )pon inshytrtiiJ ~o ma~ thtoncouragementr of tq1s ~ jrfl di~tr~tllre 1Pkere11p~ PO f lilas ~lmrfl ~~to m4~e tnJ flfaJ ftiJt~ne lJJtbtU~OTJ pr~-shymtn~ thAt if lY ctfimiddotnnrfoilttltn( ~ M_~HJI ~~H fllghl P_eakt for theme~ts ~boTPfoeiltr 1~plt4ftth tbtm middottodlaquonunl bl~tt of thest ihen oftbeft1 0 f purp_ofo ( M -ltfiOiddfiemt)tom~t4 mehJ1eut I hm do (omething 1111 onb hope i1 thai fo~ing ntither J cold AJres A nor fheir idedties ( u thgDi[ntedtl hau t cAUthtin) hAue hithn-to Jeene foc~ttd in Ut tdrtJ of rnanie thg maierh~nttlflil)dt f~Kh enshytertllinmentJ llJ conmonlit nn~e1 aoth in tht bullorJ ~thith if I J he fo
middot ~appie~(o he11re lTtiUnoefaie my next jh11H Itt ampttirr1hut I ~a promift tO tfl~middotIJfOft f4intmiddotsroJmJ lliOt fOintsof mfiampJtwbich noJJt coufJ not JohectJuft YlitJtffcllrerPu (ofttlht (Jf~mtk~Jor~ ~~~~hen muflhe-ullJe~ connntDith e11ch IIJantlll))foU cenfurtU IjhJbe giAJ of fomt mtns vndeftrueJ fouourl
-J
--
IJ
Figure 4
~~ ~ A Table of aU the Songs contained in thir7JooJc ~~~Ul
middotImiddot AWordans LookecS middot Fertd Wlnto~ youdu ~~= Sheewhorematd)Jet1ebcaury f+- ~ Qncre did I laue ~~~ L~d ~r~Atongdcfuc l Ltc dOwne poorc bean J ~ bull n Wl I _ ~ -b _nere rngrrnguare
1 - i1 Hcroatenotchougb ~ z- middot ~ Wbcnleucandumo bull ~~ Swee(te come awa t bull -a Wmiddotomenmiddotbullhataicrtbey
EarcweHdccrc louc ~ middot gt ~ ~ 0 my paorc eiu r~ ~ a If fathers knew
bull ~e i Life is a PoeampJ phablo ~~~ Sweere Pbilomdl fi ~- ~ 9 That heart 1 ~
1 VVbit ifl feckc MymiRris
middot~ M ~ Petplcxed _ 1 ~ Can lllodca pbine dctir
I
middot 11 - 1 ~ ~ middotr_ ~ r fl~ - I
l j It I I
~ ~
-I i I
lj middot J ~t ir- I
bull Ill - -middotmiddot - B
L lL m IUL v VL vu VUL IX X XL xn
xm X1Dl-xv XVI xvn
I t
I r-middot
r --- ~ I r- ~ J
I
Figure 5
--------------~- ____ __ t
lf~ flfl TJE
B 0 0 K E 0 F S 0 N G S AND AYRES
Set out to the Lute lhe bafe Violl the pr-ynt Wdl etr tbr 84ft by
tablcturc afitr lhc lctlo ~114
CftftJJ Kobert Iones bull ~middotihl~ by Pr flaquo Afbs by bullbe
~Jm ~f11HtfNI Al~rl)l J tbull6t Cold bulll bullhe Inner l(mplc
u bullr bull 1-ot
_ +- - middot tmiddot bull
~
II
Figure 6
------middot--~ middot-------
T 0 T I-1 E It l G I-I T V E R T V 0 V S A~ D V oR T II Y K ~I G H T S 1 R
H F N It Y L f 0 N i D -middotrmiddot t ~ ~ ---middot~middot 0 R T H) Sir mJ my_ Honourablc fiicnd I giue you thi~ ~~ ~~~1 bull CIJIIJl pr~u~ gtou hnng at vp bccaufc I ttm o1 ~orc mn ami t ~ middot ~ _ can nor maanrunc bull t 1t bulluy ~ulfcc muchaducrfi u~ ~~~ my nam c
middot middot your For~u~c mnc aJ~cr llJS rtJrrcs 1_nd make h1m hJppac bull f ~ I fhopghllllbtherbe ahmiddot oe l ulltec~Uhoun Orpbanrlorpm rc
mens CbddrlfJ -are Orplano borne and more to be piuiCd d~cn they liJJt hJ11c changed thcidltl cr) lor their ltuJ ~ fud1 mlc bullai(e themfduc~hl due time we h0111C oo wJ ic to l lciglncnour being bm by lbulllothcr pomiddotNcr As Gcntlcwo- mtn pecce lhcmfdbullcs with Tij es and Co ronctsto t p flC trt mor~ per fcmablc ~nd t~ll o UltJfi woaJdc VntO OUl )ulctlCS if wew11 not De (corned iardwarfcs) rhccroYlC of Acnllc pC1fons mgtre cmincnt and hi~h Our (Lnurcs ~rc nor fct aboue d3nshygcr i WCcJuJowc hdor CUCflC footetO trcadc vpOtr OUt place IS he cround there icnodnng balc-~trwsandycr dcuil~ion _m pun n lower if wee h~uenotgood ~(reds Th~ y wiH fin_J _me~nc~ lfl digg c and In v s down~ irnu the cllth ~ nd burie yenS
bcfotc ourume Th1s 1s the nufc of pttroua~ct nnd thli ts rho p(rlecutton o( ahem tlpt wouldingroffc ~11 Gloric imo the~r owne hmds But t~cdJt UJl~ o~ rhtfe mcn they bite the truhe~ thcmfdues 01ould fee de vpon Vcrtuc would llrlng fonh mmie h1idrtfl but 1hey hold them an the wombe that lhcy due not come hut As the coshyucrolls maf~~ fi~gcth aU the hind about h1m wath fi3tuus 6ncsand b~nds i1 nd othc r (uch Iike~iumiddot 1 warre (o doth the ambitious intrap the Jinle pori ion of ante commenshydations cha m~ ic fie II bcfidcdilm And like the mercalcff- Souldicn lhe Cafilcs they cmnot t~ kc they blow vp They uc a~ f(nring of cucr ie CmUlrcJun~flc of crcdifbull ~s iflt were I aide vp in oonnnon-bmke and the more were giuco a wile the IelTe would ~orne to tl1cic nbullarcs Theya1 c mafcra~lc men) _f roill onlf br~md (htm wi1h this m rk~ and let dttmgoe Thty were Eaglci tftheyd1d not rJtch Hycsas lheY ate thcy-bullro grculhings)muchldfcthcnnoamphing For my parc)l willnotcorucoa wiJhchcm ( aeiire JlO appf~u(c or commcndadons lei ch~m haue the flmc of Ecchocs and (oundf and let me be a Bird in your C~ge fin~ to Y fclfc ~nd yo-1 Tl)is is uiy coment and this is my llmbition~ if 1 haucthis Jfiile nm in mtcxpclhton il more for rour akcth~t is my ashbntagct andl will owe you duciie for it in the m~anc time lrcfL
fl 0 Jt I ll T 1 0 H R ~
A 2
10
Figure 7
f
TO THE READER
rSI~~---11~~~ E AD E R 1 btt11t atrl moruuuttiWtJ to At~ IIgtJ oujlU rtPhul~r J b411t 6o1ft WU r no td~n( tlull
--=middot ~m~laquoh ft~inen~ rltoife thrt e~tU th4t jwiUf-1 fortify j - ~ry inrtnl toJll~rJdbtt lllll JJ 1tt btctufo
z kow tlwcwot r middot41d I IU jtlllrl ftDf gr~flJ(t D
comftlirltfto Wilrrant J tnJtutJMrs lll-bullfl o~U met~ ~ J bull JqJ it 110 fJ1J1111t tJ ()~~ Vfri~btrztQt ~~~ thttiJJkJt 1 ~~
J tntlfflt IUJtl~ AUfljt my Jrlfrof~lliJtnltt yluggbullJ ~~a~ ~~~~ iby fat~olll ~ whrrtin l t~sft rt~tiJti tJ itftritk rkJt ~D11bull
II~~~~~-~~ llllldllllorlt 1 then PJ my ownt bullfi 1 to frt 9 l4hD~ifl ~Ill (o Jbulllr The llNIIb b lllthlugh l wbull nbulll fo nilt
Jllltll J rptnpofol l~rt cA7rn t~Jt J J4n1Jt~t jl11d c tbrbbull~r~ of t~rirt~~min~tion Ttt Jwould bt ~it~J( if 1t ~IJtbi) thfl~tlt J1nJI7 tpptabat~tm mtJbtgtlltll1t mcouragtmtntto foutJJm t1Jan4rfoltJumfltt JrtlltfJJJJ rlmu t4ttJ hertJttr bull Jftb( Dtt~itr aiftk dJrlmiddot 1
1ll mjiullt- th~tt lJU fo e~DlJ til flbfffll 1J_
pri~su rt~nttnrntu(JilltrJ Gnt(tmt~ith~ut tbti~tonj~IUJ lhh ( lmiddotbPfl J nor 4middot gbullmJltbdr tltls RPtrtm if t~oN ftrJJ afllltiJmg to rnrtttfllltbmiddotrlq Jefiri rblt~k m~ jtlr th] rtltre ~uwr mr~nt tiNt~ J (nmiddotow nDJ l11w 11 ttiiIbullrt~ttmt Q(lr~IJt bullMtillllb~n~l tkrt p~NJ btn~ GtJ~thmbulln ( btn H 1tJ4j ~middot1 fo mfcb pbullrnufor fo hulltMJ) tbl wbullD n ~911middot cl11~1ht c~n 4~ ItA k bull~ loiftr bi Imiddot~~~middot 1l~~JtMjrlrJIJ g_olll bullJtiK tlritil bullfhu tNnmng JifJbulltlltmtbulltJJ tblttll) bt(t11TiflfllJ ~~JUJhlllfJ nolliIYIIJ hu tiJN)t rl1tfo Jrtlo dtjilehim Cif ht-6middott nt~~zruiiPbullP bulllirbnmiddotz ii) tb41hfmaj(J 4ctrp1tbt N6inrri DnDfiiiJ Nt1111t M 11 f~cirnl Tiflsmonit th~t J ttm wat bAiflrJ oinflrt~DJ~Il Jflhtrtifl Iter 1 iraquo94fftt~r rt~hbullffibullNJ7rll ~ ~ J~fiijitJIIjon ~so~middotrbrr~fl tb~l1fDMJj~inc in formt llltil tbtY ktofMttlhm~ Jytbur gmzt411Jtjl~ ~INtrltlbltlg J IJ n1t j11 rnbullch 41 tltfirtthtm o 6elftbulltbull ltARJf11ould hfrrbl teacluhmr At lr~tp bow tbl) IJII~ bt ttmt je F r 1hl 1Jc)Dl 1 will foit 1n1J t hHJ mMch tbtrt blllh not bttnl u~tPttt of tbil fojhitm wampicblf tha jh11l1 pron~gturt to bt blWirtbmiddottb btAtHitJ rtfl fJfifjitJ) if tlbJtit~tor Pbullrewell~
Leaftanie ntan fi1ouldfeen1e to acctlfc tneoflingularitit for expref~ fing thetimeo( myfong~s by prlcke fong Neres neuer b~reto fore vfemiddotd Ihaueforhis ~euer innruction hcr~un~o indeuoored to fatiffie him
amp t r f A Scmlbrcofe Minnum~ ChrocberQampIItr
-----
~ qA~ ~- ~ 1b [G~ ir~1
~~J ~ v 1
~ ~~ c a
c ~ ~79 - =-m
IC~~
~ p _l
9t ~ ~
ll4 ~ l
-- 79
Figure 8
-
A Table of all the Songs contain~d in thitltBook
I loue wing middotd my hopes I I Jly louc bound m~ with ~ kiffe
1 I f bull 0 how my thoughts doe be~ t me II [ Ore ames ~nd I magi Oitiom V Nfcc thought thi~other night V l IVho fo is tidmiddot= 1 II fie fie V Ill e~~utic (bndc further I X Now what is loUI X loues God it a boy X I Ouerthcfebrookcs X I ( Whither 1Unnc1h my fw cct hart X II I Once did lloue X II I 1 F1ire womtn X V D~mtic d~rling
X V l My Jouc is neither yoong nor otd X VI I Loue is a b~blo X V I I I A rife XIX Did cuerman
middot XX To lighandtohefad X X I Come fa tro-w con1e
0
I l Jl
iir 01 11 -~
~~~ ~~ ~
t~ ~1
~P J
~~8 L e
( _] middot~- - ~
v lft -amp A
l -
I
~u
Figure 9
-----------------------------~
VLTMfiM fl IILE virh a triplicity ofMuficke
W HEREOF lbt firfl p~trt ir (or t~t Llltt J tbt Voyc~ and the Vbullolc Deg1mbo The Jcflt lbt Lbulltt tfH Yllt 2J IMrt
p1ne1 to fine The third part is foe twoTtcbl~t to 1fint ~it hc 10
lbtAr n- rhll 1~ bullr t-
bull bf ~ Compofed byR obull bull T lo bullbullmiddot
fl fr1fbull1JibullJ~ ~ 4111 Priorcd It london br r~ i JIIiWd
~re robcfoJd l)yS pfn (lw J bt sJ-laquo
ttfiN C01bull1 I 6 G l bull
81
Figure 10
r~IW~- ~~~middot middot~- middot ~middot bull bull
TO THE GREAT lOY AND HOPpound OF PCZ(ESB~Tuf ~Jgt rUTUfF
Times H E N R ~ E P ri nee of lf a cr Duke Cl~r41wt1 ElJieoflhc CIJjtJirfbullibulltifttfchtjltr Knight ~fthdiDIN ribkoJenf
dl G4rUr Hcyu App rant 10 tht Rcllmcs of Elrjuntl Scotbnd France and JrdoJnd
Ojl Exrelknt Prince T Jr flrengtb of our d rt (] houJ aythrrPuaf(ncsgt) cannot endure tbc force of Soueraigne
erltlCpoundOf1tcncarcitwemay tU ncarc u to you your poundarcJ TPillyet_ be arc to deale wuhfottndes tbougb nor to
dwcU there yet to pajfe by tbcm1nd by teJiJ to learn to tune Jenjcs lJ a nper a~c c-A lmo all attr k[JlPicdge ir drallme through the ftnfirtbey arc the Saulctntclligencfrf -wbcrciy (he paffith into tbc -world a11J theTPorld into bcrttnd tJntangl ali ~(than )there is none fo learned__ a1 the tare~ none hatbobtainedfa cxccllrnt tJJJ ufrtJjodelicate1[a ablrufe fo p_irituaJ thAt itCIJtChftb rup TPifde fo undet in tbe Jitt and brin~~J tk Under tJ goucrtJC1fttnt ntJt to he expreffi1gtbut donegt and done by no sQll buf it otPn~ Thereu Mufic-k in all thinretbttt ettery tnan cannotfinde i t Ot4t)
iltampAJJjeofbilo~neurri11ghee MJlft baue 4 harmo1J_J in hiinftl[e)hat hold goe-about it and then bt u in~ good way 111 be that ht~th a gwti ~artJ in d
oudfot1llardtUJ to our focultit [ onceitc u but aTPtll tundejat~ry done in tinu ~ pLsce ~~~ ex(ellezt fintencril hut a TPell lHn~e rea(vn Dell nit ltgethtr P ollte or the fubt efl therof a [omit 1on IJ1ellltbu6utll lite I tuul middot e
Song T~htr~-allr41ltl Joettgrec ana lnccte together~ith foil C011ftneanti lJartiJOnJ one Jertung otherand cuery ont rhemfeltlet in tht Jam~ lAbour ButnolP] intrudeintoJOilr llrtin whicb 411 pnry(anJ ftc hoper)thal q oJ ~iff giucyou a oJy aru profpetOI~S k_JoIIJfedge anJ t)en aJ orhtr eJ rtCS foal profPpoundrnder it Our gracious S tll7aigt7(Tour H~h11ei dear FatJcr) hath ar11trd atul conortedjomc great prOfifiolH areaJy~ fi~eh1ittleoneJ dJ this )oo e for itgtand heg il cfw OJ4 your p ri nccb nature promi[eth it J hich m4 es nv boJJnet bopefor p4r on ltJucbfiifc tne(mojl exctllcnt Pr1nce) )ourProte8ion Ph(f1flt)on41lowJall Qtbtrs rPill conrmtnd theircenfitrer n A it fobulluoflrlikjngthst ot~~rraquoJift1Pold Jifpift me bull EN en your n meJ the forefrTJntu ll charmifor ~~talttiOHl trmgtu ThAI praJtng thatyour Htghnt IIJ aDtaet h~ttte dtJ tttre t~be te alir bulllltuJijingulj1J ~tht _fo14tuJ of lTlCth l necl tftJOUr Higbnes feet
Your Highnes in all hom blc tl~~tJt AIIJ cruice
RoaampampT
lo N s
82
Figure 11
- ~ H c ldndc A pplauf~ vherevith I hau~ been~ revardcd in n1y former A yrcs hr fuch Gcndemen as can iudg~
~~~mJ Imiddotb middot Y the e bull are~ an not other 1n~ns Echo~s hath nov du s ~ middot durd t1me gmcn n1e heart fron1 then to hope for the
like in tbcfe V hich l hauc corn ofed cuen to hew n1y
graticude rovarcles them I lulO eucry Father is paniall ouer the i ue ofhis body)and hauing his iudge1nentcorrupced by Insaffecti- onis VOn[ rofpe~J e bis Chtldrens prayfesaccordingto hisovn de fires rather the i1 I he ir de f~r ts 1 t tna y bcJ h aue thuS oucrlookcd this iffue ofn~~ br3iue whereforel wiU onely comm~nd my pur_pofceto ntakc tlus lail my bdt expcchng to reade the rruchof my fdfe out of thy reporc AnJ becaufe ant notignorancenough)to b ~egroffely taxed by any of our cunningJvlaiJlers nor bigge enouamph to beflar te~ed or c n u yed 1 hope I 01a1J not be driuen toe nq utre out my en~ 1 middotes) co heare of n1y fa~cs nor to befpeake mylriendes~uour F or ho1rvloeuer l an1 fe t in an vndetfortune thac hath need ofampicndlhip y~cit n1y Vorl e~cannot 1ufiifie n1erny wordes Htalluotl bad rather dye a be g r 1tbcn Jiue a boaler what skilltimeand mycontinuall
radifehath biucnme)hcre I gladly impantocuery wel wiUert lat gr(tuntcs me buc acc~tanae for my paines And fa I comn1it my icfe to thy cenfuse1 F arevcJI middot
7ohertloner
( middot
83
Figure 12
A TABLE CONT AI-ning all the Songs in rhis
BooK E
1 ooenotO do not prize thy be11utie 2 middot 73ea utic fote bathing h y a j pri ng ~ CjoctobedfrJJcct6lvluzcgttak thyrcjl 4Shalil loaktampoenogriifc 5 ~Pbar1jJ fpcd1t1hert 1 leafl cxpeEled 6 Slpeetcijyoulik and lotte 1ne fliJ 7 SetifetrothledrhoughtJtofgh 8 Scinrhia~cene ojSeas and Lands 9 rB la111enot tn) chee 1 I l o There is a qardci1 in hc1 forc 11 S1reete Loue my oney Trcafr4re u ~hinkft thou 1_ate to put me doUJne I) Jfhen willtltfounraineojmy tea res bedrye J+ F lye ji-o11J tbe TParld 11 Happy he botofrraquo etebomc retirdc
-Thcfc following are for z Tr~blcs
l61Jiftlaine thntjoll amph Jilfne 7 middot o) et)erchangeandjjttre not
I8SirctiuftJijJAineh 1~to ri t
19 cuftler ry hands lo vh ue lgrt~ceintreatetl ~o Oft haut fmJe the cartfe to ftn e ll J(o hAuefleamd-mithmuch4doot~tfpjl
B
84
Figure 13
ORTHE FOVRTHBOOmiddotICEOF A Y R E s
The Firlt partisfor tbe Lute poundVO Voyce s and the Viole de G ambo The Second part it for tbe ~amptte ebe Viole and joure V oices to Sing The 7 bird paramp
is for one Voycealon~ ono ~he Lumiddote the llafTe Violeot to bach if you pleaf~ VYIrrtoj~ tAlo ut ltzlitn AJrtt middot
CompufcJ by R o bull l ~ T 1 a bull s
2f trfont (intIJ J1fJJmiddotil4 iMMJifl
L o P n w lrnplintedbyloHN WI~ D T andaretobcColdcbv StCO-rt w TElSO lol inPowlcs
ChMhmiddot]tlfd)bulltlhl SlJt j lit Cfll~middot l o 9bull gt
-----
I
--- 85
Figure 14
1
- ~~
TOTHERIGHT YV 0 RmiddotS HIP F V L L AN D VV 0 R--
thy Gcndcn1nn Sir I o H N ~ E v r N T u o u r pound Knigbc pcrptlll3ll liafpinrffe and [or~tcrlt
~~)1-lpound--- -- fmiddotts not vnkncvne =nco your wcl deft ruing fdfe 0 R igh~ V Vorfhipfull that not long fince 1 cooke n-1y
V~tiltttm )a[t vith a refoluing in my ldft lHter co
put llfh aoy VOdc~sof che f1mC Natllre and Fan ion VJlereupon) betooke n1e co the eafe of n1y PJIIov
middot where SompUI -auing taken poffehionofmyeyesand u 1orphttlf the charge of my feofes it happenrd
~~~~Mmiddot~~~bull rnee to fall into aM uftcal dreame wherein Jbulldl middot nc~d - to haue many opinions and extrauagant hun1ors Lf
di uers Natures and Condttionsfome of rnodet mt rth fame of a marc llS Louc ~nd orne of mofi diuine contemplacion all (hefe I hope 1 fl1all not gue any dtilafie to the eareror d nde to the mind eyther in their words or in their r~~ ueraUfoundsalchough it is not nec~ffarie co relate or diuulge all Drean1es or PhanrafiesthatOpinioo hegcrsin lleepcor happeneth to the n1indes apparbull[i onAnd continuing long in chis my dreaming humber I btgan to avake anJ vp n my eyes v ndofin~ l bethought n1 y fclte being full a Vak~d aJu itlng n my n1ind Vhom~ to dec1 and chute as a Patrone for the lan1~ l Vas eafily in -ued to n11J~e choice of yqur V orO~ip a3 one to V hom~ I necelfarily ou ht
both lou~ and duety l nJ howfocuer l m1ght feare that you Vil not adamp0
ledge it yec in thlt Nature ha th inricheJ you Yith more chen ord1nlrie know le oe in th ~ Art~ be~inga Vi ntsofthat Lo~t~ Vbich you haue ahvaycsl ffor
ded to Mufick gtI en1boldened my fel fe the rather ro pre(ent it vntu ycu Accept itthen(good Sir) as a T oken of vnfained Loueand a e be
worthily Jue ynto middotyou for your many fauours done to him [hat is
uft)middotour lforhiju conJmaund
----
86
figure 15
Thi~ Greetin ~middot bullbull
~~~~ HoulPhofo dare itcbeJ ltJith the VJrietie of opinion h~aring thinr oraquome otlJdtJf tJc ecchqc nuerbcrtJ~ ing otfJeTJ fubflt~nCC and lmprofit4hfr ~n it
middot jtlfefhclpt s to tbe IVorld comfJrtaJie liJc though to thy orvne ~Je bttle middot~~~~pleajurcLJ retjon of)lnch-umiddotirbl~ctn[ure I fpc zlte tot bee m ujirall Mo tuusthotljimiddotcm ruboft Jucctie IUimhcrr ~1 J rajiy pafeJJ drop1 foil in tbc jhonre Dt4l
)ithlrjfiprofiufcomprutmiddotthcetothqhlt nuy Jr4l tbatjlitr int0 11UJUCJCf and ltJill twt tbcncertJithout much troubli) or tbuu rn t JJ Jfper[el iulgemeiltgt not oneamp art afo jeniru tofecing kJonde~~c hut moj fo ttlty f ct o d jcruing i~Jdamptflr]fL~~gtg 1110zte r ctU of the 111oilpurt Bilfoaud Jmoothiu~ tbt~ plztncl Citttl ~ rvben on ely thine on~ne opt 11iltJ1J it more nJrinc~lcd and more vitiotH mit ~( then grcjJcr10Yle lo tbJt 11 a brujh 111
jcFlcdlPilhfithgttbott ralbcrjomiddotlcfl theti iiMI( pebullje( 41VWl) I ha~1e jlooJ atthi11c e lho1PJ andh~arJ tbcl prop~Jtne cur a 1 dlfit c1 bcfl J(ryu and 1tJith thy lntu~zde ref 1b Jot f~rde~J rfl gnoh iy l4J1l ltJJilre~ ~nil f f~ renot g~eaty_tJat tboul~iltlay to raquo1J ciJatg t 1 111 lD vtfu111C )Oll11 ~Cttrrag1tRf 6ecaufe fft011tied a r ~nuch but 1md~rflauJ me tbou-ns ~VIitll dojcanterdtriur Ji o 11 tba t JCrue fPlaineSong charit4bletJtlm hers)and tbotl (hale fnd harb Joicr I ttr~ ojtrtl t1 J0te ahoue pound redr1c el hJ tn~er
izulgtment n bicb 1 htrc4Uc tht of tJmiddotorPinrl by RJtler are as orr nelll cmne Lutf be~ -_ ing ofrJany ftri~I(CfIJOt((ffamp tJjJJlmlcflr ~~~ ~dllefittlreti1 praf1i(tput fon~4rd it1to
dcjerurng Dst4ijtaiJ rr hH nIJ aduerJI ure I r nomiddot rtccd but drtanze) and utJat art tlrcamei poundut aiJie fCtjcfi iotJgtandjcttrall ayrc s 6reathll)~ Jarmonio111 llilijperitJgt tbongh to thee difcordlmiddotet toolbcrs indffirent 1rvill not ttY cxcellel~(~ becHfe it is 4J
othen otflce 110ttni1u 6ru let tbcm6~ as thtY arto~lmiddotcn propuu tul my p~inct _(rt forth j ar pleafurcgt uot for pw1HJIc~l poJou Jiucfl itntrginatioiJIJO but aJ a fhorPrcjt~llitiJ i1 ~urcdfuil ft~fouJ~ 7 jJtUr m fmiddotlje atlrajlaJJd wrl(ay fo et4er bY au otbmiddotrj lPhofe IJ bourfhJI vfJ(t Alujt~udl uuulu~ztt -~ Jbe rmeiy rPiug fJ IrJe courage being tl1e mofl pltttfo~~ 1luice ~(11~ 1) nmiddothotjnmiddoteet~rc J t t11chcr h 1m to hcaiHIJ itfelf~ Jt ir Jjara if a thi r pztt1cs rcpt ntgood romm~ndJti~Jniand it lf t~ttr Ulrtlll out of 11 Flint itJ the toll ith l hou ntHer rl ink (I u ell of di1J 1 Jn ~rlJ bull(rt in tb) fjto v nri(Jifi1 encr aJ l lJ Tt~tor jranJ tbr I ~ Jllol middotrc fotdtlneuct Jnn rbcc 1~1~ it~ irune be 4J thott art a h1mp of Jc(onnity lllbm I Jjhonbrcldt i11 tbe Ufvdr ampi diAI~ir~e nd 6rontht forth b1 b~n~iulr l1emiddot g~r ~ t htftt r1 11idn fc to ~til t i nc m n rt f
j i umiddotme lc u todrplrt Jmiddotor ifnd J1Ntbout it J $111 gonec rtltfic o~ til)middot crnfitrillifi arf jJ~IIy p( ~(n 1dcd thuu ca1Jjl110t thiole tlrlnd tcrefurc art crufl tiJ thy [raJie 11 IHr pound0 1e btu (rttclltJntl being 6on1c wit b rce tb irJ tly bc11dbit eucryeuronJC D47111ele t jJ tbir orwbat rijeboncfl iudujlry~nxcr th) ~111 egosip trJo
fucwdl1f thou wilt in ~in~llclfeot hoi~ tlly fClfltfitgtm1inthcr cupmg
87
Figure 16
lee Caldi fopitmiddoti Samor nfltJ c t~t du119Uc
B
lO
l~
------
88
Figure 17
Or [he tift Bookeof Ayres onelyfor rhe Lure che Bafc vyoll J and the Voyce
[ompofedb) RoBs R T IoN E s
QEe profontjingula mdta ibullmant __ _ ___________________ __ middot~-middot -middot middot--- -
L 0 N DC
rrintcd hy tlbullc Afigur~ ol ~~
Jij0ilfm lJdr ley t 6 1 o
I 89
I Figure 18
TO THE TRVE HONOVRABLE AND ESTEEM ED VVOR THIE THE
1 f q H T If 0 7 S H I P F V L L r If E LAVY vv R 0 T ll
~~~~~~On Honoured Lady my ddcfl anJ firft iiTuc hautngthr(ud fo ~middotdl vnder the protec1ion of your Right Honourable Facher blame not this my yonshygell and h1tl Babe if it dcfiroul1y fecke ampnctit~ric
~ with your fdfe as being a mopound1 vonhy branch frotn fo Noble and renov1ned a flocke It is here uarie tc I
a - your whole houfc noton ly to be trudy Honoura7 bl~ i o your feluesh ut to be the fa u ou rers and fu rd1ercrs of all hone 0 and crtuous end~uourpound in others And [hJt n1akes n1e fo farr~ daringas ro prefunle to offer rhis o~dicadon to your fJire acceptlOCP- AnJ hovfoe uermy defeCts therein may happily (or rather v1happtl y) be n1any ~t an1 I moficonfiJent(and tl1atgrow~s fion1 tbe worthinefleofyourowne nature) that your 1-Ionourable minde middotviii he plea fed (fince it cg s c fc lfc moll humbly in your annes) to giue it villin~ eqtcnain~ment and to countenance it Vith the fairc Liuca ie of your nobl~ Name It may bee flighted in ref peel of its ovne valev bur your f1uourable acceptance
wil~ bot~ grace it andmy fdfe a~ a poore Table hung vp euen tn Pnnces G lJoncs ndt for lhe VVoo ~hut for the Ptdurc
And fo (Noble ~ad y) not d~ring to bee ir~Ious of your rlonourable entercaine
menc I rcll
-I our LaJyjhip Jellcted in all dutit
I
RonERT I o Npounds
-----
~
90
Figure 19
~ )~To the friendly Cenfurcrs
- Eart jriend1 for fi I ~sJIyou ~(you pltbulltJ(e to acctpt my 7ood lllttJning i prefented yot l~fl rraquouh a Vreame i1j
middot wbich 1 doubt not ttt Ottr jJJta(ies htJue receuud fame rcafota6e contentment and now f JO~t pleaje to lee 1l9afd ortt of that VreiJJne f jhaU for your rerre JIJOIJ 1nd rcfi pound(bing guide you to tbe_1v( v s ~ s G A u ~
~=-o~-o~~ o EN Pberrytu (halljindj~cbVttrittiemiddot of Jelighn tiJt quc-ihunltfeJmiddoton n ill wilitt~Jjcnd fome time in the vien
t rrtof 1 n )Ot~r 1jentr411Ce into -which Cjardtmiddotn) yotl jhJIJ mtett ~ith Lout 1 CJr r and li6tl6ht bHt L4Jur frt foortb at lt~rge i11 biJ colourrby JFay ofdecypht t in6 bim in hit 11 ~1turt_~ ln the midfl ofzt yat4 fbaU find Lcmt rciefleJ) vpon t~rLnfu~cie 1nd b1rd mtajuteoj-ingrt~titude T ruching them that ar~lourrt gtI cr1 tumiddot tl1em to tltiro1~ne Ctl~(ure in Lout I defcripttou eJrul nowfor tht end it tf )liJn~ble UJ anorbcr ~ tur)for tbedcligbt oftht ettrf tnjamptUJjit opbull~1io1 14111
nM ft lrogant loco 1mf1Jd mi1te onme gitt neither yet fo Jegtnerate IU to be-g )Uto tdl(rartvn fftbejt d hgbtroFloftl(rt) or)4r(tico[PruittY ruaymJ
)1 ~1~Yt J -t rle _rjtng WJOffr_(ut i 1 jla1 bl gitJd Othel TPije J raquoiiJ )O)) nelIICr to J~middot t_fot~gtPluu orgraft and my ittbourJ butcrflrtb jh111l rtaft to trou61e)middot~ott
iJ Jt41)middotilln retlr lniflil r ~-tren ot will f1etunty ourctnforesl and dcfi~ your malice if you drJfe iht 1 a111 rifolute 1
ijyou11[e me r~ith rtjfe(l 1 bidJou mojl bearti_v
R I
--I
91
Figure 20
THE ry A11 L E
~Ouelouc=
middot~ tpound1 Soft Cupid fofi middot~ Alec 1 the fiUy 6th begu1c 1middotmiddote lounuhtcs ~~noake o =okin~ hy ti~( Riocr ride 1 n nnot (n 1fc but liuc 1 (mile loy in lhy Imiddotmiddot ( S
How rn~uy New yccrcs luuc grow ~n nldc There vvas lt~~ ll lcptCoJrd bull hn d~d litH The Sea h~h 1nany tbo~L~nd llnd Omiddotlmiddote dimiddotJ tnt thoHgh 5-both cLbc bullnd Sow l ~m b t~rrt ftom piuyh g th rc h 1 2] lately in a d1 came There wu 2 wil y a ddt My f~thtt fampinc would hluc me uke Mv loue harh hcr trot L ue bctro11d All roy fenC~e thy tweeuncfl~ g2incd T middot t~ CC de1fe A fpc wnh dyna voice Ddwld her I d ct like wire~ ofemn Gold 1lhouwb d1lt 1iogs ufmy ddirc h( dipt _l~ht 1 rcdccun cnln cu on witu mtnc ryet
middot
92
I Figure 21
Robert Iones bull XIX CANTVS
-~----- middot_ - ---------~- htl_ _+--=--= =- middot __ - -middot ---=---- - middot- --- -==== ramp-1==+~- - middot -~------- middot-- ---- ---___-
kt her goc
rtmiddot-w
bull And 0019 lbc rwofa dit but hu Nzyny)l moRneoctdlyou An yri I will ltis fo ( 1
A5 tlaquobelt tahha ~hen loucn IIKGC
5trt ~oma~oo tk ~ ~ Tatdl you mateilis necdldft~ I nnnt md c u hew by middotthe 1ooe And tbcnlQll chis wu ooJ~
93
Figure 22 ------~--- ---
bullsAtlV
llil 11 ~ middotl llh1J 11111 lllll t ~ I l ~ ~ I II II II I ttJ S amp I a HIH lf lll It g I J ~ I L~ Ill~ lt lll
vi i i II t middot1 ~ ~ I I II I ll
r
I l I I
l I bull
l 0 middot bl
1J 1 bull i ] _ Q
middot a middotmiddott kl U I I I I
_____~_=~=-~JIlW~ wrong bdccue htr not it wu not fo I dJd but lilfc her I did b~ Lilfc bcr aac~
-__1---------- -middot- ------middotjmiddot------ ------------- - --- -~-- middotbull - ___~__-- ~
~ ~__ - ~--- middot --~--~
----- -------------middot--------------------===-================-=-=~--middot---------
4
Figure 23
Rob~ rt lonts Xlr CANTVS
~ F 1 r ~ l ~ - ~ ~ - P r lt1 J c r bull ~ ~ r t r- r n t b c- - c
- middot (~-middot~ ~ ( - ~)7-47-~- ~ ~ amp --_-_ ---_- ~sectC-~---_---~- -(--~- --~-- -- -~ -_- - _ E - -- middot- --- --~ -L-~L-middot = middot ( -- --~middot-- f -=---~~ -77-_-C_ - t _ c ( t2 - -= ---~---- -- middot-----------
middot~ middot
n_ tt=l= -iIt~_plusmnt_~~poundltr=t=~~~=middotumiddot==---= -_ ~t=-==t=-=xtptl--~=t---=-t-x~-E~=-------
go there be many mo I fcltC nor why then let her goe 1 care DO[
---middot-------
l
Far--cwt UfJrewdllincc d1ls 1 finde it llllt 1 will not fpCod more nme in wooing you
nul I iH cce d w htre lfl mivfindhctthcrc S1=-ll l bid hct goc Vh1~ and rll Jocf
Sh~lbid her go and fparc not tll oo oo no I date noc
J Ten Lhoufand imes f1rcwcll yet fl2y I hilt Swca kilfe me onceJ t t ltdfcs limcbcguic 1
l h~ue no pow ~r lo mouc
How oow 1lt2m 1 io laue W ilr d10u nec middotbe gone Go then all is one
Viit thou need be goncoh hi~ thee Nay 01y ~nd doc no lnoampe dcwcmec
Once moce flrewcll t ~lorn rodcrrwrct Bids oamp adcw to her due holdcs Ill bm
But fcdh~ r mnR kgtof~
7hy loucwbi h ldid chufc Go rhy waies for 111t_ smiddotncc irmay nOt k
Gothywaiesfor mehucwhithcr Go oh burwhcrcl may come lhitber
r Wh~cCh~D I doe~ my laue is novvdqnr d Shccinsramiddot~ -a -c iscrucUhart d
Shcc would nor be intrc-attd Wirh pnicrs oft ~~ -J neccomc no more Shall I die ther(forc
H tb~e come no mor what c~rc II Faithlctbcr go or c-owe oa
(
95
Figure 24
---middot -- _____-- ~ -- ~
I
- --__ -----~ -------__- ~-~~ _ _ ____ ___-__ -
- middot --~~--~ ______ ------------111middotmiddot-middot ~-_--------middot ----middot---___- ___ __ _______ _ ____ ~------~--~-- ~__~___ __ _
------ -~ _~-----~- -~-middot----------------
96
Figure 25
204 SONG
CoMIOS-U uv middotnoLn nT Jor-o Js
~ - I middot middotluoted by ShakbullHiU~are - ~~~~ homiddotm tht 1 Hnukpul1lliOI
middot~ h-51 Jggff==r middot r~ Fate- ~ wtdl (l~arl loe since thou wilt needs he gem~
-=-t middot g-one
luC 111inn~ thnn wile IHls lu ()UC
J J loftgt since thou rilt nteds middot lumiddot
1 Jp4 J =-amp=imiddot------middot -r~--t-11---+-middot r=~-r=----middotJ__tJJ middot Jnine ttcs tloe tth~w my life i almost done
--
fl-=t~ -
IPg I WlH y middot t
~fLSI==r=f=lplusmna min~ eie doe _ 11hew
r nbully middot lite middot is almost douc yetmiddot J wilt
rplusmnHmiddot ~ ~ff my lilc iJ ycmiddott I will
Imiddot r--d E4 m y life ia almost yet 1 will
( -~
~__~middot--==--==t~- ~~plusmn 1
ne Vtr die HO lni1J t I ran tpit 1lumiddotnmiddot l)l- trHlll)
~- Jl==q=T-=_==~-middot- ~T~ - 11~~----e= - =r=-=ct ~middot - r--==EF~----=I-~-===+=FL0 - middotFJ==Z=c~~middotmiddotmiddot- - -
n-=- wer dit~ lon~ as I taU 51lio tlu-nmiddot ltl ny nm
~MIEF F i t~sect E tr l I c=middotreg~-~~~~-D bull v~r dit bulln oug a~ CiR hllie thn c 1-tmiddot uuuy inu
a~ t==t~~ r _ q~~~-=-~ ~= lllt - tr tlic ~ ~0 long lUI I I can illh t1wr htmiddot Utmy UIU
97
Figure 26
LO)
J t W=- --~4-~ middot thoughtlmt 5heeclre gomiddot -there he rnan u1u I If~ -1110
I I b P c ~ -B - j- -k=tJ4--t==fi=4D_ I ~middotrt thouKb that Hbec llo e Jeo fhuc be nuny mo not
not 1 _why tlnm let laer gne 1
Eamp--e - ~ - 1 r
1
uot ~middotby th~n let her gne I
1 F~nbullwell fflttbullwl1 sintmiddot tlll i I rt11ltltt li truemiddot I will 110t 11p~ml rn~bulln~ time iu wouing- )Oil~
Unt I lt~ ill fttbull(bullk tmiddotl~ wlwnbull If I m~y fhnt l1r hlaquo~tt
Shall 1 hid hlr gnf hat litnl if I de~
Sha)) 1 bid lwr gne and middotpar~
0 no no tut no 1 dare nut not
l i
Ten thnmbulland bullimt-11 lart-wllII)Lbullt 11taymiddot Jwh ile Swevt kisse me onctlfmiddotWNt kis~d t ime b(J~middotuile
l hamiddote uo flPWer to mmmiddottbull lluw uow arn I iu I on Vilt tbon n~tgtd8 be gonemiddot
Go then) all i~ onbull Wilt thnn umiddotN)~ btgt gontbulloh hie the4l Ny ~tay oUHt lintbull 11U lnonbull thmiddotuhbull lll~middotmiddotmiddot
J L IJ_ -
0
cnr-r lOt
-~ 1-e lg
care not J
JJi I 11laquo1 ) ~ar-e not -
0 IIi
ca re nut
4- middot bull ~ Onc-e more fu~wbullmiddotll~ l 5ee )Qth to dlaquo part j middot
1
llid R ull bulldew ifl lwr that l1ohtfbullbull my b umiddoth Butmiddot ~~ting I nnut )O()In~
_Thy love whkh I did chuite
Go thy wRie Jbr me _ Shlfe itnu1y not he ~ middot
(4) Uy WHit~ for me~ lu1t whithfr~ bull 0 J - f
Go oh hut wlu~re 1 mRy come th~~lur
f bull bull lmiddot I It tihaH I doer my lo~ it now middot-middot~middotpart~middotd ~ Sheto is ttll fnirr asmiddot6hee ls cruel1 harted
Slu~middot would nnt h~ intr~ated
With pra irra oft repeated ~ _ ~ If slw~ f()rne nq more middot middot ~ ~
Shnll I middot11~ thtoreforf I
lrsh6e come no mor~ batwh9t cbullr middote I~~ -1 FHifh)rt htr gnor lomfor tarry
98
Figure 27
CANT VS vI I I rCDERT loNE~
== ttf=y-=-t-===~=~~plusmni+==---=middoti--=rr~ -t=-r~==t-=t= W sect~~= - =i middot =clt=cL =~-t=- -middotr ----=i_ --~ ~-- - -middot-- middot-- --middot--- ----middot-----l- --middot----middot- ---middot middot--- -middotmiddotmiddot-
Clut no I phinrly Cu how chou wouldftbinclc~ucauurc l ~a~ t c11rll not to gofatbullu a
1 r 1 l 1 l r l lmiddot r ~ r i r --- ~---n_plusmn ______ ~ ---J middot- ~ s L -d--r--gtlt---- J LL---- J ___ c_ -------j- ~-n1l ~1~( _ _ il_il_ t_ ~----nt_L- -----_[c______ -+~~ 1--L- p ___ -L- -~--Lpound ____ _ ~-____ j__ __ + ------ l -middot~-- ~~- l --1 __ j_ ______ (__ l ~10_ -~---- -- i - -- - - middot - middot -- - ----- - ___ _ I _ __ --middot ~-~ ----- - 4l_ __ ampJLt __ --------~----P-1---~middot 3 __ c__l_J _ _r__-ltJ ___ _ _ _____ L ------
- n
--~- -~--+--middot-1--~ 1 middotmiddot---middot--middot~---- middotmiddotmiddot- -----~~-middott- =--~--- ~~ - middot~---iL-i- -~-- -- -t- r middot-~- middot -l middotjmiddot -bullmiddot I- middot -t ~--~---- -t-~~-tmiddotmiddotH- - middot -----t-~T middot ---- -l -- ~ middot-07- middot- -middot-middot bull ~-Lmiddot- J bull---- ~--- middot-t- - -- - --f -middot-- - -fi-l-L- -+- --[middotmiddot -middot-~ middot--middot--middot--1 --middot-- - -- - bull - -f- ~- --I=_ --middotmiddot---- _I __ __ _ --~- middot- _ _ - _ ______ __L _-t _ middot~_- --_middot--r~ -~~~ Q-- -
fuct 1 wlscnrfiO Jic fi~ nofwtctt lhy amp 1 w 11i leU thee why noafuc 1 wu ace urn JJol bullto goc oat bull
t f t 1 ~ lmiddot t r 1 1 t i ----middot-l~a--__ _ __ St_tLi-3---- --~(~ l-~---1~-d- a aL _ __ _ ______ Jtl a_JAi~-11---~-middot(_---+7Jk~-- - [ A--- -----__ lgt __ ~-1 ----lmiddot l _ ____ i-----middotmiddot-----~--L-----6~ - -
S-( _ 1-h_kJ--middot ----middot ~- L-----Llt-S-L----L__L ------- _______ J_ ______ ---Aplusmn- ---__ _1 ____ -middot---bull ~ ---~-~---1 ~-----L---- 3- ~_t_~- - ____ [ _ __ ~-~- -A - --J
----middot-1---r--t---------t-t-middot-----1---middot ------11-I-t=-~ middot ----L-- - -middot -plusmn --- r-middot-~--- ------middot middot --~middot--- 1--~-middot _-middot- --- ~---------===middot ~-middot-b-1_ --middot- - --- - ----- -~---f- ---fmiddot~-- L- bull - ----- --- middot--- -1-- - ----- --~middot-------~- ---- -1middot-middot1middot-middot--t- --J- -middot- -- - -middot--middot----~-----shy--- middot----~-~ ---- - --middot------------- --~ -~middot ------~- ----------middot
firnrurc I wu l lturfi 0 fie fie oegt rwct lll) uu J will tell thee why no
t I t l t lmiddot~ 1 l -L--~- - - middot-tmiddot J _______ ncU ~A ---S-A-------tl- -11- middot~-- - - --------middotbull-- middotbull----t_ _ _~_ 1 ---middot-~ - ll -o-A--AJl ___ ------middot- t------k- Jt-- -~~ ~--middot- - - - -- -middot- -r~-~ 4- ------llmiddot - middot -
-_~------ _ --~-~---t- -~-----J-- -- A- ------~ _ ----- - bull 1 --middot- -L--middot -- ------------ ~- - c --~--------~----- --------middot ---______ z_j_ _______ __ ___~~ ~-L-------a-e middot- ----middot --
J Oncr m()tdrewdllincc fiJI l 1ord lh_ lpcak
1 uJ bull 1rl bu1 (mlIJrcwcll ubull larHIWout lbullrcalt( Bbull middott bullbullo middot ltn( 1 Joe linJ 1hy loumiddot~ 1lltkt 1he -middotioampl
Wl11 1 l olo-u I Tl llcl-1 cro die
Whlll foolc- lnll u aor Y t fq 1 at l (oulc J ~~lfc nor
)
Wocnne ai~Gc h) diJ lllt[ b_im soc~ 1 hdc be the ~middotutccs of uilc fiym nbull
Now tbu hec o dfproucluchow uullhc cuct loucroe Nay bu t n he gCncbull
lhcn I am bullndunc Nay lnn i1l1c ~oneO hodliD
fl(c-uy hing lU ~CCVD oJcihua
vi gt VI V)
lt a
99
Figure 28
1 tn 1 I I I II
ll 1 I l middotI I I ll l l l tl I I i Imiddot i I i II I 1111 ll I l n I It i i Ill l I d l t I I I ~
f Hif tt I I ~~ I if t
1+1 ~ a j
thll
ALl V S
I Tl Ill i II L I I I II I I
II II I I rL ll1 I t I I
l i I I I I I I I
Iii 1middot I t
IHL IIIli
I I II 1 II l I II 111 I I I I I bull I I I I I
I bull I I ll 1 I I J
L t I llmiddot II ~ I ~ middott
I I ~~ ~ 1
I 1 t I 1
111
t 1middot II I bull
I tJ It I q I I
~~ I I I I
r
I z-1 __ 1 __ =t=-~-----1- - middot -~--~- ~ -f=middot -t=--~--~- middot~-- -===-middot~~-1 N~tsect t-~--_ _ c ~middot _--- __ _ ~-- c -=-b-- _ ~ ~ =-=-=--Xl =plusmn=
- b--- ~--_ __ -- -----middot-middot --middot--- - ~ ___ - ------------~-
nl rJ iiOr-T 1 -
ArCwtll fond )OUt h iflhcu hbulldR llOt bccnc blinCl aut cf Dline emiddotcbull thcu mi~tu n ll)Ut read my mintl ~~ J411
t==+=i =middot -=+-middot---poundmiddot _Emiddot -~ i=j ~ -ti~- -Qt=~ middot=i==- -tl-~- --~ - -~shy~t ~-i ~----+=middot = --~~ - -= bull ~ _ +=a~C -c + -~-=-middot ~ ------ -----~ --- --- --middot -~ - ----------laquo= ---- --~- middot-~ middot--
but now I plaincly fcc how thou wouldll fainc luuc mc(orc lPII~S Uturflnot hJ I)OCIC firtlft~re lu atcurflO hamp
-=t~-----------r+--tmiddot --1-1-l middot 1middotmiddot-r~--- -- middot middotmiddot- --- ~------ - )middot~-----~----- at-middot_t-~--1= 11_ ~tc=l=~ Ei middotmiddot-r- --tI +middotl =0Etmiddot plusmn middot i irlttmiddot ~ - ~-~ middot ~ --plusmnt-~ - - ----middotmiddot-middot---middot--- -middot- -middot _[ - ---- middot- middot---J -- - 1--l-- - -- - - - - -- -~---middot------middot--- - ----middot-- ---- middot---middot---middot+middot--- -~-r-4- -- --middotmiddot fic6cao fwect Aay ~nd I will cell thee why t~ofurc I w~~ accudl not JO goc at firfll(urc 1 wu accudl ~0 fie no f wcct
100
Figure 29
I
CANTVS
lt ll-rllt 1r1t 1 lmiddottl 1 1 - t4---6 A-A~ d~Apound~-fi------ ~ middot ---~
bullmiddot te_- ~I i~~I~- ___ --=~rmiddot --t=Z=j- = --Lt-- -- - middot--- --middotmiddot -- -----middot - - A-- middot - -- _ _~__ __ J ___ _ J_ - - --- - -----~ n a- L r amp_-4--- - -A I - -
~ - - -bull -middot_[- _ - - - - middot - -middotmiddot - - - lt- ~ Ll bull middot- -- ---_ middot- --- ---l~-middotmiddot -~ middot -~gmiddotr ~iiftmiddot- middot--~11--j~-middot _t~middot ~-- plusmn~~ - _-- -- ~- _ J middotmiddot~ - middot J J -- - J~ ~ - bull - ~ -- - ----= ----middot~ --- ------middot -------- J __ ___ --f ___ ~ -~----- -----middot bull middot- - - middot--middot- -bull- middot --- -- middotmiddotbull--- -1-- - middot- - -- I - bull bull --~-
I
bull A Mble d~middot ~fc wH ~ obin Jhlod - V(c l ~t be cbullJultl J ccc 1uc Jumj
yet r- ~r r middot~middotin hh br ltlt H lmiddotllOJ
C u iJ~~I hbulll hrlll bcruuc h middotlll to gr u rn ductelbulltl-hidkn wJltr ~kinmiddot
then lnauty doft lylo~l~ddn womcnt C )CI
Htf i lly jobJh
4
J An Our-b lr as 1his Rollin I lood
H1i l-1fc free and vnruly Yu [O fitc M~bullri~n boull d h~nood
Atul louu debt payed hu duel y Who111 cur be of Ctnc lmllaiyen could nor hold ia
Louc t~ri th obe)middottd~s mJ a winLt could wiltnc Heyiolly Roh
NoW~ w(nd wt l1olll r ilou1 Robi ro HooJ Lc~uc wuhc woodl bchsnd vt
_our fl ho n1 muU nor be w~lhfiood but ~~nr whelt u fi lld ll
1 h t Ill hclIbull11J h)WUC 1 bullud fo ltltd h( I otm( w r icentW~HJdbull 1 1ootlollnwcd r
lhr ullzllt~~J
v~
gt Vl V)
lt
Jlftl
litH ~~rm ~ middot II
I Imiddot~
I
II tt-1 )~
101
Figure 30
I
102
Figure 31
CANTVS bull III
W=tRW=~~~~==--=-------=--=--=--== 0 lollc is but 3 bhu~1-fwtetmiddott I en r r middot r r
~tP ltm~~-~t----~-
Mu1enorvpon hCI fmili ng lookcs Thinke thtr they ~re bttt baitcd hooka
Audu fncy Loudufranzy~
middot e( not J toy Then breed chtc foch annoy1
bur kaue to coke vpponfuch fond booka
)
L(Jtnt ro fotgct fu ch idle royn Finer for youtbcs md youd1full boya
L~ o~ one fwccte frnilc Thy rrue loue igtegllile ~flOibulltiownc
r c-ur uft theedowne- Jlopund jllmiddot to bed iathcf~ioy~
I
bull
103
Figure 32
BASSVS
---------middot--- ----- ------- ---- -- ---------- ---- -~ ------------- - ----------- _ ___ - ~ _____-------~~~------------ - ----- - - ---
- -- -- --~-- - ___ __
CJ
I
-70-
If other sacred music by Robert Jones exists 1 it has not
come to light The Reformation did much to improve English
Church music However the combined effects of Civil war
supremacy of Puritanism suppressed church services disbanded
choirs and the destruction of organs and libraries by the B
soldiers of the Commonwealth resulted in irretrievable loss
The hatred of the Puritans for the English Church and its music
was so strong they seemed to consider it their duty to root out 9
and destroy every office-book they could find lmiddotluch music has
also been lost because of errors and omissions on the part of
scribes the use of old manuscripts as waste paper and in the
binding of new books and in the practice of sending manuscripts 10
to continental bookbinders The fact that any sacred rausic by
Jones exists may possibly be attributed to its inclusion in two
sources meant for secular use
What happened to Robert Jones after the theatre difficulties
remains a mystery Loss of records because of fire or
carelessness only allows speculation in this area Since the
English style of string playing was in fashion in Germany France
8 ~Talker p 56
9 F~ Landon Hunphries The Evolution of Church Music (New
York J J Little and company 1896) p 94~
10 William Joseph King The English Anthem from the Early
Tu ~or Period t roug_ the Restor_fltj gn Era diss Boston University Graduate ~chool 1962 vol I and II (Ann Arbor university Microfilms International 1982) p 12
-71-
and Italy he may have returned to the continent It is equally
possible that he died in any of the plagues which forced the
theatres in London to close so often That his music still
exists to be enjoyed may be epitaph enough
104
Blank
Appendix One
Sources of the Husic of Robert Jones
BookSong
The First Booke of Songs or Ayres
The Pirst and Second Boeke of Songes and Ayres
Ultimum Vale
First Set of Madrigals (inc)
A Husicall Dreame
The Muses Garden for Delights
Hhat if I seeke for love of thee
There is a garden in her face
Doe not o doe not prize Beautie sate bathing 11 Goe to bed sweet museu Shall I locke to ease
griefe 11
11Jhat if I speed Cease troubled thoughts Scinthia queene of seas
and landn Thinkst thou Kate to
put rre down 11
nt1hen will the fountaine of my teares
F1ie flie flie from the world 1
Fy fy 11 (inc)
Date
1600
1601
1605
1607
1609
1610
1600
1605
1605 1605 1605
1605 1605 1605
1605
1605
1605
1605 1601
-105-
Source
British Igtluseum Folger Shakes~eare Library
British 111luseum Central Library
Hanchester
Royal College of Music
Private ownership Furst Alexander
British Nuseurn Royal Library
Brussels
San Marino British 1middotlus eurn Euing Library
Glasgow
San Harino
British Library Add Ms 15117
The First Book of Songes or Ayres
British Library Egerton ~s 2971
Ultimum Vale
British Library Add Ms 24665
Giles Earles his book taken from Ultimum Vale
u
II
fl
fl
n
The First and Second Boeke of Songes and Ayres
-106-
The love of change hath changed the world 11
What shall I render to the 1614 Lord bullbull
Let thy salvation be ~Y joy
Lament lament my soul cry 0 cry
n Sing j oyfull ybull
Arise my thoughts
11 Dreams and imaginations
uFie what a coyle Now what is love
no date
1601
1601
1601 1601
Folio ms in Folger Library
British Museum Royal App 63
The Tears or Lame tations o f a Sorrowful Soul
RISM attributes 4 songs to Jones
Christ Church Music Mss 56-60
Christ Church Husic ~1ss 439
The Second Book of Songes and Ayres
lt
-107-
APPE IDIX THO
Contributors to Manuscripts nu~beren 56 through 60 in Christ Church Oxford
SEC~~ number CC lmiddot1SS Voice 334 Hus 56 c 335 Mus 57 Q 336 Mus 58 Sx 337 Mus 59 Ct 338 Mus 60 T
Bassus lacking ca 1620
a alternate sources published b transcribed c Psalm 81 in two versions
Amner John~ 1579 1641 B r-1 Oxford 1613
Consider all ye passers by (b) 3349835803378633896 verse
I am for peace inc) (with different verse section) 33463356337~6 3386 verse
Bennet John flca 1600-ca 1615
Great God of Gods 0 God of Gods (a) 334 113 33595 33710133811 verse
To the almighty Trinity (ptll of 0 God of Gods)
Bull John ca 1562-16287 B H Oxford 1586
Almighty God who by the leading (ab) 334110 33592 33798338 108 verse
How joyful ana how glad (inc) a) 33448335483374833748 verse
Byrd William ca 1542-1623
Save me 0 God for thy name bull s sake (I) 33410 33510 33710 338 10 fS
Sing joyfully unto God our strength and Blow the trumpet parts I and II and Sing we merrily and Blow up the trumpet parts I and II not in this source from Christ Church (c)
-108-
Corkine William1 fl 1610
Praise the Lord 0 my soul (inc) 33441 335413374133841 f5
Cranford William fl early 17th c
My sinful soul (inc) 33413833512033616337126338136 verse
Daman (Damon) William ca 1540-1591
0 heavel]nly God (b) 33451335513375133851 f5
East Michael ca 1580-16481 B M Oxford 1606
Blow up the trumpet Sing we merrily (Pt II Take the psalm PT III Blov1 up the trumpet) (ab) 33420933520233698337196338214 verse
Take the Psalm
Ferrabosco Alfonso Sr~ 1543-1588
0 remember not our old sins (a) 33414133512333619337129338139 f6
Ford Thomas ca 1580-1648
Miserere my maker (inc) 334151v33513533631337141338151 f6
Gibbons Orlando 1583-1625 Phd Mus Oxford 1622
See the Word is incarnate (ab) 33495335773378333893 verse
Hooper Edmund ca 1553-1621
Hearken ye nations (a) 334211335204336100337198338216 verse
Jeffreys Matthew fl ca 1590 B M Oxford 1593
If the Lor~ himself (a) 33414833513033626337136338146 verse
-109-
Lord rernerr~er David (a) 334142 335124336120337130338140 f6
My love is crucified (inc) 334100335823378833898 fS
Out of the deep (a) 33414633512833624337134338144 verse
Sing we merr-il y (II) (a) 33414433512633622337132338142 verse
Jones Robert fl ca 1600 BM Oxford 1597
Sing joyfully unto the Lord (inc) 33412335123371233812 f5
Lupo Thomas fl 1593-1628 or fl 1605-c1660
For I knowledge my faults Have mercy upOii me (pt IIFor I nowledge my faults) (inc) (ab) 33418335183371833818 f5
Out of the deep (c) 33420335203372033820 pound5
Mundy John d 1630 B M Oxford 1586 Phd Mus Oxford 1624
0 give thanks unto the Lord for he is gracious (a) 33416335163371633816 fS
Mundy William ca 1529-ca 1591
0 Lord I bow the knees (a) 33490335723377833888 f5
Parsons Robert (I) d 1570
Deliver me from mine enemies (ab) 3348335833783388 f5
Peerson Martin ca 1572-1650 B M Oxford 1613
0 Lord in thee is all my trust (inc) 33488 335703377633886 verse
-110-
Philips Peter d ca 1635
Bow down thine ear unto my crying (a) Adapted from the motet Cantai mentre 334217 335210336106337202 338220 f6
Portman Richard~ d ca 1655
Rejoice in the Lord 0 ye righteous (I) (a)334226 verse
Ravenscroft Thomas ca 1590-ca 1633
0 let me hear thy loving kindness (a) 3343133531337 3133731 verse
0 woeful ruins (a) pt II and pt III Those sacred walls and 0 how these graceful piles not in 334-338 33440335403374033840 f5
Simmes William fl ca 1600
Awake (Away (a)) fond thoughts 33415733514233638337148338158 verse 6
Rise 0 my soul (pt II and pt III And thou my soul To theee o Jesu) (a) 3342833528 3372833828 verse And thou my soul To thee o Jesu
Stubbs Simon fl ca 1600
Father of love (a) 3348633568 33774 33884 f5
Tye Christopher ca 1500-ca 1573 Phd Mus Oxford from Cambridge 1545
Christ is risen Christ is rising again (pt II Christ is risen) (inc) 334225335218336114337212338230 f6
I lift my heart to thee (ab) 33492335743378033890 f5
-111-
Ward John fl early 17th c
Down caittiff wretch (a) (pt II Prayer is an enciless chain) 33424 amp 2633524 amp 2633724 amp 2633824 amp 26 verse
How long wilt thou forget me (a) 33422335223372233822 f5
Let God arise (a) 33411633598337104338114 verse
Praise the LordO my soul a Lord my God (a) 334219335212336108337206338224 verse
This is a joyful day (a) 33413333552336523375233852 verse
~~larwick (Warrick Warrocke) Thomas d 1660
0 God of my salvation (a 3349 335933793389 pound5
Weelkes Thornas1 -1623 B M Oxford 1602
Alleluia I heard a voice (ab) 33414335143371433814 pound5
Gloria in excelsis Deo Sing my soul to God (ab) 33415533514033636 337142338156 pound6
Hosanna to the Son of David (ab) 334214335207336103337201338219 f6
Lord to thee I make my moan (ab) 3341023358433790338100 pound5
0 Johnathan woe is me (ab) 334151v33513433630337140v338150 f6
0 my son Absolom (I) (ab) When David heard that Absolom (ab) (~t II 0 my son Absalor1) 33415033513233628337138338148 pound6
-112-
Wilkinson William Thomas
Hear my prayer 0 Lord and with thine ears (a) 3341043358633793338103 verse
Preserve me o Lord (a) 33443354 33743384 verse
Put me not to rebuke (a) 3341063358833794338107 verse
Compiled from
Nan Cooke Carpenter Music in the Medieval and Renaissance Universities
Ralph T Daniel and Peter Le Huray compilers The Source of English Church Music 1549-1660 part I and II
C F Abdy Williams A Short Historical Account of the Degrees in Music at Oxford and Cambridge
-113-
Appendix Three
Graduates of Oxford
Doctors
Robert Fairfax John Gwyneth John Merbecke John Shepeard Robert Stevenson Orlando Gibbons Nathaniel Giles John Hunday Christopher Tye John Bull
Date
1511 1531 1550 1594 1596 1622 1622 1624 1548 1592
Tye and Bull were incorporated as Doctors of Music from Cambridge
Bachelors
tathaniel Giles John Bull John t-1unday Thomas Morley John Dowland Giles Farnaby Edward Gibbons George Waterhouse Arthur Cocke Francis Pilkington Robert Jones Thomas leelkes Thomas Tomkins Richard Deering
1585 15B6 1586 1588 1588 1596 1592 1592 1593 1595 1597 1602 1607 1612
Author
Robert Grossteste
Robert Kilwardly
Roger Bacon
Bartholomaeus Anglicus
Walter Odington
Simon Tunstede
John Hanboys
John Hothby
William Bathe
John Case (attr)
William Barley
Thomas Morley
-114-
Ap~endix Four
Oxford Treatises
Date Title
ca 1175-1253 De artibus liberalibus
d 127 9
ca
ca
ca
1351
ca
1584
1600
1586 1588
1596
1597
1214
1230
1330
1450
94
De ortu et divisione philosophiae
Opus majus and opus tertium
De probrietatibus rerum
De speculatione musice
Quatuor principalia musicae
Surnma super musicam continuam et discretam
Regulae super proportionem De cantu figurate Regulae super contrapuncturn Caliopea legale
A Briefe Introduction to the True Arte of Music
A Briefe Introduction to the Skill of Song
The Praise of Musicke Apoligia musices tam vocalis quam instrumentalis et mixtae
The Pathway
A Plaine and Easie Introduction to fvlusicke
-115-
Appendix Five
Baccalaureus in musica solvet
Imprimis pro cumulatione presentatis Pro comrnuniis Pro scriba universitatis Pro circuita Pro camera Pro curnulatione sex annorum Pro anno instante Pro horolog-io Pro deric[t]o universitatis Pro inferiore bedello artiurn
Si beneficiatus vel patrimoniatus fuerit solvet pro vino
Si non praebat convivia solvet betiellis facultatis suae pro prandio
vj s
i j s
xiij s
vij s
viij d vj d
xij d xij d
iiij d
xij d ij d ij d vj d
iiij d
iiij d
ix d
116
Appendix Six
Words set by Jones for Leighton
Let thy salvation be my joy
Let thy salvation be my joy Confirm me with the spirit of grace Let sadness not my soul annoy For pensive thoughts too much take place 0 let my comfort still reside In Christ who for my sin hath died
In setting the third line Jones uses sixteenth notes on the word spirit 11 to compensate for the extra syllable
What shall I render to the Lord
What shall I render to the Lord For all his blessings poured on me My heart and soul with one accord Shall laud and praise thy majesty All praises do from thee desend Blest be thy name world without end
Lament my soul cry cry o cry
Lament my soul cry cry o cry Swe et Jesus pity pity me Help help help help for sin I die Sweet Christ come ease my misery
BIBLIOGRAPHY
Primary Sources
The Bible That is the Holy Scriptures contained in the Old and Newe Testament London Deputies of Chrlstopher Barker Printer to the Queenes most excellent Maiestie 1596
Book o f Common Prayer and Administration o f the Sacraments and Other Rites and Ceremonies of the Churchof England WiSh the Psalter or Psalms of David Printed by Thomas and John Buch Printers to University of Canbridge 1629
Fellowes Edmund H ed The English Madrigalists val 35A Revised edition edited by Thurston Dart London Stainer and Bell 1960 The First Set of Mad_ri a_l s 1607 by Robert Jones
The English Madri al School val 32 London-stainer and Bell 1923 The Triumphs of Oriana to 5 and 6 voices Compose - y D1vers several Authors published by Thomas Mor ley 1601
Jergens Elise Bickford English Song 1 600-1 67 5 Part I British Library Manuscri ts London
Pu middot- 1sh1ng Inc 1986
Leighton Sir William Th e Teares or Lamentaciones o f a Sor rowful Soule London W2 1arn Stansby 1614
The Teares or Lamentations of a ----Sorrowful Soul Transcr1bed and edited by Cecil Hill Vol ll Early English Church Music London Stainer and Bell 1970
Morley Thomas A Plaine and Easie Introdction to Practical Music Edited by R Alec Harmon New York WW Norton and Co 1952
Smith John Stafford Musica Antigua London Preston 1812
Sternfie1d FW gen ed English Lute Songs 1597-1632 A Co l lect~on o Fac s imiDelRepr ints
ress t Vol 7 edited by David Greer The First Boeke of Songes or Ayres 1600 by Robert Jones The Second Booke of Songs and Ayres 1601 by Rober ones t1mum Vale 1605 by Robert Jones A Musicall Dreame 1609 by Robert Jones The Muses Gardln for Delights 1610 by Robert Jones
-118-
Books and Articles
Abraham Gerald ed New Oxford History of Nusic vol IV uThe Age of Humanism 1540-1630 11 London Oxford UP 1968 3rd impression 1974
Adams Joseph Quincy 11 A New Song by Robert Jones bullbull Modern Language Quarterly I (March 1940) 45-48
Adler Kurt The Art of Accompanying and Coaching Minshyneapolis The University of Minnesota Press 1965
ArkmiddotJright GE P Catalogue of Music in the Library of Christ Church Oxford London Oxford UP 1915 ed 1971
Bateson fW ed The Cambridge Bibliography of English Litshyerature 4 vols Cambridge University Press 1969
Bentley Gerald Eades The Jacobean and Caroline Stage Dramat~c Companies and Players 5 vols Oxford Clarendon Press 1941 reprinted 1949 bull
The Profession of Player in Shakespearebulls Time 1590-1642 Princeton Princeton UP 1984
Blom Eric ed Groves Dictionary of Music and Musicians vol IV New York St Martins Press Inc 5th ed 19B4
Boyd rbulllorrison Comegys Elizabethan Music and Musical Criticism 2nd ed Westport Greenwood Press Publishers 1962 reprinted 1975
Brown David nJones Robert in The New Grove Dictionary of llusic and Husicians vol 9 p 703 Edited by Stanley Sadie 1980
Carpenter Nan Cooke Music in the Medieval and Renaissance Universities Norman Okla University of Oklaho~a Press 1958 reprint eo New York Da Capo Press 1972
Chambers E K The Elizabethan Stage Vol I-IV Oxford Clarendon Press 1923 ed 1961
Crewsdon Henry Alastair Ferguson TD MA comp The Worshipful Company of ~t-lusicians Loncion Constable and Co Ltd 1950 new ed London Charles Knight and Company Ltd 1971
Cutts John P 11 Everie Woman in her Humor Renaissance Nevs 18 (Autunm 1965) 209-213
-119-
Daniel Ralph T and LeHuray Peter compilers The Sources of English Church Music 1549-1660 Part I and II London Starier and Bell 1972
Dart Thurston t-1A The Interpretation of Music 4th ed London Hutchinson University Library 1960
Dodd Gordon 11 A Summary of Nusic for Viols Early flusic 6 (April 1970) 262-267
Doran T s A Dr Annals of the English Stage from Thomas Better ton to Edmund Keen Vol 1 New York bullJ J ~1 iadle ton Publishers 1865 republished St Clair Shores Mich Scholarly Press no date
Doughtie Edward ed Lyrics from English Airs 1596-1622 Cambridge Harvard University Press 1970
Einstein Alfred Essays on Music London Faber and Faber 1956 rev eng ed 1958
Feldman Martha 11 In Defense of Campion A New Look at His Aryres and Observations The Journal of Musicology v
(Spring 1987) 226
Fellowes Edmund Horace CH Mvo MA Mus D English Cathedral l~sic Edited by J A Westrup Westport Greenwood Press Publishers 1981
_________ The English Madrigal Composers 2nd edition London Oxford University Press 1921 1948 reprinted 1967
bull The Text of the Song Books of Robert Jones Music --------middot and Letters VIII (Jan 1927) 25-37
__________ Tudor Church Music Appendix ~lus D New York Brouclex Brothers reprint 1963
Greenberg Noah music ed Auoen ~middotlH and Kallman Chester text ed An Anthology of Elizabethan Lute Songs Mad rigals an Rounds Pew York ~middot1 w Norton amp Co Inc 19 55
Greer David What if a Daybull - an Examination of the Words and r~usicbullt husic and Letters 43 (Oct 1962) 304-319
Gutmann Veronika Instrument oder Diminutionspraxis 11 Archiv fuer Husikrvissenschaft 35 (1978) 187-190
Heseltine Philip and Warlock Peter The English Ayre London Oxford University Press 1926 reprinted Westport The Greenwood Press 1970
-120-
Hesel tine Philip 11 Robert Jones and His Prefaces The rmiddotusical T ime s bull ( Feb -t-1a r 19 2 3 ) 9 9 -1 0 0 16 8 -17 1 bull
Humphreys Rev F Landon ~lus Doc STD The Evolution of Church Music New York J J Little and Co 1896
Jeffrey Brian ed Elizabethan Popular Music for the Lute London Oxford UP 1966
King William Joseph The Englsh Anthem from the Early Tudor Period through the Restora t ion Era PhD dissertation Boston University 1 962 Ann Arbor Mich University Microfilms I~ternational 1982
La Fontaine Henry Cart The Kings Musick New York Oa Capo Press 1973
Lewis c s English Literature in the 16th Century excluding Drama 11 in Oxford History of English Literature p 266 Edited by F P Wilson and B Dobree Oxford Clarendon Press 1954 reprinted 1962
r1ason Dorothy E Husic in Elizabethan England Washington Folger Shakespeare Library booklet 1958
rtaynard Winifred Elizabethan Lyric Poetry and its Music Oxford Clarendon Press 1986
McGrady Richard J The English Solo Song from William Byrd to Henry Lawes 11 PhD dissertation University of Manchester 1963 This dissertation arrived to late to notate McGradys theories on Italian Monady and Jones
Meyer Ernst H Early English Chamber ~iusic ed Diane Poulton London Lawrence and Wishart Ltd 1946 Boston Marion Boyars Inc 1982
Mies Otto Heinrich PrussJan Castle
Elizabethan t1usic Prints in an East rrusica Disciplina III (1949) 171-172
Naylor Edward Noodall Shakespeare and Husic rev ed New York De Capo Press 1931 lew York Benjamin Dlom Inc 1969
Pagallelli Serpoundio Jusical Instruments from the Renaissance to the 19th Century trans Anthony Rhodes Milan Fratelli Fabbrl Editori 1966 7 London Hamlyn Publishing Group 197 0
Pattison K An Analysis of the Ayres of Robert Jones MFA thesis University of Georgia 1965 (Request for this thesis has been submitted through the inter-library loan service but has not arrived)
Phillipps G A Charles 1 11
-121-
11 Crown r1us ical Patronage from Elizabeth to Music and Letters 58 (Jan 1977) 29-42
Phillips Peter 11 Performance Practice in 16th Century English Choral Music~ Early Music 6 (april 1978) 195-199
Prior Roger Jewish Musicians at the Tudor Court The ~~sical Quarterly LXIX (Spring 1983) 253-265
Poulton Diane Graces of play in Renaissance Lute Music 11
Early Music (april 1975) 107-109
Reese Gustave Music in the Renaissance revised ed New York W w Norton and Co Inc 1959
RIS~t Einzeldrucke vor 1800 Karlheinz Schlogervolume III Basel Barenreiter Kassel 1974
RISM Recueil s Imprimis XVIe-XVIIe siecles l-1unchen G -Henle Verlag 1972
Robertson Dora H Sarum Close London Jonathan Capt 1938 Bath Firciurt Publishing Limited 1969
Seng Peter J The vocal songs in the Plays of Shakespeare a Critical History Cambridge Harvard UP 1967
Shakespeare William William Shakespeare The Complete Works Edited by Alfred Harbage Baltimore Pen~middotuin Books rev ed 1969
Smith Irwin Shakespeares Dlackfriars Playhouse Its History and Its Des~gn New York New York University Press 1964
Spink Ian English Song Dowland to Purcell New York Charles Scribnerbulls Sons 1974
Sternfeld F w Music in Shakespearean Tragedy London Routledge and Kegan Paul 1963 rev ed 1967
Stevens Denis Tudor Church t-1us ic Nev York Merlin Press 1955 bull
A History of Song New York W W Norton and Co Inc 1960~ First American Edition 1961
Stevens John Music and Poetry in the Early Tudor Court reprint ed Cambridge Cambridge University Press 1979
Traficante Frank Anthony 11 The Mansell Lyra Viol Tablature parts I and II PhD dissertation University of Pennsylvania 1965
-122-
Walker Earnest A History of Music in England New York Da Capo Press 1978
Wells Robin Headlam John Dowland and Elizabethan Melancholy Early Music 13 (Nov 1985) 514-528
Wickham Glynne Early English Stages 1300 to 1660 2 vols London Routledge and Kegan Paul New York Columbia UP 1972
Williams C F Abcty A short Historical Account of the Degrees in 1usic at Oxford and Cambridge Lonaon lovello Eivers and Co 189 3
Woodfill Walter L Musicians in English Society from Elizabeth to Charles I New York Da Capo Press 1969
-3-
crossed often enough and in at least one instance
scholars have confused them crediting one with the work of
the other Some historians have also preferred to gloss
over the obvious inconsistencies in dates and make no
distinction at all in their references to Jones
The first Robert Jones conceivably the grandfather of
the Elizabethan composer is said to have been a chorister in
Henry VIIs Royal Household Chapel In 1512 it is
claimed that he was a member of Henry VIII s Royal Household
Chapel This Jones furthermore is listed as a meniDer of
the Gentlemen of the Chapel at the Field of the Cloth of
Gold in 1520 Three of his compositions have survived 8
although they are incomplete Thomas Morley cites Jones 9
work in A Plain and Easy Introduction to Practical Music
8 The New Grove Dictionary of Music and Musicians 1980
ed sv Jones Robert (1) The three-part song Who shall have my fair lady is in an anthology XX Songes Gustave Reese Music in the Renaissance (New York ww Norton Co 1956) p 763 discusses this book in a footnote as one of the earlies middott examples of music printing in England which was formerly considered to be a product of the press of bullbullsynken de Warde Denis Stevens Tudor Church Music (New York Merlin Press 1955) p 50 mentions this Robert Jones Mass based on the plainchant cantus firmi Spes Nostra
9 Thomas Morley A Plain and Easy Introduction to
Practical Music R Alex Harman ec (New York ww Norton and Company Inc 1952) p 321 Robert Jones is noted here as a vJelshman active ca 1485-153 5
-4-
The dates for Richard Jones span a time period of
ninety years from 1532 to 1624 Even allowing for
extraordinary good health and ideal living conditions these
dates must at the very least be for two men The first
Richard Jones is listed as the High Master of the Grammer
School for the children of St Pauls from 1532 to 1549 He
followed John Ritwise who was said to have allowed the boys
of the grammar school to perform interludes at the court of
Henry VIII There is no indication that this practice was
continued under the headmastership of Richard Jones The
lack of reliable information in this case can be attributed
to the loss of archives in the Great Fire of 1666 and the 10
confused records of the choir school and the grammar school
It is also possible that this is the R Jones who
entered three plays in the Stationers Register from 1567 to
1569 which had been performed by the Children of the Chapel 11
The headmaster then was Richard Edwardes In 1561
Edwardes received his patent as Master fron1 Queen Elizabeth 12
and this patent was entered into the records by an R Jones
10 Chambers volII pp 8-12
11 Chambers volIV p 381
12 Chambers vol II pp 33-34
-5-
The next two Joneses Richard and Robert have caused
the most confusion They were active during the same time
period and were associated with the same group the Children
of the Revels In addition both men were musicians both
were connected with a theatre troup manager named Robert
Browne and both men travelled to Germany It is a very
real possibility that these men were brothers possibly sons
of the first Richard Jones discussed It may not even be
far-fetched to suggest that all three were related to
the Robert Jones connected with the courts of Henry VII and
Henry VIII
Richard Jones was associated with the acting companies
of the Earl of Worcester in 1583 the Lord Admiral in 1589
1594-1596 and 1597-1602 and the Earl of Pembrokesbulls Hen in
1597 He was in Germany in 1592-1593 1615 1620 and 13
1622-1624 In 1623 he was a musician to the Duke of
Wolgest At this tioe he petitioned the Duke to be allowed
to return to England In 1624 Richard Jones again
petitioned the Duke this time to be taken back into service
as a musician In 1630 he is connected with John Jones a 14
dramatist
13 Chambers vol II p 324
14 Gerald Eades Bentley The Jacobean and Caroline Stage
Dramatic Companies and Players 5 vols reprint ed (Oxford Clarendon Press 1949) val I and II pp 135 485
-6-
Richard Jones entered four plays in the Stationers 15
Register between 1578 and 1594 In 1580 he was the
enterer of the song A newe northern Dittye of ye Ladye
Green Slevesu Jones was granted a license in 1584 to print
a book really a collection of ballads printed in broadsheet
form entitled Very Pleasant Sonets and Stories in Meter by
Clement Robinson Robinson was an Elizabethan poet fl 1566-16
1584 This was in response to a popular interest in signing
to the lute This Jones was not above using the name or initials
of well-known writers to enhance the sale of his verse books
At least three of these books A Smale Handful of Fragrant
Flowers (1575) Brittons Bowre of Delights (1591) and the
The Arbor of Amorous Deuises (1594 and 1597) used the initials
of Nicholas Breton much to Bretonbulls anger These books included
poems by Breton and others used without their consent Other
collections printed by Richard Jones are A Handfull of pleasant 17
delites and A gorgious Gallery
It was this Jones erstwhile actor and printer who was
granted the patent by which the Children of Whitefriars were
once QOre entitled to call themselbulles the Children of the
Queens Revels This patent dated January 4 1610 was
15 Chambers vel IV pp 382-383
16 The Cambridge Bibliography of English Literature
ed F w Bateson 5 vols (1940 Cambridge University Press 1969) p 646
17 Winifred Maynard Elizabethan Lyric Poetry and Its
Music (Oxford Clarendon Press 1986) pp 16 14 48-50
-7-
given by James I It reads in part
Know ye that wee haue appoynted and authorised Robert Daborn Phillipp Rosseter Iohn Tarbuck Richard ones and Robert Browne from tyme to tyme to provide keep and bring vpp a convenient nomber of children and them to practice and exercise in the quality of playing by the name of Children of the Revells to the Queene within the white fryers l8
It is this patent which seems to be the source for
confusing Robert Jones and Richard Jones Several
authorities claim that the Elizabethan COQposer Robert Jones
was involved with the Children of the Revels of the Queene 19
in 1610 However he is not mentioned in their
history until five years later One historian even claims
that Robert Jones is the founder and manager in 1610 of the 20
Children of the Revels to the Queen within White Fryars
18 Chambers vol II p 56 Chambers and Bentley
Jacobean Stage discuss the various associations of Richard Jones and Robert Browne in greater detail than is within the scope of this thesis
19 Edmund H Fellowes The English t-1adrigalist 2nd ed
vol 35 A (London Stainer and Bell 1960) p 4 and Heseltine Prefaces p 171 It is interesting to note that both these works were originally published in 1923 and neither lists sources Chambers also originally published in 1923 clearly states his sources for these patents the original cocuments
20 Morrison Comegys Boyd Elizabethan Music and Musical
Criticism 2nd ed (Westport Greenwood Press Publishers 1973) p 199 Boyd has all references to Robert Jones under one index heading although be discusses the work of the Tudor composer as well as that of the Elizabethan composer No source books on Elizabethan or Jacobean Theatre are included in his bibliographies
-3-
Robert Jonesbull connection with the Children of the
Revels is clearly stated in a patent granted by James I on
June 3 1615 It gave authority for the erection of a new
theatre for the continued training of the Children of the
Revels This theatre would replace the expireci lease on
another house used by Rossiter
And whereas the said Phillipp Roset~r together with Phillipp Kingman Robert Iones and Ralphe Reeve to continue the said service for the keeping and bringing vppe of the children for the solace and pleasure of our said most deere wife bullbullbull by the name of children of the Revelles to the Queene have lately taken in lease and farme divers buildings Cellars sollers chambers and yardes for the building of a Playhouse therevpon bullbullbull All which premisses are scituate and being within the Precinct of the Blacke ffryers neere Puddlewharfe in the Suburbs of London called by the name of lady Saunders house or otherwise Porters hall and now in the occupation of the said Robert Jones Nowe knowe yee that wee of our especial grace bullbullbull doe give and graunte lycense and authoritie vnto the said Phillipp Rosseter Phillipp Kingman Robert ones and Ralphe Reeve at their proper costs and char~~~ to erect build and sett vppe in and vppon the said premisses bullbullbull one conve ient Playhouse for the said ctildren of the Revelles 21
It is interesting to note that Robert Jones is mentioned
three times in this patent
This patent and its various details are confirmed in
other sources of the period The Privy Council was
21 Chambers vol II p 473
-9-
approached by the inhabitants of the Blackfriars area They
maintained that another theatre in Puddle Wharfe would be
too close to the church of St Anne and that it would
disturb the congregation during services Because of a technical
flaw the work that was begun on the building was ordered
stopped in September of the same year (1615) Plays were
performed there as late as January 1617 The last mention of 22
Robert Jones in this instance was the Kings patent
Robert Jones had other connections with the theatre
although he is not called an actor In 1602 he was in
Germany at Frankfort where he was named as a fellow of
Robert Browne Browne was something of a theatre impresario
who specialized in bringing English actors to the continent
and was also included in the patent of 1610 with Richard 23
Jones This year was the start of a three year
publishing hiatus by Robert Jones Appendix One includes
the titles and dates of Jones work An interesting fact
which may or may not be connected with Jonesbull time in
Germany is that his third book Ultimum Vale is one of eight
22 Chambers val II pp 472-473 61 val IV pp 343-345
23 Chambers val II pp 273-282 p 56
-10-
Elizabethan Music books which used to be in the library of 24
the East-Prussian Castle of Schlobitten
This Robert Jones then is the Jones who is the subject of
this paper He was active in the latter years of
Elizabethbulls reign and the early years of the reign of James I
He may or may not have been an actor but he was
associated with actors and the Chilciren of the Revells He
was stable enough to own a house and to enter into a risky
theatre venture
24 Otto Heinrich Meis Elizabethan Music Prints in an
East-Prussian Castle Musica Disciplina III (1949) 171-172
CHAPTER II
EDUCATION A~ID SOCIETY
Robert Jones is known to have graduated from Oxford
University in 1597 It is also known that he was at St Edmund s 1
Hall and was for sixteen years a student His date of death
is unknown although a valid theory has been put forward for 2
his approximate year of birth to have been 1574 This would
have made him only twenty-three when he graduated slightly
younger than n1ost of his contemporaries A comparison may be
rMde by using Appendix Two an outline of works contained in
Christ Church rlusic Mss 56-60 Composers who graduated from
Oxford University are identified as well
Music both sacred and secular was an integral part of
university life Until the Reformation it was customary to
have Masses sung for the souls of the kings and founders of
the various colleges ~ The playing of secular music and
instruments had become so distracting that it was forbidden
at bullbullunseasonable times 11 unless after meals and there was a 3
fire in the fireplace of the hall or communal erea
1 c F Abdy Williams A Short Historical Account of the
Degrees in fiusic at Oxford and Cambridge (London 1893) p75
2 Hese1tine Prefaces p 99 Heseltine combines the fact of
Jonesbull years as a student and Jonesbull admission of practicing music since he practiced speaking to estimate the date of 1574
3 Nan Cooke Carpenter Music in the Medieval and Renaissance
Universities (1958 New York Da Capo Press 1972] p 169 81
-11-
-12-
Since the singing of Masses was required by statute some
means had to be provided for the training of choristers Many
colleges maintained choir schools These younger members of
the college community actually owed their positions at Oxford
to their musical talent and duties In 1547 the Act of
Dissolution under Edward VI closed many church schools but
not the collegiate foundations in the universities the
choirs of St George and Chapel at Windsor and the cathedral 4
schools
The young choristers were taught plainsong and pricksong
and when their voices changed they were preferred for vacancies
in the universitys scholarship lists Among these colleges
were the Schola flusicae of Queens New College Corpus Christi
College Cardinal College (later Henry VIII and nm1 Christ
Church) St Johns College and Magdalen College The statutes
of Magdalen College also provided for places for thirty indigent 5
student-- iemyes) to study plainsong
In the preface addressed to the reader in his First Booke
of Songes or Ayers Jones states that ever since he practiced 6
speaking he practiced singing By his own words it is likely
4 carpenter pp 167 88 388
5 Carpenter pp 267-171
6 F w Sternfield general editor English Lute Songs 1597-
1632 a Collections of Facsimile Reprints (Manston The Scholar Press Ltd 1971) 26 Robert Jones The First Boo~e of Songes or Ayers 1600 David Greer ed
-13-
that Jones was trained in one of these choir schools anG it is
not inconveivable that he was a recipient of a scholarship to the
university of Oxford Indeed Jones was probably at school at
Oxford rather than London and may even have been one of the
demyes of Magdalen College This is especially likely in view of
the fact that Jones had no steady patronage each of his song
books was dedicated to a different person and he was not 7
connected as household musician in the same way that John Wilbe B
and John Ward were involved at Hengrave Hall and with Sir Henry
Fanshawe
The power for presing choristers into service started in
1420 and this practice continued through Elizabeth bull s reign Im-
pressment of exceptional singers men and boys from all over 9
England into service in the Royal Chapel was commonplace
7 Sir w H Hadow English Music (London Longmans Green and
Co 1931) p 65
8 John Aplin Sir Henry Fanshawe and Two Sets of Early
Seventeenth Century Part-Books at Christ Church Oxford Music and Letters 57 (January 1976) 14
9 Carpenter p 341 Foster Watson The English Grammar
Schools to 1660 Their Curriculum and Practice Cambridge University Press 1908 Encyclopedia Britannica Library Resources Inc LEL 10880) pp 155 212 217 Watson mentions several grammar schools in London which incorporated music into their programs at this time They include the Merchant Taylors School St Paul School Thames School and Christ Church Hosshypital It was necessary to know the catechism in English or Latin read perfectly and write co~petently before acceptance at these schools Hulcaster headmaster at Nerchant Taylors claimed that extra subjects like music were studied privately by gentlemens children and that nusic itself was a part of the math curriculum
-14-
It is doubtful that Robert Jones was impressed into such service
He was both eloquent and voluble in the prefaces to his song
books and would certainly have alluded to this aspect of his
life had it been part of his own experiences
The awarding of baccalaureate and doctorate degrees in
music at Oxford was a tradition dating from the early fifteenth
century Music had been established as a separate faculty the
only liberal art so distinguished In fact the English
universities were the only ones to confer degrees in music
There is no indication that a prior arts degree was required for
the Bachelor of Music as was often the case in other fields
Many of England s most talented musicians became bachelors or 10
doctors of music at Oxford Appendix Three is a partial
listing of these musicians drawn fron information in Carpenters
and ~lilliams bull studies Furthermore the University of Oxford
was after the University of Paris the inspiration for more 11
treatises on music than any other medieval university
Appendix Four is a compilation of these treatises taken from the
work by Carpenter
The dichotomy of music that is musica practica versus
musica speculativa was reflected in the requirements placed
upon the degree seeker at Oxford It was as necessary to study
polyphonic music as to study theory Music classified within the
mathematics traditions and the text of Boethius De institutione
10 Carpenter pp 159 89 336 160
11 Carventer p 82
-15-
musica was required by statute since 1431 In 1549 after
Edward VI visited Oxford the candidates for the bachelor of
music degree were to concentrate on the disciplines of the
quadrivium Sixteen terms (four years) were to be spent in
grammar rhetoric dialectic and arithmetic and 11 in musica
Boetium Admission to the bachelor of music granted the right 12
to lecture in any of the music books of Boethius
Each student at Oxford was instructed by his own tutor until
he had obtained his first degree This meant that the musical
careers of some students were actually shaped by the methods of
their tutors Attendance was required at public lectures Aside
from the usual difficulties with student participation and indif-
ference or inability of some faculty these lectures were to be
given in Latin Dr John Bull not being proficient in Latin
was granted permission to read his lectures in English in 1597
Jones of course should have attended these lectures since John
Bull was incorporated as a Doctor of Music from Cambridge in
1592
In order to obtain a degree it was necessary to compose a
Mass song or canticum bull bull bull to be performed before the university bullbullbull 14
on the day of the Cornitia 11 This was not meant to determine
eligibility for a degree rather it was meant to add to the
12 Carpenter pp 89 77 153 159
13 Carpenter pp 154-156 163-164
14 Williams p 21
-16-
solemnity of the occasion This rule specifying a piece of music
to be performed in the university churcl1 at Act time remained un-15
changed from 1516 until 1608 when a hymn only was required
However there was a dispensation from this rule A
candidate could apply for a degree pro circuitah He would
request the Vice-chancellor and proctors to summon a Congrega-
tion On the afternoon before the Congregation the student
preceded by one or both of the bedells of his faculty and accompanied by the person who was to present him in congregation bullbullbull attired in academic dress but bareheaded went round to the schools and also called on the Vice-chancellor and both proctorsl6
Tradition always was an important part of university life
Oxford in the early sixteenth century was no exception Fre-
quently these traditions became codified in statutes Gloves
were an expensive luxury and early in Oxford 1 s history it became
obligatory for the degree seeker to give a pair to the Bedells
and other officials No man could dress above his station and
students fined for wearing silk were required to wear gowns 17
with loose sleeves and square caps in public Following is a
list of graduation fees established by statute at Oxford in 1601
taken from Carpenter Appendix Five is a copy of the original
version According to the custom Jones would have had to pay
some if not all of these fees
15 Williams p 27
16 Carpenter p 165 citing Clark in Register II p 46
17 Williams p 59
-17-
TABLE ONE
Graduation fees at Oxford in 1601
The baccalaureate in music will disburse
First for the total for gifts 6 s For the service of the room For the clerk of the university For possessions For the chamber For the six year total [tuition] 2 s For services during the present year For the clock For the right of the university For the lesser porter of Arts
Total 13 s
IE he has been subsidized by the church 7 s or by patronage he will disburse for wine
If not arranged in advance [] he will pay for the table servants to the porters of his faculty for meals
The greatest expense on this list is for wine [)
a d 6 d
12 d 12 d
4 d
12 d 2 d 2 d 6 d
4 d
4 d
9 d
-18-
It is not indicated in the available sources whether Robert
Jones composed a piece for graduation or used the pro circuitubull
option However a good case can be made for the former there
is an anthem in Christ Church Imiddot1usic Mss 56-6 0 Singe joyfully
which was composed by Jones The words are from Psalm 81 and
are identical with those in an Elizabethan Bible printed in 18
1595 This is two years before Jones graduated from Oxford
Furthermore the Christ Church lbulllus ic t-lss was compiled 11 wi th
most of the material at hand gathering together works which may 19
already have existed in worn or loose copies It was planned
as a memorial to Prince Henry and most of the composers repre-
sented were court-based friends of the composer John Ward who
was in the service of Sir Henry Fanshawe These part-books were
compiled at Fanshawes request and completed by his son before 20
1620 The Oxford anthem Singe joyfully will be discussed
further in the chapter on sacred music
As can be seen music was an important and necessary
part of the education of a gentleman and it was a necessary
18 The kindness of Mr Richard Austin of St Luke bulls Shrine
Smithfield is gratefully appreciated He allowed access to the Bibles there which proved that Jones used the Elizabethan transshylation and not the King James version of Psalm 81
19 Aplin p18
20 Aplin p 14
-19-
21 accomplisr~ent of the perfect courtier Even Morley begins
his book with a description of the embarassment caused by a lack 22
of ffiUsical knrn~ledge Furthermore a degree in music was an
invaluable asset to obtaining a post in the Chapel Royal
Neither Elizabeth nor James I gave honors such as peerages or
knighthoods to musicians rather they used offices in the
Royal Household the Chapel Royal and the Kings Musick as reward 23
for services In 1605 Jones dedicated his Ultimum Vale to
Prince Henry ~hether this earned a reward for Jones is not
known However it is likely that the Mr Jones listed as a 24
Gentleman of the Kings Chappell in 1612 is Robert Jones
It is possible that this position and not great reknown earned
a place for Jones in the Fanshawe part-books
As a Gentleman of the Chappell Jones would be expected to
be quite proficient in reading music and well-versed in plainsong
and pricksong That he could COQpose apart from performing 25
would have been the highest recommendation of all It is note-
21 Carpenter p 343
22 Morley p 9-10
23 G A Philipps Crown Musical Patronage from Elizabeth I
to Charles I Music and Letters 58 (January 1977) 29
24 Henry Cart de Lafontaine The Kingbulls Musick (New York
Da Capo Press 1973) pSO
25 John Stevens Music and Poetry in the Early Tudor Court
(1961) Cambridge Caniliridge University Press 1979) p 309-317
-20-
worthy that although Jones was actively composing in the latter
years of Elizabethbulls reign he was not associated with her court
Like many others he sought patronage elsewhere as can be seen
from the dedications of his song books His appointment as a
Gentleman of the Chappell may indeed have been a result of his
having dedicated his third song book to Prince Henry elder son
of James I Jones published no work after 1610 two years before
his name appears as a Gentleman of the Chappell It is possible
that Jones again travelled to Germany with theatre impresario
Robert Browne or he may well have decided not actively to
compose as he had implied in the prefaces of his last three song
books Records in these areas are incomplete although further
connections with the theatre will be discussed in the following
chapter
CHAPTER III
WAITS V~SQUES AID THE THEATRE
The waits were orisinally watchers at the gates and were
probably descended from the watchmen and sentinels for camps 1
castles and other fortified places In fact wait is the Saxon
word for watcher Eventually they were employed by the cities to
keep watch and guard during the night and to call out the time
and weather Their main purposes were protection order and
safety within the cities To carry out these duties the waits
were furnished with musical instruments These were used to
sound alarms and call for help when needed and were probably an
early type of shawrn or a horn made of metal In 1296 a statute
was enacted in London which required the servants who closed the
gates at night to have waits at their own expense Eventually
the term wait came to mean the man the instrument and the music 2
played on the instrument
The connection between Robert Jones and tte waits only
beco~es clear when the development of the waits and their
1 Walter L Woodfill Musicians in English Society from
Elizabeth to Charles I (New York Da Capo Press 1969) p 33
2 Henry Alastair Ferguson Crewsdon camp The
1-Jorshipful Company of -iusicians ( 19 50 London Charles Knight and Co bull Ltd bull bull 1 9 7 1 ) pp bull 16 2 -16 4 bull
-21~
-22-
place in Elizabethan and Jacobean society is discussed It was
not long after the first statute concerning the waits was passed
that they came to be considered musicians They are included
called by the nanle of wayghte and other variant spellings
among the musicians of Edward III (1327-1377 and are named in
records from Henry VI through Charles I From watchmen with
musical instruments to capable musicians is a logical development
of talent and time For a watchman with musical ability there
was time to acquire skill and thus gain employment publicly or 3
privately as a musician when not on duty
Many of the principal cities in England employed waits In
London the nunilier of groups varied from six to nine and the
number of masters and apprentices in each group was strictly con-
trolled Their places were so coveted that musicians good or
bad bargainea fought or sued for any vacancies Often a place
would pass fron1 father to son Their privileges included
monetary compensations and gifts distinctive livery status in
the city as freemen in the Company of ~usicians without charge
and the right to keep two apprentices at a time Their services
publicly and privately were much in demand by the lord mayor the
sheriffs and aldermen and the playhouses They were required
to meet regularly for rehearsals and only the 11 ancientist
3 Crewsdon pp 165-167
-23-
4 that is the eloest of their society could dispose order and
direct their music
Until 1525 the wait pipe (horn) and shawm were the only
instruments used by the waits The sackbut was added in 1526
In 1561 instrumentation was expanded with the addition of
viols and recorders and cornetts were added in 1568 and 1576
respectively In 1597 the curtal a bassoon-like instrument was
added Records indicate that portable organs keyboards and
harps were hired for special occasions In some waits the lute 5
and singing were included as early as 1555 The waits
provided the music for visiting dignitaries parades and court
masques and dancing The First Book of Consort Lessons by Thomas
Morley was meant as a guide for the groups of instruments used by 6
the waits Their music consisted of traditional wait tunes
(simple airs meant originally for wait pipes and shawms played
with cold fingers) music which may have existed only in
manuscript form written expressly for use in a masque or pageant
and music apt for viols or voyces u including madrigals
Ultimum Vale of Robert Jones contains music for colibination of 7
lute voices and viols Figures 1-20 are facsimiles of tbe
4 Woodfill pp 37-44
5 Woodfill pp 34-36
6 Wood f i 11 p bull 4 5
7 Woodfill pp 44-52 Waits and their history are more
fully discussed by both Woodfill and Crewseon A very brief outline only has been possible in this paper
-24-
title pages dedications and prefaces and tables of contents of
the song bool s of Robert Jones from Greer
Ultimum Vale is probably the book included by Gordon Doad in 8
his list of music for viols This song book is also the source
for ten of eleven songs by Jones included in the Giles Earles 9
book It is this custom of performing vocal and instrumental
music only instrumentally that forms part of the basis for early
chan~er music in England It was advocated by Thomas Morley in
his book and used not only by Jones but also by Sir William 10
Leighton in Teares or Lamentaciones of a Sorrowful Soule
It is possible that this evolutionary process in performance
practices and adaptations of popular pieces for other instruments
may be the basis for the idea that Jones composed for the
virginals Certainly no music specifically for the virginals or
instruments other than lutes has been found to have been
composed by him
When playing for the masques the waits probably performed
in a room or chamber near the pageant rather than on the street
or porch where the masque was being presented Robert Jones bull
8 Dodd p 263
9 Jergens p f 13V-f22V
10 Ernst H Meyer Early Englisn Chamber ~1usic ed Diana
Poulton (1946 Boston Marion Boyers 1982) p 135 149
-25-
11 naroe is not in the lists of appointments to the London Waits
But Jones did have so~e of his music included ill masques Everie
vloman in her Humor a masque by Maclin published in 16 09
includes two songs from The First Booke of songes or Ayres The
title My mistris was not used in notes for the masque rather
lines from the song were used thus hindering our identification
of Jones as its author Figures 21 and 22 are facsimiles of this
song This same song was used in Loves Charity by Shirley in 12
1631 and The Dutch Courtesan by John Marston The latter was
presented at Blackfriars in 1603 performed by the 11 Children of 13
her Maiesties Revels Christ Church Ms 439 which contains
four songs from The Second Boeke of Songs or Ayres is said to be 14
a compilation of songs used in masques
The dates of the songs discussed indicate that Jones was a
source for music used in masques rather than a co~poser of music
for masques This is admittedly a subtle difference but it is
a critical one since Jones is not credited with supplying tPis
music in tle published sources of the time such as the plays
themselves
11 Woodfill p 48 and Appendix A
12 John P Cutts Everie ~loman in her Humor Renaissance
News 18 (Autumn 1965) 210-212
13 Chambers vol III p 431
14 Cut t s p 212 bull
-26-
Songs used in masques were declamatory in vocal style with
rare word-repetitions except towards the end of a song The
lute accompaniment tended to be chordal with an harmonically
15 statis bass The aforementioned 11Ny mistriS 11 (see Figures
21 and 22) very clearly demonstrates this principle The masque
an offshoot of the main dramatic movement was musically con-16
nected with the great nass of songs with lute accompaniment
Robert Jones was a natural choice for the masque authors His
melodies tend to be rhythmically simple and singable By his ow~
admission in the preface to his First Booke of Songes or Ayres
Jones main concern was fitting the note to the word (See Fig-
ure 3)
Shakespeare also liked to use contemporary songs in his
works for the theatre and in the music of Jones Shakespeare
found songs to express the moods of his characters Perhaps the
best known instance of this reliance upon Jones is in the comedy
Twelfth Night The song 11 Farewell dear love bullbull is number twelve
in The First Booke of songes or Ayers
15 Ian Spink English Song Dowland to Purcell (New York
Charles Scribners Sons 1974) p ~0-41
16 Ernest Walker A His tory of Music in England (rJew York
Da Capo Press) p 153
-27-
In Twelfth Night II iii Sir Toby Belch and the clown
Peste sing a version of this song that telescopes the first and 17
second verses Malvolio warns Sir Toby and Feste that
Olivia will bid farewell to Sir Toby unless he reforms It is at
this point that these two characters alternate singing lines of 18
the song This song was set in 1600 and the date of Twelfth
Night is 1601 The obvious conclusion is that Farewell dear
heart was a popular favorite and would have been recognized no
matter how much it was condensed Another testimony to its
popularity is that the tune appears as a hymn setting in a Dutch
psalter The Dutch version is Heilgierig mensch and the 19
psalter was published at Amsterdam in 1713 That Jones himself
favored this song is shown by the fact that in his fourth book
nine years later Jones sets Farewell fond youth Its meter
is identical and its melody is similar to that of 11 Farewell dear 20
heart Farewell dear heart may be seen in Figures 23-26
and bullFarewell fond youth in Figures 27-28
17 John Stafford Smith Musica Antigua (London 1812) p 10
204
18 Peter J Seng The Vocal Songs in the Plays of
Shakespeare A Critical History (Cambridgemiddot Harvard University Press 1967) p106
19 William Shakespeare The Complete Works ed Alfred
Harbage (Baltimore Penguin Books 1969) pp 316-317
20 Edward Woodall Naylor Shakespeare and Music rev ed
(New York Da Capo Press and Benjamin Blom Inc 1969) p70
-28-
Shakespeare also turned to Jones for parts of the mad songs
for Ophelia in Hamlet IV V Although it is not a proven
fact the setting of In Sherwood liude stout Robin Hood see
Figures 29-30 from A Musicall Dreame bears close resemblance to 22
the words sung by Ophelia That it probably is this song is
due more to the nature of the scene and the impropriety of the
words words which would never have been sung by a sane Ophelia
and to the popularity of Jonesbull work rather than contemporary 21
documentation Frequently Shakespeare had his
characters sing snatches of songs or refrains and further
attributions to Jones are possible but not provable without a
shred of documentation Nor in general are Elizabethan
composers who often set the same words identifiable unless the
tune had been transcribed or the composer named in the
manuscript
21 Heseltine Prefaces p 168
22 F w Sternfield Music in Shakespearean Tragedy
rev ed (London Routledge and Kegan Paul 1967) p 57-58 71
CHAPTER IV
THE SECULAR t-1USIC
The secular works of Robert Jones consist of five books of
lute songs or ayres and one book of madrigals One or two copies
of each song book have all survived in excellent condition with
minor problems such as missing title pages The madrigals 1
however exist only in an incomplete state Possibly this is
due to the difference in publishing techniques of the two types
of song The song books include all voice parts printed on
opposite pages in such a way that tt-e performers can stand around
a table and use the same book The madrigals on the other hand
were printed in separate part books with the result that the
loss of one part book took away from the whole
Lute songs increased in popularity and availability
when the printer Peter Short acquired a font of lute tablature
This acquisition in 1597 greatly facilitated the publishing of 2
lute music William Barley had published a book The New
1 Fellowes Madrigalists p iv In the preface
Dr Fellowes describes in depth the location of various part bookst and which madrigals are complete because they were found in alternate sources
2 Spink p 15
-29-
-30-
Book of Tabliture in 1596 which contained the first solo song
with lute accompaniment published in England In the four years
between the publication of this book and the First Boeke of Songs
or Ayres by Robert Jones in 1600 books by Dowland Morley 3
Cavendish and Farnaby in this style were printed Peter
Short by the essence of Thomas Morley was the printer of the
first two song books of Jones and the first book of Dowland It
may thus only have been for practical reasons that the title
pages are virtually the same
Lute and vocal music were easily printed For the lute
tablature letters not notes were placed on a six line staff
Vocal music used about a dozen signs for clefs tempos and
accidentals and thirty individual signs for notes apportioned on
a staff of five lines each with a note on one of the lines or 4
spaces Obviously it is this setting of each individual note
with its staff which gives the music its slightly wavy
appearance
Each of Jones five song books includes twenty-one songs
although contemporaneous song books usually vary in the number of
songs Whether this really has any special significance for
Jones is impossible to know For all his loquacity he did not
3 Phillip Hes~ltine The English Ayre (1926 Westport The
Greenwood Press Publishers 1970) p 138
4 Boyd p 178 Keyboard music was not published until 1611
and tben it was engraved This was because of the difficulty of dividing the staff to print cords of two or more notes
-31-
refer to this in his prefaces All five prefaces are illustrated
as follows The First Booke of songes or Ayresw Figures 1-4
The Second Boeke of Songes or Ayres Figures 5-B Ultimun
Vale Figures 9-12 A Musicale Dreame Figures 13-16 and
A Musebulls Gardin for Delights Figures 17-20 However that it
was important to him could explain why he chose to include two
Italian songs in A Husicall Dreame They are for solo voice with
lute or bass viol accompaniment (or both) and come at the end of
a book of songs for three and four voices
The idea of performing vocal music instrumentally has
already been discussed with the performance practices of the
waits Another common practice of lute playing was to use
alternate tunings of the lute The more usual tuning is gd A 5
F C G Plternate tunings included the sixth or bass string
tunec to F not G or the tunings called the 11 leero fashion 6
These were d a f a F c This method was used by Jones in 7
The Second Book of Songs and A~res published in 1601 The
words 11 Set out to the Lute the base Viall the playne way or the
5 Edmund H Fellowes The English t-ladrigal Composers 2nd ed
(1921 London Oxford University Press 1967) pp 304-5
6 Veronika Gutmann Instrument oder Dininutionspraxis
Archiv fuer Husicwissenschaft 35 (November 1978) 189
7 Frank Anthony Traficante The Hansell Lyra Viol Tablature
Parts I and II diss University of Philadelphia 1965 pp 188-189
-32-
Base by tableture after the leero [lyra] fashion appear on the 8
title page There often was a seventh string added below the
bass string tunec to D To avoid confusion this note was not
annotated on the staff instead ledger lines were added to 9
indicate its implementation This may not have been a popular
practice Jones used it sparingly in Ultimum Vale his third
book However all songs but one in A Musical Dreame call for
the extra string That Jones was criticized for use of this
extra string in Ult1rnuro Vale can be inferred from the preface to
A Musicall Dreame This preface is not addressed to the reader
but rather to all Musicall Murmurers
Understand me thou vnskilfull descanter deriue from that Note of Plaine Song charitable numbers and thou shalt find harsh voices are often a Note aboue Ela reduced by truer iudgement which I bereaue thee of nowing thy Rules are as our new come Lutes being of many strings not easily used vnlesse in aduenture till practice put forward into deseruing Diuision
From this preface it appears that Jones was something of an
innovator often embracing ideas before their full acceptance
Jones also may have ornamented or used graces in his work
However we cannot know this because the art of ornamentation was
a live tradition passed from one player to another The second
reason is that printers of the time did not have the necessary
8 The title page of this book is misleading The correct
title appears to be The First and Second Boeke of Songs and Ayres It is usually referred to as The Second Boeke of Songs and Ayres See Figure 5
9 Fellowes Madrigal Composers p 304-305
-33-
10 signs for ornaments or graces in lute playing
The following chart of lute tablature is adapted from
Fellowes The strongs are labeled treble small mean great
mean countertenor tenor and bass All but the treble string 11
were doubled
Treble ( g I ) a b c d e f g h Small r-Iean (d ) a b c d e f g h Great Mean (A) a b c d e f g h Counter-tenor (F) a b c d e f g h Tenor (C) a b c d e f g h Bass (G) a b c d e f g h
The fingerboard of the lute has ivory frets When stopped
each fret raises the tone of a strong by a half step The small
letters bullbullabullbull bullbullbbullbull 11 C 11 and so forth indicate behind which fret the
fingers are placed to produce the desired tones The letter a
indicates an open string that is one which is not fretted or
stopped b shows to stop the string behind the first fret It
raises the string by a sernitone Each letter represents the
next semitone to be produced on a string
These signs irdicate the duration of the note 1 ~ ~ f ~ ~) and stand for semibreve minim crotchet quaver and semi-
quaver respectively The last sign used gives the duration of
10 Diana Poulton Graces of Playing Renaissance Lute Music
Early Music (April 1975) 108
11 Fellowes Madrigal Composers pp 304-305
-34-
following beats Dots of augmentation with their accepted mean-
ing are used when needed Barring follows the rhythm of the 12
music or the words and is not always indicated It must be
remembered that Jones did not always use this tuning for the lute
rather he indicated it by specific performing instructions on his
title pages
Lute songs have roots in the freemens songs Freemen bulls
could be a corruption of the Anglo-Saxon work 11 freibull meaning 13 14
fesitval or of the term three mens songs In either case
they were lively cheerful songs with the tune in the uppermost
voice the tenor They were the basis for the simple part songs
which were so popular in mid-sixteenth century England These
songs then evolved into the Elizabethan consort songs and finally 15
the lute songs
Lute songs ordinarily were published with only a word or two
of the first line printed in beneath the score The singer
12 Fellowes Madrigal Composers p 306
13 Smith p 10
14 Walker p 45 The book published by Wynken de Warde in
the early sixteenth century which contains the work of the first Robert Jones also includes freemenbulls songs~
15 Spink p 16
-35-
16 either knew the rest of the words by heart or vocalized 11
Jones however is one of the few composers whose words are
carefully and consistently placed beneath the notes in his song
books This note-to-the-word placing allowed him more control of 17
the rhythm in strophic settings of different stanzas of poetry
The lyrics of English lute songs and ayres consisted mostly
of typically short verses The sources for many of the lute
songs and ayres were the ~any Miscellanies published during
Elizabethbulls reign ~ong these The Phoenix llest and Englands
Helicon were the most popular However the collections of
Richard Jones were also used by some composers Richard Jones bull
not properly detailing the authorship of the poems in his
collections is the primary source of confusion in identifying the
authors of the poems set by composers Another problem in the
use of MiscellanieE is the resultant multiple settings of 18
favorite poetry Robert Jones set many poems of Francis
Davison Sir Philip Sidney and Thomas Campion What initially 19
may appear to be plagiarism is really an accepted practice
16 W a 1 ke r p bull 4 6 bull
17 Winifred Maynard Elizabethan Lyric Poetry in Its Music
(Oxford Clarendon Press 1986) p 71
18 Maynard pp 54-55
19 Heseltine pp 130-131
-36-
The main differences between lute songs and ayres tended to
be those of length and rhythm Ayres generally had simpler
settings were more strophic and shorter and usually were better 20
sung as a solo song with lute acconpanirnent The ayre is
normally considered a short lute song with the accompaniment
providing the clue to the difference~ Performances could vary
according to the abilities of the performers and the instru-
mentation they used Frequently this lead to harmonic 21
discrepancies in the vocal and instrumental part-settings
This perhaps is the basis for one claim which has been made
that Jones did not write these parts for what are really solo 22
songs in his last two books
The English Madrigal developed as a result of the
publication in 1588 by Nicholas Yonge of a collection of works
by Italian and Italianized Netherlands composers This book
Musica Transalpina contained fifty-five of the best Italian
madrigals translated into English and proved to be very po~ular
20 Maynard p 55
21 Walker pp 80-81
22 Edmund H Fellowes The text of the song books of Robert
Jones Music and Letters 8 (January 1927) 25-37
-37-
In 1598 ~iichael Cavendish wrote a madrigal with the nLong live
fair Oriana refrain This may have been based on a madrigal
published in Il Trionfo di Dori It was this refrain which may
have been the impetus for The Triumphs of Oriana published by
Thomas Harley in 1601 The Triumphs of Oriana contains twenty-
five madrigals by nearly all the most distinguished English 23
composers of the time 11 Robert Jones contributed Fair Oriana
seerring to wink at folly 11 to this collection
The First Set of Madrigals was published by Jones in 1607
Its being called the First Set is no proof that Jones intended to
publish more sets Rather this avpears to be a publishing
convention of the time Where this set is unique is its
containing madrigals of 3 4 5 6 7 and 8 parts tvhereas
most madrigal sets were in groups of one or two different numbers
of voices this book has six different voice groupings These
combinations alone would give rise to the idea that although
Jones experimented with the madrigal form he either was not
comfortable with it or was not proficient enough with it for
his own standards On the title page~ Jones claims that the
collection is for Viols and Voices or for voices alone~ or as
you please 11 Several of the texts included in this transcribed
edition are poews by Francis Davison and two are by Campion
23 Walker p 78
-38-
The English madrigal was something of a compromise in form
It combined the contrapuntal secular music of the Italian style 24
and the harmonies of such songs as the frottola It typically
was a single stanza of seven to eleven lines in length A line
maybe made up of seven or eleven syllables with short and long
lines in any order The rhymes were mostly feminine and in
random order For this the Italian verse setting was standard 25
but short verse ottara rima or sestina were also used
Perhaps the one concept about the secular work of Robert
Jones that should not be overlooked is that he intended his music
for pleasure He had no rigid rules about performance practices
and he was willing to experiment with new techniques He was not
tied to rules of harmony and counterpoint and he seems to have
been partial to the sounds of open fifths and false relations
He was clever and innovative in his use of rhythm and rests
formed an integral part of his control of rhythm It was an
unhappy man who composed the song Goe to bed sweet muze This
was in Ultimum Vale the book that Jones intended to be his last
He seems to be saying goodbye to his love of music and composi-
tion rather than to an unfaithful lover That music in his muse
can be found in his explanations for publishing again in the
prefaces to A Musical Dreame and A Muses Gardin for Delights
24 Walker p 77
25 Maynard p 55
CHAPTER V
THE SACRED NUSIC
In a fashion typical of the Elizabethan era one music
publication could contain ayres madrigals or religious motets
The Teares or Lamentaciones of a Sorrowfull Soule by 1
Sir William Leighton is one such book It contains eighteen
consort songs twelve songs for four voices and ten songs for
five voices The contributors of songs for this book include
Byrd Milton Bull Ferrabosco Jones Peerson Thopul
Coperario Dowland Ford Gibbons Giles Hooper Johnson
Kindersley Lupo Pilkington Ward Weelkes and vlilbye As can
be seen Jones is numbered among the finest composers of the era
Sir William Leighton was born into an influential family
He had social economic and educational advantages However
because of carelessness and misfortune in his finances he was
imprisoned In 1613 Leighton published a book of his own
poetry The Teares or Lamentaciones of a Sorrowfull Soule This
was followed the next year by a book with the same title cf
musical settings of these poems composed by himself and twenty
composers The purpose of these books was to show Leightons
1 Walker p 81 The consort in this case refers to the
accompaniment of the cantus voice with the treble viol and lute tablature The altus was accompanied by the flute and had tablature for cittern The tenor voice included tablature for the bandora and the bassus was paired with bass viol tablature This was in reality the broken consort
-39-
-40-
repentance But the laudatory verses composed by his friends
and included in the introduction of the book seem to negate
this These poems use word-plays and puns on Leightons name and
deal with his unjust imprisonment
The works in this book are on sacred themes and could be
considered appropriate for use in church However that Leighton
intended for then1 to be domestic fare is seen in the style of
printing used that is on a double folio in the same form as
that used for lute songs and in the performance practices he 2
recommended
Jones set three poems for this work The first two anthems
are included in the poems published as The Teares or
Lamentaciones of a Sorrowful Soule The third piece by Jones is 3
set to words not included in the 1613 edition and the poetry
differs in form from that of the others The words of the first
two anthems consist of six eight syllable lines rhyming ABABCC
The third anthem is a simple quatrain with an ABAB rhyme scheme
The first two anthems closely resemble the favorite form set from
The Phoenix Nest the difference being that the lines in the
2 Leighton p x
3 Leighton p xxv
-41-
4 miscellany are ten syllables long The poetry from these
anthems is included in Appendix Six
Robert Jones composed a fourth sacred work This piece
Sing Joyfully which will be referred to as the Oxford Anthem 5
is included in the Christ Church Mus Mss 56-60 The source
for this manuscript has already been discussed in Chapter II No
modern transcription exists for this anthem and may be attributed
to the fact that the bass part is missing and this anthem is one
of a few anthems in the Christ Church Mss not found in other
sources
The possibility that the Oxford anthem was the piece that
Jones composed to meet degree requirements at Oxford has been
presented in Chapter II To substantiate this claim further the
words of Psalm 81 from the Book of Common Prayer printed in 1619
and from The Bible of 1595 are included here This will
facilitate comparison with the Oxford Anthem facsimile from
Christ Church and its transcription and recreated Bass part
4 Edward Doughtie Lyrics from English Airs 1596-1622
(Cambridge Howard University Press 1970) p 25
5 This manuscript has not been recorded in RISM
-42-
6 The Book of Common Prayer 1619
Sing we merrily unto God our strength Make a cheerful noise unto the god of Jacob
Take the psalme bring hither the tabret The merrie harp with the lute
Blow up the trumpet in the new moon Even in the time appointed And on our solemne feast day
7 The Bible 1595
Sing joyfully unto God our strength Sing loud unto the God of Jaakob
Take the song and bring forth the timbrel The pleasant harpe with the viole
Blow the trumpet in the new moone Even in the time appointed At our feast day
6 The Book of Common Prayer and Administration of the
Sacraments and other Rites and Ceremonies of the Church of England with the Psalter or Psalmes of David Printed by Thomas and John Buch Printers to the University of Cambridge 1619
7 The Bible That is the Holy Scripture contained in the
Old and Newe Testament London Deputies of Christopher Barker printers to the Queenes most excellent Maiestie 1595
-43-
The bass was reconstructed after a study was made of the
style used by Jones in his two madrigals for five voices and the
one anthem for five voices in Leightonbulls work The madrigals
were used for this comparison because of the similarity of style
with the anthem
In general Jones uses the bass as a platform for the other
voices Large skips are used sparingly and the relationships of
thirds and sixths with the tenor voice is usually maintained
The frequent use of whole notes and rests and the rare use of
dotted rhythms and eighth notes emphasizes the stable voice
leading Jones rarely initiates word painting or new rhythmic
patterns in the bass However the bass is used to start an
upward scalar pattern carried through by the other voices in turn
It is hoped that the reconstructed bass for the Oxford
Anthem is in keeping with Jonesbull methods The transcription
would not have been possible without Dr Clyde Brockett It is
possible to include the anthem because of the assistance of Mr
H J R Wing of Christ Church Oxford
44
Cantus middot
( -11 ((
) L ~L I
middotmiddot~middot 0
I I
45
Cantus
------------------------------ ====~====================~ I
I ~
j-- ---====-=--=--=--=---=----=---=--=----~~----------===shy
l I
r
l t
I
~-
t ~
middot r I
(1 c I ( middoto
A ~ -1 bull T I bull 1-Jtc v I
bull
~iof~ictf ----middot-
t~L f ef a attf j az ~ E I cfft ~ fiipound wuamp J1 -------- --4----bull- - -- --
iS
l ----=-----------
47
I middot--- - -- - -- I
j It~middot~ ~~I ~CJ m bKpound fy nt-l a~ PJtttfd (Ul A ~
t Ybull T 0 A I I I
~ -t-I I I - bull I I l bull I I I bull bull J I 1 bull I I I
A - bull ~ I
1
-~-- -- ---middot-------------+
-------middot---middot~---------
1----- --------~---
48
middot- middot---- -- ------middot --~___middot---~- ~--middotmiddot ~
49
Contra tenor
middot -bullmiddota --~ilirtttwbullnbullmiddot d_rl_ mr
I ~
i-----------------------_)_
F------ --
______ _
-------middot--middot-----middot -~-- ----- middot-middot-middotmiddot --~----middot- ------- ------shy+----- ------------ -----r=-~----_____middot ~~~---~--~- ~~~-~~-~-----_ --I
I
(I
bull
middot~
I ii l
l
l Imiddot
-I
(
50
Tenor
------
fwaft qtmiddoto( tft~ tfttttt~l hF Ibull bull ~ l~~r---~-~- ~ - =13
t)tl) tfc G11 pound th (b ir th~ tf~~ v
~-f~~-~3 -----+ ~ ------middot =-==~-~-fi I 1Ppoundf ft t1 c If r 11 a h -middot qCo ~~ l-K~-
I I I
bull
51
Tenor
l ~
~ ~r--=t-~ ~ J middot~middot bull I I
13fon ~ lppt ~fie bmpt~H1 tfv1VC btpound lLi hum( Efl J A t I o bull
H-1----r~ni----=ll bull1 -----i - r~ n middot bull -~ t i ~ -J j) I l 1 bull 1 bull l
~ bull bull T _ obull bull -x I n _PI I I I T I I amp bull T 1 1 middot y tl- 1 L~t--I ----J-middot-middotmiddotmiddot1_--1-- _-~--~~--Jmiddot middotL__-1L --1-- -
- I 1 I _ 1___1 - -4-1-J - +--+1--ll- J ) 0 I 1 I I I I -~-- ----- ~ A bull bull I (I V =-
---- - --------- middot------
I he Oxford Anthem 52 Robert Jones
5 J J J ) J f r middot r I
Sing joy ful ly un to the Lord our I 1) I Js - I 0 I ) ) ]I ) 11 J bull v- l l
Sing JOY ful ly un I to the Lord Si ngl I I - _ f r
1 r t7 t r t l middot~ I I I ~ _l I I
I l I
Sing joy ful ly un to the Lord our i strength
1 6J
J I
i - ( J amp J
-plusmn=-
I Sing joy ful ly
-c un to the
r r2 c= f r F ( f z 0 r I l ~ 1
Sing joy ful - ly un to the Lord our
10 j J r
I I I l r I I 1 I f I
0 0 tJ bull middot I ~ I I I t _a l r
II I I strength Sing joy - ful -t ly un - to the ~middot Lord our I I I i
I
_I 1 I I I I l I
I ) I 0 I ~I I j l Ll I I
$ j I lfO J I - -~~ L7 t I -v - _
~ joy - ful - l y un - to the Lord our I I
~ ) _ IQoll I ~ 1 y middott I -
I I j I l r I I I -r r 1
I Sing joy - ful - ly un - 1o the I Lord our
I I I I I 1
0 0 I ~ Q - -~
- I - -~ - lord our l strength Sinmiddot] _
I I 1 - I I ) i j J middot __ ___ -- t -
strength Sing loud un-to the
I r I J () h fl e J j (~ I I II r- j 0 I v 0 i r c
53
I i
I - I - I - I r r r ( J I _J_ I 11 _l [
~ I I I
I
~
I strength Sing 1oud un-to the I
I I I I r r r J y r J - 1 v I I 1 l -l - I - -
I str ~ength Sing 1 oud un-to the j god of I la -
t I I J J l J r
11 - f~ t v I I I L y
r l I
I
strength Sing 1 oud un to the god of j I
I
- ~ ~
r r 1 r r t Igt I
J r I I I r - I
I - loud un to the god of I Jq -
I
v I () p 0 I I _ I ~
I I
god of Ja cob Ja
5
god of Ja cob
cob Sing I lou un to t e j I I
] l ~ ~ i
r - I r r r I v I I (7 I v I I I i
I t
Ja cob Sing loud to thf god of I~
- un I l
~ bull
I I L A 1 I I f- I 1 _J _I L l_ l I t I I ~ t r __ __
-fi I l I I
cob Sing loud un to the god
0 eO 0 __ =J
of j Ja cob i middot
----------~--------------------------~1---o----------~l ~ gt~ f middot
cob Sing
20
- I r j I 11
C I r
I
loud Sing un ~ - r 0
I
god of Ja
r 1 I t7 J _J
~
Ja cob -
1 -I J p 0
Ja cob
r c r f
(l
loud un to the god
I l I JI I
-1
0 l-
cob the god - y 0
I I I
the god
0
I
cob f
~ I I 1 I I J
I ~ t I J middot 0 t--1 J I
t to the g od
c9
god of
r I
to
-I
fvO
Ja
I I
l
Sing l
~~
of
I r I I
the
I
I -
---L--1 I
I J ~
54
y
god
L-
cob
I J
cob
_j
I 0
I amp
Ja
25
l 1
--of
- a I
of
Ja
0
i
I of l Ja
I 1
~ t 1 _ Q _ ~ middot
of
Ja
Ja
I I -J I I
- 0
of Ja -I -middot I
J l _ I I
rl 0 0 - -
I of Ja middot-
I j j I _ J I
~
~ (_ I ~
loud un
ampI _
j9
cob the
r
J I I -1 --11 2_ ~~~~
I
Ja - middotcob
i-1 I -f-1
I bulli cob
I
I
- j - w cob j
i l i
J I ------ I t-1 I I - I cob
cob
1n I
I I I J (7
c_ -
-Take I the
- bull- I I r 7 A_ f I r
0 I ---
j
Take the harp t the I
J ~middot
I bull I f~ [ I [ I
J -Take the harp the
1 1 -I I I _
( y
~
Take the
p f bull
Take the
35
f J J I
I 15 Z
) lt I
brell I
tym tym
I 0
CJ ) J forth the tym- 1 bre 11
I I l _ I I I 1 j I
omiddot i I I
harp and ~ bring forth the I I I
1 r
I I + and bring I
~)
r t harp and bring
55
_ -
harp
j fr
r - ti (J J ____ r
-
f ) I
v J
harp the
a
(2
harp the
f
brell
1__ J
and
0 I tl
-
)
harp
~
harp
I J
harp
harp
~ the
r bring
r [I
I I y
rJ I
11
and I bring
f I
and I
f
I ~
I
t take
___
I
I
r ta ke
J 1
tym bull
( r forth the
- _ --- r
tym - brell I j J
I I I J I r I i
_) middot forth the tym - bre 11 the
( t
f I r r-I I z
forth the tym brell the
I 1 1
amp
forth the
1 A ~
bring
I A
7
the
t )
the
I
~ I ~
I I
l
56
40 I I I I I
I t I 0 I _i I I i ~ ~ --middot
li 11 11 I -
- brell and bring forth the I tym - bre 11 tym - brel 1
I ~ - I 1 () 0 1 I r 1 - --- i
I
tym brell and brin9 forth the I - I
_ 17 - i 77 j
- r - T T _ I I J ~ I I I I
I I 1 ( bre 11 ) the tym - brell I the
i I I II
u I pound I A J ~ -1
I -
~
tym - brel l and bring I forth the tym -I
J amp Fyen tji
F l
tym brell tym brell
I I -- I I j I
I l
-J ~ I ~ ~
J
harp and the sweet the ~ I plea sant
middot - --f ) I i I e 61 0 J ( z
bull
tym - brell the tym brell ~ the ft ~middot c t r 19 ufJ f ( c t I
pleasant harp and the vi 0 ll the pleasant harp
j ) j middot99 J GJ or gt _ -5
brell bring forth the tym brel1 th ~e
9 l f~ ( __ r I ~~
-- -
Bring forth the tym brell
57
45 J
I I I [ f I C) A A I A I j l - -
-
~~ ( _
vi - I 011 t sweet vi - oll the I I
I -- 1 - l l 1 (7 I I I J 0 A I J bull
$ r - I brell I
themiddot 1 pleasant harp and the sweet i I
- p I I
r I I lt I_ c I I I r
I I and the vi - I 011
l vi - 011 I
I I I 0 I I
r I -J y v - I I I ~
p~~~~~nt harp and the sweet vi - 011
I
_ v - 0 I I r t I I II 1 I J I I
the plea sant harp and the sweet vi - oll
50 1 I I I I j tl I l bull I
I J L t- 0 J I
-
I ~
J I
pleasant harp and the sweet vi I ollll the I
~ -- _f I A middot bull 0 J i r 1 l I I
vi I oll the plea - sant p
r I i T 0 - 0 I I
I f I I - ------I I I I j
i
the ple~sant harp ~nd the vi - -
I
--- I _l I I I --1 0 I r l
C-
vmiddoti I - 011 the ~
pl ~ea sant harp - C) r 1-
~ r I I )
r ( I l r
I I t
and the sweet vi - all sweet vi ol1
58
I I I I L_ I J _l J f J
I I I
~ r
pleasant harp bull and the --_
t I I I -_j
harp and the sweet -l I
f middotv A I I I I
011 t the I plea - sant I I
I I
I I I i I J t7 Lc -I
and the sweet I
vi I -i - I -
- J
I c- -
oll and l i I
1 I J J J_ v A
I I
oll the I pleasant harp j _ k
-r= 0 I
t I
t
sweet I vi I I _I I
11 i I I I I I I 11 _j ~ C I J _lj bull
harp and th~e I J I ~
sweet vi - 011
J ~
t
the pleasant harp flnd
55 r J1
1 _r _I_
swe ~et vi - I I
- ~ I I A ~middot _t2_ I
I
vi oll I -
t I _l l
fL
harp and
t
al l
-
j_
A I I
th~ swee~ I
j_ 1 L1_
J _L _r I
I I
and the sweet l A
~
i t l I I
I
011
- I
r r the
the sweet vi
0
-0
vi 0
~
the
I t
the
-
60
0bull
vi
0
vi
-
J
pleasant
-
l I I
J bull
pleasant
-
-
amp l
I
l the
I
I
harp I
----1
59
I I
_ middot-I
- I - - __
I ---- oll I I
~~ - f r I f I J e_ I I _
011 I the plea sant harp and
0 - 11
r - - 1 v I I r l I I --~
J _L I l I
pleasant harp and th ~e sweet I vi --j 011 t I
I _I_ ) - I
_I r D I J I 0 I I
I and the sweet vi -- 011 and l the
J ~
-- -=- 7 r I
I T T r l I I 7 l I
pleasant harp and the sweet
65
- - r I
I I J I I J
I ~J ~ v I bull J cent ~
--
the pleasant harp and the sweet - _ r r ~if L) I I tJ - - I I l I I 0 -1 F _l T 0 j I J l I - -- the ~weet
vi - 0 ll t and the sweet vi -ll n middotmiddot-
I I ~middot r I - - t - f7 I I I l _ (7
j j --w
sweet vi - 011 sweet - vi -
I I I I T T - t i -- A t7 r 1 T 7 T i ~ i
_l J
I I I I
I sweet vi - 011 fhe I pleasant harp and the sweet j I I
u I l I J -1 1 0 I )
f I
vi 011 and the sweet
ou
70
-- - I I I I J
~ I I j ~ (1 77 -~
vi - oll the pleasant harp
I I - j I I I A I 410 7
-- L
- oll the plea - sant t --1
I L I I J 0
I I I I ~ ~ t r _fl_ 0 0 _ II I I
1 I - oll~ the pleasant harp and the swmiddoteet
~ I ~ ~
y JoiO c I- I l I r
I I
vi
I 011 sweet v+ 0 ll - -L
- l I I 0 J --- t 0
I
vi oll the sweet
75 I I
I I T J j I A ~
~
I - _() ] middot -- -- -- bull l I and the sweet vi - 0 ll
_l I 1 77 0 0 0 -I - 0 I y l ---- t ------ I I I
harp and the sweet I vi - 011 bull I I
0 0 C)
poundJ I - t (7
I middot-I
vi - oll sweet vi - 011
I I
~---0 J 1 I t J -middot
I _ _ bull I I 17 ~
I - -
I
f t he sweet vi - - 011 bull
- I CJ I
C if- I I
I I 0 T _ I I l I
vi oll vi
~ bull Scr-ibe error shc~AIJ b~
61
80 111
I I j t - - I - J I I y ( j r 1 bull
amplow the I
up I trum - pet I
~ - - j j I r A j J I t - 1
Blow up the trum - pet oiL - r
p r r Igt t r r r f- I I t J I I i middotp I I
I I J I I
Blow the I
i trum up trum - pet Blow up the l - pet
I I I middotr I
f r l J ~I I r- r _r j A I I I _
I i I I r I
Blow ~p the trum - pet Blow up the I trum - pet _ I bull_ _
0 ~ I I l I I I I I I
I
I I l I
Blow up the trum - middot pe~ the trum - pet
85
f 1 - I I I ~ I I I r ( J-middot I I r J J -1
I r l bull
I
trum pet the I trum pet the trum p ~et - -A - I p - - I t
~middot J I r _1 L I t
I I ~ I
the trum - p ~et 1 the I trum - pett
- i I i ~ _
-l f r r ll _r_ [ middotp t
t I I J l t I I I I l
~ I bull I bullmiddot
Blow the Bl~ ow the r bull
trum pet up trum - pet up -t I
- I t l j_ L _L A I
r r J r J I A J f ~
l I I - I bull I
bull I I
Blow up the trum pet Blm_r up the trum pet I - -I
tt) 7 - 0 _ I 0 i I I -I 7 I I I I I I l I
--J I I _J
Blow up the trum pet the trum pet
0pound
_I I I I - I I J I I I 0 -II I L J I J - j
- Jf o I J 0
ln] the new moont evn i n the time ap -
- -- I
- I t l v t -1 I I_ I l I J ~() -in the new moon the new
I I
~
[ 11 -~ - 0 J - I
I ~ l I I 1 I I
I
in the new moon in I
I I I I - I I j J l J _0 r r J p
I
gt in
I the in the new moon~ new
1 _ - r- r r r - I
I I J I I ~
1
in the new moon
A ~ I I I
r
r f cl - A I _f I I I I I
- _ 0
l I gt _ _ I
I poin - ted at our feast day at
-middot - _
-moon
I l I
_ I I J r ~middot I I J j - t 0 A A
I - r-- ~ ~
the new I moon evbulln [in) the time ap-
J I ~ 7 j I I I ~
r r T I I _I I
1 _ J J t J l - j ~
I I pol nted I sol moon I evn in the time ap at our - emn -
I I + -( _-f- i- ___ - ~middot
_ T I I I J 1 t l r 0 ~-
r I I 1 bull - I I r I I j_ I I I
r
evbulln at the time ap- poin- ted- at our feast day at
93 [ot] Ct =at II otl~ va middot
95 I I [ I l
17
J I
__ J r rJO
r---
our feast
- - I I
v_ ev 1n
0 f6 r I J l - -J I l I I I_ l J
pointed at ou~ast
1 L _ II I y _ r Cl
I r - I
feast day at our I I J
bull _) 0 [j A I _ I - t I
__- I I I
our feast
- - I I
C
evn I
- ~-
--_r r 0 ~ ~
J l I 1
our
u
day
I [ I
J _
in the ~
r I I I
poin - ted
roo -= ~5
q~
I
I r r feast dayt -oGr
- _ I
- _ I
evn I 1
I I I ~
r l l I I
~me~--I ~nted a_p_ I
J I I I I
at our fea~t day
c t ) o t h u o s [1 h) = a~ tr~J))~ribed from
altmne ~cill-ed o~~ ti
- _ _
day 1 I -I I I I
I I J r I I -J I J
in the time ap - poin-ted at
pound)- bull -J _ I j
day our I feast
- l 1 l I
~t _--tf 0 II ~ ( I
I
feast day~ ev 1 n
__ _ r I ~ r I I J
I I 1 -
day the time ap-
100 -Imiddot 6_ __ J J J I I I I J I r t _1 ) - I bull -
in the time ap- pointed at
0 _
feast day
- 0 _
r I _
bull I 1
bull jrlJ the time ap
I
~-
r T o I I I I l A _ J
a or feast day our - o---- r l - f I I I
i
1 _l 1 _ I
at our feast day
Ct VOIC~
b4
105
r r f 6J dmiddot 0 I~ j A our feast day our feast day evn I
- - ~
J I
-
l evn in the time ap- pointed at __
A 0 ~ )
y 0 J I I
poin - ted at our sol - emn
- -0 dl ~ ~- - A middotmiddotmiddotmiddot-
feast day i at our feast at L
LJ
I
- 0 - - _A
v
our feast day sol emn
l -1 I- _pound_
I -_
in the time t
ap- pointed at our feast day evn l
_ 0 1 J l ~
-- - ~ J I 1 1 - I
our feast day evn in the time ap- pointed
0 ~ _ middot- A
feast day evn
- - -d A (
at ourmiddot -f- at our ~ ~ -- 0 - ( I I
feast day evn in the time ap- poin - ted feast
I
110
J omiddot u --1 -I
lt---
in the time ap -I
poin - ted at our
0 - ---1- -I-- I
at our feast day 0middot
I - --
l
(i nJ the time ap- pointed_ at feast day
I our
l Omiddot (_) y l
I feast day
0 ap- poin - ted at o~r I
~ 7 ~bull
I v
day at our feast day in the time
115 I I -middot
I-
-- 0 bull ~ -
middotfeast day evn I in the time ap- poin ted -
I I - - 11 (7 ~ 0 -at our feast day
bull 1- t -
- A ~
I evbull n [in) the time ap-
-middot y
I
~--c CJ
feast day evn in the time pointed at
r 7- ---ap-
J ~
y -ap- pointed at our sol emn feast
iblihing Mil 414 A bullbullbullbullbull
120 -
~ y r tFU
L j _L_ y -
at our feast day at our
- - - _ (7 _ - __ -
at our feast ~ L)
a_ 1 _L r I y r1
pointed at our
feast day middotI evn UnJ th time ap -
0 1 - --I -
A middotbull -
our feast day evn r 0 0 I -- Q_
-
day our feast day feast day evn
11 - -_y 11
_V -J
- __l -
feast day at our - 1 I _L_
_Ql_ A (7 I r-i 0
daymiddot ap - poin - ted at our 0
v I y ---d I
poi n - ted at our feast day at our
____
I I - -1 v J 1
FJ Cl bO L
I I ( t-I in the time pointed at ap - our
_)_ 1 ~ ~
Ll f
_r I
in the time ap - poin -ted at our
11ishing MP 454 A bullbullbullbullbull
67
A ~ ~
Ai 0 -- C-
-feast day
I
c- _- I - -
feast day
I I --
- _ _
-- -bull
I
I
feast I
day
u -I
feast I
day
I - I
~
middot~ lt-
feast day
130 f A -J I 0 A
-7 bull - -
A - men ~
~ v j middotmiddot r I I I _ l _
A - - - - - - _ -- -- -
- j -A men
_t - - -1
0 --
I - - - - -A
I I 7
A I ~
A
i
I -I I t- 7 -t I -~
A - -
~ I I - l I
t-- 0 I A
I I
- A men I M - I
- r ~I r v t I 1 I I _t J I I T I
A - - - ~ - men
c-~ I
- -I -
mmiddoten A I I I
--- 1 I I I J
I I T J _t A - I -
men A
135 l
I I I I _I -1 I ~~I I I 1 0 -l - I I I J rj~
- _
r --- ___ A -~ - - - - -01en -
I 11 - ~ - I t _ r p
r I J I I v I l J I
- - men A - -I I - I I -p - v_
v C7 I I -- __ I
-A men A
~ J I I I
I l I J I A _ - L7 JJ J ~
~ v p
- - - - - --
I I I J y __ I T r I I
~ I I I 0 ~~ - V
men A
lblishint MP 414 A bull
I I
I --- -~
- - tf a ~ - - _ - -- - men
0 ___
- men - A _ - ~ I --- -
I - men
- i _
- -- ---men
--
~--
_
men
tblishin9 MP 414 A 7
----
l I
72 ___________ ____ Ff gure 1
I I I
middot-
i
l I I r I 1 I
I r
IH pound
FIRST BOOK E I I ofSo11ge or q_fyftlJ of iRetiiu~
rourf parn ilh TJ 1
binsr~l tb( lbullU
paru togethcror ~lther of middot dle1Jlfhur2llynliay be toils it _ l 11l~U~~~r
to dte Lutebull Orpbad~l
or Viol de gllllbo Compoftdby Robct~ ltJ~Xto
f
----
1
l
I ~
1
I I
73
Figure 2
TO THE HO middotNORABJJE Ai~O VETt T OVS GENTLEMAN SIR ROBERT SlDNEY KNlCH -c
Gouernour nder her Mai~fi~e of the tOne f VltlbitJ1
and the CaAJe of the Jldlraquotftns In the low C oumnes and of tJtjorll ojtltf411Jt AJtntLrrpuh thtJbullrr-ifonthenmiddot
In plilctdMTftU D b~ifi~jiUitt
~~~ii~5fil Our great loue and famor Honorable Syreuer rhanifellcd toal OrthyScier ces hath ltnbdened me to offer vppe t
y~ut ~ordfiups Shrnc thefe the vr I wortht~middot labours of my uulicall trau~~middot And though in refpect or their Veake nes they ln~y perhaps leenu vntin1ely
bull=-o=====~ broughtfor[hand theremiddotbre the vnlikelrshyerlo pr~fpermiddot yet doubt I rt~t butj~ renderd by you they fl1all happclbulle find gentle cherdh~ng w h tel~ n1ar be a mea ne to make them more tlronger or elfe mtfcarrytog to etcour~ge my en~ ~ deuours to beget a better for as no arts vinclf at fever errors than muficke fo none greater enimies to thcirDvoe profeffion then Mu 1cians whowhdn in their-own ~tlguaritietheycon demne euery mans ~rkes raquo as fome wate ~duty they are cbe caufe dm an istbcmiddotldfcentc~emcJ ian~ they thuitfelues feEuted as fclfc-com e1enders tnd men man fan[aLlicll Vhcrfore if chis one cen~uringinfirm itie were remoued thefe nty ayres (free l dare fay from groffe crraurs) wauldfitde euery where mort gratious entcrtainement bull Butfince euei thofe who are betlfecneirtthis art cannacvaunt themfelueJ free from fuch de tra~ours~ ~ lhe~ leffc rega ~d irbting_fo w~ accompanie Howfaeu~r tfheretn I may gatne yout Honor~goodallOwance fuaU thinke I haae attained co the better en de of my labours (vbicb with my fdfeandthebell of my Ctruite) rcfies eaer more at your Lordihips in1ploimenc
Your LorJjh1ps lmotetl in ~tO dutifiiJfirmce
aobett lonebull
----
middotmiddot
74
Figure 3
ro THpound READER
~ gtltmiddot bull bullbull bull bull bull middot~ EntlettztnJfincem1dtireu)ourtllrtsfoulde middot ~~-- ~imiddots benlindijferentiudgtrfclllnot thin41t nt
-~~i ~ ~rflary to filalt nv trautil or nu hringing -vp ~ tbull middot 01 argtttJmts to plr[Jllade you that f haue a ~Ofd
~ op11110n of 111) feft~ only tht~ much lwzl~tJte 1n~ ~ I ot ihatJmttypretttnttherifhudgnlentsoJ[uch
bull _~~~ ~ t- ) u now n1c not E11er jinre I praflftJ fe4-- middot bull ~ kng I hat~e praRifid inging lbullauin hail not
itr qualitie tobitJder mefro1nmiddot the pifefimiddotI(TIOTPfedgt o(th~]aculu I rtue ~~~n incortngtil kr tbl lParranmiddott oj Jiucts good iugmentr that my
pt~ints herein foal 11tihe eafl proct~re_gooJii~ng if riot delight ~hich Jttfor ntineownetJtitl muflueeder Jeare 111 much 111 defi~e ~efpmiddotecialy
lien I conidtr tb Nptnes ofthu induflriousagtlhtrtillaU mtn tndeshyrwurto nol~t all Ninges I ronfefo I 1as not --nTiiUing to emhract the conctitr of fuch ge1tlemen uraquorere ear til to h11 ue me AfpbullreU thtfo ~~~ tits for them ~hihthough they intendet or their pmiddot_iuate rmeation 11eUcr meaning thfJhoultcomeintothe~tght~tre 1elf(I1Jten~ )pon inshytrtiiJ ~o ma~ thtoncouragementr of tq1s ~ jrfl di~tr~tllre 1Pkere11p~ PO f lilas ~lmrfl ~~to m4~e tnJ flfaJ ftiJt~ne lJJtbtU~OTJ pr~-shymtn~ thAt if lY ctfimiddotnnrfoilttltn( ~ M_~HJI ~~H fllghl P_eakt for theme~ts ~boTPfoeiltr 1~plt4ftth tbtm middottodlaquonunl bl~tt of thest ihen oftbeft1 0 f purp_ofo ( M -ltfiOiddfiemt)tom~t4 mehJ1eut I hm do (omething 1111 onb hope i1 thai fo~ing ntither J cold AJres A nor fheir idedties ( u thgDi[ntedtl hau t cAUthtin) hAue hithn-to Jeene foc~ttd in Ut tdrtJ of rnanie thg maierh~nttlflil)dt f~Kh enshytertllinmentJ llJ conmonlit nn~e1 aoth in tht bullorJ ~thith if I J he fo
middot ~appie~(o he11re lTtiUnoefaie my next jh11H Itt ampttirr1hut I ~a promift tO tfl~middotIJfOft f4intmiddotsroJmJ lliOt fOintsof mfiampJtwbich noJJt coufJ not JohectJuft YlitJtffcllrerPu (ofttlht (Jf~mtk~Jor~ ~~~~hen muflhe-ullJe~ connntDith e11ch IIJantlll))foU cenfurtU IjhJbe giAJ of fomt mtns vndeftrueJ fouourl
-J
--
IJ
Figure 4
~~ ~ A Table of aU the Songs contained in thir7JooJc ~~~Ul
middotImiddot AWordans LookecS middot Fertd Wlnto~ youdu ~~= Sheewhorematd)Jet1ebcaury f+- ~ Qncre did I laue ~~~ L~d ~r~Atongdcfuc l Ltc dOwne poorc bean J ~ bull n Wl I _ ~ -b _nere rngrrnguare
1 - i1 Hcroatenotchougb ~ z- middot ~ Wbcnleucandumo bull ~~ Swee(te come awa t bull -a Wmiddotomenmiddotbullhataicrtbey
EarcweHdccrc louc ~ middot gt ~ ~ 0 my paorc eiu r~ ~ a If fathers knew
bull ~e i Life is a PoeampJ phablo ~~~ Sweere Pbilomdl fi ~- ~ 9 That heart 1 ~
1 VVbit ifl feckc MymiRris
middot~ M ~ Petplcxed _ 1 ~ Can lllodca pbine dctir
I
middot 11 - 1 ~ ~ middotr_ ~ r fl~ - I
l j It I I
~ ~
-I i I
lj middot J ~t ir- I
bull Ill - -middotmiddot - B
L lL m IUL v VL vu VUL IX X XL xn
xm X1Dl-xv XVI xvn
I t
I r-middot
r --- ~ I r- ~ J
I
Figure 5
--------------~- ____ __ t
lf~ flfl TJE
B 0 0 K E 0 F S 0 N G S AND AYRES
Set out to the Lute lhe bafe Violl the pr-ynt Wdl etr tbr 84ft by
tablcturc afitr lhc lctlo ~114
CftftJJ Kobert Iones bull ~middotihl~ by Pr flaquo Afbs by bullbe
~Jm ~f11HtfNI Al~rl)l J tbull6t Cold bulll bullhe Inner l(mplc
u bullr bull 1-ot
_ +- - middot tmiddot bull
~
II
Figure 6
------middot--~ middot-------
T 0 T I-1 E It l G I-I T V E R T V 0 V S A~ D V oR T II Y K ~I G H T S 1 R
H F N It Y L f 0 N i D -middotrmiddot t ~ ~ ---middot~middot 0 R T H) Sir mJ my_ Honourablc fiicnd I giue you thi~ ~~ ~~~1 bull CIJIIJl pr~u~ gtou hnng at vp bccaufc I ttm o1 ~orc mn ami t ~ middot ~ _ can nor maanrunc bull t 1t bulluy ~ulfcc muchaducrfi u~ ~~~ my nam c
middot middot your For~u~c mnc aJ~cr llJS rtJrrcs 1_nd make h1m hJppac bull f ~ I fhopghllllbtherbe ahmiddot oe l ulltec~Uhoun Orpbanrlorpm rc
mens CbddrlfJ -are Orplano borne and more to be piuiCd d~cn they liJJt hJ11c changed thcidltl cr) lor their ltuJ ~ fud1 mlc bullai(e themfduc~hl due time we h0111C oo wJ ic to l lciglncnour being bm by lbulllothcr pomiddotNcr As Gcntlcwo- mtn pecce lhcmfdbullcs with Tij es and Co ronctsto t p flC trt mor~ per fcmablc ~nd t~ll o UltJfi woaJdc VntO OUl )ulctlCS if wew11 not De (corned iardwarfcs) rhccroYlC of Acnllc pC1fons mgtre cmincnt and hi~h Our (Lnurcs ~rc nor fct aboue d3nshygcr i WCcJuJowc hdor CUCflC footetO trcadc vpOtr OUt place IS he cround there icnodnng balc-~trwsandycr dcuil~ion _m pun n lower if wee h~uenotgood ~(reds Th~ y wiH fin_J _me~nc~ lfl digg c and In v s down~ irnu the cllth ~ nd burie yenS
bcfotc ourume Th1s 1s the nufc of pttroua~ct nnd thli ts rho p(rlecutton o( ahem tlpt wouldingroffc ~11 Gloric imo the~r owne hmds But t~cdJt UJl~ o~ rhtfe mcn they bite the truhe~ thcmfdues 01ould fee de vpon Vcrtuc would llrlng fonh mmie h1idrtfl but 1hey hold them an the wombe that lhcy due not come hut As the coshyucrolls maf~~ fi~gcth aU the hind about h1m wath fi3tuus 6ncsand b~nds i1 nd othc r (uch Iike~iumiddot 1 warre (o doth the ambitious intrap the Jinle pori ion of ante commenshydations cha m~ ic fie II bcfidcdilm And like the mercalcff- Souldicn lhe Cafilcs they cmnot t~ kc they blow vp They uc a~ f(nring of cucr ie CmUlrcJun~flc of crcdifbull ~s iflt were I aide vp in oonnnon-bmke and the more were giuco a wile the IelTe would ~orne to tl1cic nbullarcs Theya1 c mafcra~lc men) _f roill onlf br~md (htm wi1h this m rk~ and let dttmgoe Thty were Eaglci tftheyd1d not rJtch Hycsas lheY ate thcy-bullro grculhings)muchldfcthcnnoamphing For my parc)l willnotcorucoa wiJhchcm ( aeiire JlO appf~u(c or commcndadons lei ch~m haue the flmc of Ecchocs and (oundf and let me be a Bird in your C~ge fin~ to Y fclfc ~nd yo-1 Tl)is is uiy coment and this is my llmbition~ if 1 haucthis Jfiile nm in mtcxpclhton il more for rour akcth~t is my ashbntagct andl will owe you duciie for it in the m~anc time lrcfL
fl 0 Jt I ll T 1 0 H R ~
A 2
10
Figure 7
f
TO THE READER
rSI~~---11~~~ E AD E R 1 btt11t atrl moruuuttiWtJ to At~ IIgtJ oujlU rtPhul~r J b411t 6o1ft WU r no td~n( tlull
--=middot ~m~laquoh ft~inen~ rltoife thrt e~tU th4t jwiUf-1 fortify j - ~ry inrtnl toJll~rJdbtt lllll JJ 1tt btctufo
z kow tlwcwot r middot41d I IU jtlllrl ftDf gr~flJ(t D
comftlirltfto Wilrrant J tnJtutJMrs lll-bullfl o~U met~ ~ J bull JqJ it 110 fJ1J1111t tJ ()~~ Vfri~btrztQt ~~~ thttiJJkJt 1 ~~
J tntlfflt IUJtl~ AUfljt my Jrlfrof~lliJtnltt yluggbullJ ~~a~ ~~~~ iby fat~olll ~ whrrtin l t~sft rt~tiJti tJ itftritk rkJt ~D11bull
II~~~~~-~~ llllldllllorlt 1 then PJ my ownt bullfi 1 to frt 9 l4hD~ifl ~Ill (o Jbulllr The llNIIb b lllthlugh l wbull nbulll fo nilt
Jllltll J rptnpofol l~rt cA7rn t~Jt J J4n1Jt~t jl11d c tbrbbull~r~ of t~rirt~~min~tion Ttt Jwould bt ~it~J( if 1t ~IJtbi) thfl~tlt J1nJI7 tpptabat~tm mtJbtgtlltll1t mcouragtmtntto foutJJm t1Jan4rfoltJumfltt JrtlltfJJJJ rlmu t4ttJ hertJttr bull Jftb( Dtt~itr aiftk dJrlmiddot 1
1ll mjiullt- th~tt lJU fo e~DlJ til flbfffll 1J_
pri~su rt~nttnrntu(JilltrJ Gnt(tmt~ith~ut tbti~tonj~IUJ lhh ( lmiddotbPfl J nor 4middot gbullmJltbdr tltls RPtrtm if t~oN ftrJJ afllltiJmg to rnrtttfllltbmiddotrlq Jefiri rblt~k m~ jtlr th] rtltre ~uwr mr~nt tiNt~ J (nmiddotow nDJ l11w 11 ttiiIbullrt~ttmt Q(lr~IJt bullMtillllb~n~l tkrt p~NJ btn~ GtJ~thmbulln ( btn H 1tJ4j ~middot1 fo mfcb pbullrnufor fo hulltMJ) tbl wbullD n ~911middot cl11~1ht c~n 4~ ItA k bull~ loiftr bi Imiddot~~~middot 1l~~JtMjrlrJIJ g_olll bullJtiK tlritil bullfhu tNnmng JifJbulltlltmtbulltJJ tblttll) bt(t11TiflfllJ ~~JUJhlllfJ nolliIYIIJ hu tiJN)t rl1tfo Jrtlo dtjilehim Cif ht-6middott nt~~zruiiPbullP bulllirbnmiddotz ii) tb41hfmaj(J 4ctrp1tbt N6inrri DnDfiiiJ Nt1111t M 11 f~cirnl Tiflsmonit th~t J ttm wat bAiflrJ oinflrt~DJ~Il Jflhtrtifl Iter 1 iraquo94fftt~r rt~hbullffibullNJ7rll ~ ~ J~fiijitJIIjon ~so~middotrbrr~fl tb~l1fDMJj~inc in formt llltil tbtY ktofMttlhm~ Jytbur gmzt411Jtjl~ ~INtrltlbltlg J IJ n1t j11 rnbullch 41 tltfirtthtm o 6elftbulltbull ltARJf11ould hfrrbl teacluhmr At lr~tp bow tbl) IJII~ bt ttmt je F r 1hl 1Jc)Dl 1 will foit 1n1J t hHJ mMch tbtrt blllh not bttnl u~tPttt of tbil fojhitm wampicblf tha jh11l1 pron~gturt to bt blWirtbmiddottb btAtHitJ rtfl fJfifjitJ) if tlbJtit~tor Pbullrewell~
Leaftanie ntan fi1ouldfeen1e to acctlfc tneoflingularitit for expref~ fing thetimeo( myfong~s by prlcke fong Neres neuer b~reto fore vfemiddotd Ihaueforhis ~euer innruction hcr~un~o indeuoored to fatiffie him
amp t r f A Scmlbrcofe Minnum~ ChrocberQampIItr
-----
~ qA~ ~- ~ 1b [G~ ir~1
~~J ~ v 1
~ ~~ c a
c ~ ~79 - =-m
IC~~
~ p _l
9t ~ ~
ll4 ~ l
-- 79
Figure 8
-
A Table of all the Songs contain~d in thitltBook
I loue wing middotd my hopes I I Jly louc bound m~ with ~ kiffe
1 I f bull 0 how my thoughts doe be~ t me II [ Ore ames ~nd I magi Oitiom V Nfcc thought thi~other night V l IVho fo is tidmiddot= 1 II fie fie V Ill e~~utic (bndc further I X Now what is loUI X loues God it a boy X I Ouerthcfebrookcs X I ( Whither 1Unnc1h my fw cct hart X II I Once did lloue X II I 1 F1ire womtn X V D~mtic d~rling
X V l My Jouc is neither yoong nor otd X VI I Loue is a b~blo X V I I I A rife XIX Did cuerman
middot XX To lighandtohefad X X I Come fa tro-w con1e
0
I l Jl
iir 01 11 -~
~~~ ~~ ~
t~ ~1
~P J
~~8 L e
( _] middot~- - ~
v lft -amp A
l -
I
~u
Figure 9
-----------------------------~
VLTMfiM fl IILE virh a triplicity ofMuficke
W HEREOF lbt firfl p~trt ir (or t~t Llltt J tbt Voyc~ and the Vbullolc Deg1mbo The Jcflt lbt Lbulltt tfH Yllt 2J IMrt
p1ne1 to fine The third part is foe twoTtcbl~t to 1fint ~it hc 10
lbtAr n- rhll 1~ bullr t-
bull bf ~ Compofed byR obull bull T lo bullbullmiddot
fl fr1fbull1JibullJ~ ~ 4111 Priorcd It london br r~ i JIIiWd
~re robcfoJd l)yS pfn (lw J bt sJ-laquo
ttfiN C01bull1 I 6 G l bull
81
Figure 10
r~IW~- ~~~middot middot~- middot ~middot bull bull
TO THE GREAT lOY AND HOPpound OF PCZ(ESB~Tuf ~Jgt rUTUfF
Times H E N R ~ E P ri nee of lf a cr Duke Cl~r41wt1 ElJieoflhc CIJjtJirfbullibulltifttfchtjltr Knight ~fthdiDIN ribkoJenf
dl G4rUr Hcyu App rant 10 tht Rcllmcs of Elrjuntl Scotbnd France and JrdoJnd
Ojl Exrelknt Prince T Jr flrengtb of our d rt (] houJ aythrrPuaf(ncsgt) cannot endure tbc force of Soueraigne
erltlCpoundOf1tcncarcitwemay tU ncarc u to you your poundarcJ TPillyet_ be arc to deale wuhfottndes tbougb nor to
dwcU there yet to pajfe by tbcm1nd by teJiJ to learn to tune Jenjcs lJ a nper a~c c-A lmo all attr k[JlPicdge ir drallme through the ftnfirtbey arc the Saulctntclligencfrf -wbcrciy (he paffith into tbc -world a11J theTPorld into bcrttnd tJntangl ali ~(than )there is none fo learned__ a1 the tare~ none hatbobtainedfa cxccllrnt tJJJ ufrtJjodelicate1[a ablrufe fo p_irituaJ thAt itCIJtChftb rup TPifde fo undet in tbe Jitt and brin~~J tk Under tJ goucrtJC1fttnt ntJt to he expreffi1gtbut donegt and done by no sQll buf it otPn~ Thereu Mufic-k in all thinretbttt ettery tnan cannotfinde i t Ot4t)
iltampAJJjeofbilo~neurri11ghee MJlft baue 4 harmo1J_J in hiinftl[e)hat hold goe-about it and then bt u in~ good way 111 be that ht~th a gwti ~artJ in d
oudfot1llardtUJ to our focultit [ onceitc u but aTPtll tundejat~ry done in tinu ~ pLsce ~~~ ex(ellezt fintencril hut a TPell lHn~e rea(vn Dell nit ltgethtr P ollte or the fubt efl therof a [omit 1on IJ1ellltbu6utll lite I tuul middot e
Song T~htr~-allr41ltl Joettgrec ana lnccte together~ith foil C011ftneanti lJartiJOnJ one Jertung otherand cuery ont rhemfeltlet in tht Jam~ lAbour ButnolP] intrudeintoJOilr llrtin whicb 411 pnry(anJ ftc hoper)thal q oJ ~iff giucyou a oJy aru profpetOI~S k_JoIIJfedge anJ t)en aJ orhtr eJ rtCS foal profPpoundrnder it Our gracious S tll7aigt7(Tour H~h11ei dear FatJcr) hath ar11trd atul conortedjomc great prOfifiolH areaJy~ fi~eh1ittleoneJ dJ this )oo e for itgtand heg il cfw OJ4 your p ri nccb nature promi[eth it J hich m4 es nv boJJnet bopefor p4r on ltJucbfiifc tne(mojl exctllcnt Pr1nce) )ourProte8ion Ph(f1flt)on41lowJall Qtbtrs rPill conrmtnd theircenfitrer n A it fobulluoflrlikjngthst ot~~rraquoJift1Pold Jifpift me bull EN en your n meJ the forefrTJntu ll charmifor ~~talttiOHl trmgtu ThAI praJtng thatyour Htghnt IIJ aDtaet h~ttte dtJ tttre t~be te alir bulllltuJijingulj1J ~tht _fo14tuJ of lTlCth l necl tftJOUr Higbnes feet
Your Highnes in all hom blc tl~~tJt AIIJ cruice
RoaampampT
lo N s
82
Figure 11
- ~ H c ldndc A pplauf~ vherevith I hau~ been~ revardcd in n1y former A yrcs hr fuch Gcndemen as can iudg~
~~~mJ Imiddotb middot Y the e bull are~ an not other 1n~ns Echo~s hath nov du s ~ middot durd t1me gmcn n1e heart fron1 then to hope for the
like in tbcfe V hich l hauc corn ofed cuen to hew n1y
graticude rovarcles them I lulO eucry Father is paniall ouer the i ue ofhis body)and hauing his iudge1nentcorrupced by Insaffecti- onis VOn[ rofpe~J e bis Chtldrens prayfesaccordingto hisovn de fires rather the i1 I he ir de f~r ts 1 t tna y bcJ h aue thuS oucrlookcd this iffue ofn~~ br3iue whereforel wiU onely comm~nd my pur_pofceto ntakc tlus lail my bdt expcchng to reade the rruchof my fdfe out of thy reporc AnJ becaufe ant notignorancenough)to b ~egroffely taxed by any of our cunningJvlaiJlers nor bigge enouamph to beflar te~ed or c n u yed 1 hope I 01a1J not be driuen toe nq utre out my en~ 1 middotes) co heare of n1y fa~cs nor to befpeake mylriendes~uour F or ho1rvloeuer l an1 fe t in an vndetfortune thac hath need ofampicndlhip y~cit n1y Vorl e~cannot 1ufiifie n1erny wordes Htalluotl bad rather dye a be g r 1tbcn Jiue a boaler what skilltimeand mycontinuall
radifehath biucnme)hcre I gladly impantocuery wel wiUert lat gr(tuntcs me buc acc~tanae for my paines And fa I comn1it my icfe to thy cenfuse1 F arevcJI middot
7ohertloner
( middot
83
Figure 12
A TABLE CONT AI-ning all the Songs in rhis
BooK E
1 ooenotO do not prize thy be11utie 2 middot 73ea utic fote bathing h y a j pri ng ~ CjoctobedfrJJcct6lvluzcgttak thyrcjl 4Shalil loaktampoenogriifc 5 ~Pbar1jJ fpcd1t1hert 1 leafl cxpeEled 6 Slpeetcijyoulik and lotte 1ne fliJ 7 SetifetrothledrhoughtJtofgh 8 Scinrhia~cene ojSeas and Lands 9 rB la111enot tn) chee 1 I l o There is a qardci1 in hc1 forc 11 S1reete Loue my oney Trcafr4re u ~hinkft thou 1_ate to put me doUJne I) Jfhen willtltfounraineojmy tea res bedrye J+ F lye ji-o11J tbe TParld 11 Happy he botofrraquo etebomc retirdc
-Thcfc following are for z Tr~blcs
l61Jiftlaine thntjoll amph Jilfne 7 middot o) et)erchangeandjjttre not
I8SirctiuftJijJAineh 1~to ri t
19 cuftler ry hands lo vh ue lgrt~ceintreatetl ~o Oft haut fmJe the cartfe to ftn e ll J(o hAuefleamd-mithmuch4doot~tfpjl
B
84
Figure 13
ORTHE FOVRTHBOOmiddotICEOF A Y R E s
The Firlt partisfor tbe Lute poundVO Voyce s and the Viole de G ambo The Second part it for tbe ~amptte ebe Viole and joure V oices to Sing The 7 bird paramp
is for one Voycealon~ ono ~he Lumiddote the llafTe Violeot to bach if you pleaf~ VYIrrtoj~ tAlo ut ltzlitn AJrtt middot
CompufcJ by R o bull l ~ T 1 a bull s
2f trfont (intIJ J1fJJmiddotil4 iMMJifl
L o P n w lrnplintedbyloHN WI~ D T andaretobcColdcbv StCO-rt w TElSO lol inPowlcs
ChMhmiddot]tlfd)bulltlhl SlJt j lit Cfll~middot l o 9bull gt
-----
I
--- 85
Figure 14
1
- ~~
TOTHERIGHT YV 0 RmiddotS HIP F V L L AN D VV 0 R--
thy Gcndcn1nn Sir I o H N ~ E v r N T u o u r pound Knigbc pcrptlll3ll liafpinrffe and [or~tcrlt
~~)1-lpound--- -- fmiddotts not vnkncvne =nco your wcl deft ruing fdfe 0 R igh~ V Vorfhipfull that not long fince 1 cooke n-1y
V~tiltttm )a[t vith a refoluing in my ldft lHter co
put llfh aoy VOdc~sof che f1mC Natllre and Fan ion VJlereupon) betooke n1e co the eafe of n1y PJIIov
middot where SompUI -auing taken poffehionofmyeyesand u 1orphttlf the charge of my feofes it happenrd
~~~~Mmiddot~~~bull rnee to fall into aM uftcal dreame wherein Jbulldl middot nc~d - to haue many opinions and extrauagant hun1ors Lf
di uers Natures and Condttionsfome of rnodet mt rth fame of a marc llS Louc ~nd orne of mofi diuine contemplacion all (hefe I hope 1 fl1all not gue any dtilafie to the eareror d nde to the mind eyther in their words or in their r~~ ueraUfoundsalchough it is not nec~ffarie co relate or diuulge all Drean1es or PhanrafiesthatOpinioo hegcrsin lleepcor happeneth to the n1indes apparbull[i onAnd continuing long in chis my dreaming humber I btgan to avake anJ vp n my eyes v ndofin~ l bethought n1 y fclte being full a Vak~d aJu itlng n my n1ind Vhom~ to dec1 and chute as a Patrone for the lan1~ l Vas eafily in -ued to n11J~e choice of yqur V orO~ip a3 one to V hom~ I necelfarily ou ht
both lou~ and duety l nJ howfocuer l m1ght feare that you Vil not adamp0
ledge it yec in thlt Nature ha th inricheJ you Yith more chen ord1nlrie know le oe in th ~ Art~ be~inga Vi ntsofthat Lo~t~ Vbich you haue ahvaycsl ffor
ded to Mufick gtI en1boldened my fel fe the rather ro pre(ent it vntu ycu Accept itthen(good Sir) as a T oken of vnfained Loueand a e be
worthily Jue ynto middotyou for your many fauours done to him [hat is
uft)middotour lforhiju conJmaund
----
86
figure 15
Thi~ Greetin ~middot bullbull
~~~~ HoulPhofo dare itcbeJ ltJith the VJrietie of opinion h~aring thinr oraquome otlJdtJf tJc ecchqc nuerbcrtJ~ ing otfJeTJ fubflt~nCC and lmprofit4hfr ~n it
middot jtlfefhclpt s to tbe IVorld comfJrtaJie liJc though to thy orvne ~Je bttle middot~~~~pleajurcLJ retjon of)lnch-umiddotirbl~ctn[ure I fpc zlte tot bee m ujirall Mo tuusthotljimiddotcm ruboft Jucctie IUimhcrr ~1 J rajiy pafeJJ drop1 foil in tbc jhonre Dt4l
)ithlrjfiprofiufcomprutmiddotthcetothqhlt nuy Jr4l tbatjlitr int0 11UJUCJCf and ltJill twt tbcncertJithout much troubli) or tbuu rn t JJ Jfper[el iulgemeiltgt not oneamp art afo jeniru tofecing kJonde~~c hut moj fo ttlty f ct o d jcruing i~Jdamptflr]fL~~gtg 1110zte r ctU of the 111oilpurt Bilfoaud Jmoothiu~ tbt~ plztncl Citttl ~ rvben on ely thine on~ne opt 11iltJ1J it more nJrinc~lcd and more vitiotH mit ~( then grcjJcr10Yle lo tbJt 11 a brujh 111
jcFlcdlPilhfithgttbott ralbcrjomiddotlcfl theti iiMI( pebullje( 41VWl) I ha~1e jlooJ atthi11c e lho1PJ andh~arJ tbcl prop~Jtne cur a 1 dlfit c1 bcfl J(ryu and 1tJith thy lntu~zde ref 1b Jot f~rde~J rfl gnoh iy l4J1l ltJJilre~ ~nil f f~ renot g~eaty_tJat tboul~iltlay to raquo1J ciJatg t 1 111 lD vtfu111C )Oll11 ~Cttrrag1tRf 6ecaufe fft011tied a r ~nuch but 1md~rflauJ me tbou-ns ~VIitll dojcanterdtriur Ji o 11 tba t JCrue fPlaineSong charit4bletJtlm hers)and tbotl (hale fnd harb Joicr I ttr~ ojtrtl t1 J0te ahoue pound redr1c el hJ tn~er
izulgtment n bicb 1 htrc4Uc tht of tJmiddotorPinrl by RJtler are as orr nelll cmne Lutf be~ -_ ing ofrJany ftri~I(CfIJOt((ffamp tJjJJlmlcflr ~~~ ~dllefittlreti1 praf1i(tput fon~4rd it1to
dcjerurng Dst4ijtaiJ rr hH nIJ aduerJI ure I r nomiddot rtccd but drtanze) and utJat art tlrcamei poundut aiJie fCtjcfi iotJgtandjcttrall ayrc s 6reathll)~ Jarmonio111 llilijperitJgt tbongh to thee difcordlmiddotet toolbcrs indffirent 1rvill not ttY cxcellel~(~ becHfe it is 4J
othen otflce 110ttni1u 6ru let tbcm6~ as thtY arto~lmiddotcn propuu tul my p~inct _(rt forth j ar pleafurcgt uot for pw1HJIc~l poJou Jiucfl itntrginatioiJIJO but aJ a fhorPrcjt~llitiJ i1 ~urcdfuil ft~fouJ~ 7 jJtUr m fmiddotlje atlrajlaJJd wrl(ay fo et4er bY au otbmiddotrj lPhofe IJ bourfhJI vfJ(t Alujt~udl uuulu~ztt -~ Jbe rmeiy rPiug fJ IrJe courage being tl1e mofl pltttfo~~ 1luice ~(11~ 1) nmiddothotjnmiddoteet~rc J t t11chcr h 1m to hcaiHIJ itfelf~ Jt ir Jjara if a thi r pztt1cs rcpt ntgood romm~ndJti~Jniand it lf t~ttr Ulrtlll out of 11 Flint itJ the toll ith l hou ntHer rl ink (I u ell of di1J 1 Jn ~rlJ bull(rt in tb) fjto v nri(Jifi1 encr aJ l lJ Tt~tor jranJ tbr I ~ Jllol middotrc fotdtlneuct Jnn rbcc 1~1~ it~ irune be 4J thott art a h1mp of Jc(onnity lllbm I Jjhonbrcldt i11 tbe Ufvdr ampi diAI~ir~e nd 6rontht forth b1 b~n~iulr l1emiddot g~r ~ t htftt r1 11idn fc to ~til t i nc m n rt f
j i umiddotme lc u todrplrt Jmiddotor ifnd J1Ntbout it J $111 gonec rtltfic o~ til)middot crnfitrillifi arf jJ~IIy p( ~(n 1dcd thuu ca1Jjl110t thiole tlrlnd tcrefurc art crufl tiJ thy [raJie 11 IHr pound0 1e btu (rttclltJntl being 6on1c wit b rce tb irJ tly bc11dbit eucryeuronJC D47111ele t jJ tbir orwbat rijeboncfl iudujlry~nxcr th) ~111 egosip trJo
fucwdl1f thou wilt in ~in~llclfeot hoi~ tlly fClfltfitgtm1inthcr cupmg
87
Figure 16
lee Caldi fopitmiddoti Samor nfltJ c t~t du119Uc
B
lO
l~
------
88
Figure 17
Or [he tift Bookeof Ayres onelyfor rhe Lure che Bafc vyoll J and the Voyce
[ompofedb) RoBs R T IoN E s
QEe profontjingula mdta ibullmant __ _ ___________________ __ middot~-middot -middot middot--- -
L 0 N DC
rrintcd hy tlbullc Afigur~ ol ~~
Jij0ilfm lJdr ley t 6 1 o
I 89
I Figure 18
TO THE TRVE HONOVRABLE AND ESTEEM ED VVOR THIE THE
1 f q H T If 0 7 S H I P F V L L r If E LAVY vv R 0 T ll
~~~~~~On Honoured Lady my ddcfl anJ firft iiTuc hautngthr(ud fo ~middotdl vnder the protec1ion of your Right Honourable Facher blame not this my yonshygell and h1tl Babe if it dcfiroul1y fecke ampnctit~ric
~ with your fdfe as being a mopound1 vonhy branch frotn fo Noble and renov1ned a flocke It is here uarie tc I
a - your whole houfc noton ly to be trudy Honoura7 bl~ i o your feluesh ut to be the fa u ou rers and fu rd1ercrs of all hone 0 and crtuous end~uourpound in others And [hJt n1akes n1e fo farr~ daringas ro prefunle to offer rhis o~dicadon to your fJire acceptlOCP- AnJ hovfoe uermy defeCts therein may happily (or rather v1happtl y) be n1any ~t an1 I moficonfiJent(and tl1atgrow~s fion1 tbe worthinefleofyourowne nature) that your 1-Ionourable minde middotviii he plea fed (fince it cg s c fc lfc moll humbly in your annes) to giue it villin~ eqtcnain~ment and to countenance it Vith the fairc Liuca ie of your nobl~ Name It may bee flighted in ref peel of its ovne valev bur your f1uourable acceptance
wil~ bot~ grace it andmy fdfe a~ a poore Table hung vp euen tn Pnnces G lJoncs ndt for lhe VVoo ~hut for the Ptdurc
And fo (Noble ~ad y) not d~ring to bee ir~Ious of your rlonourable entercaine
menc I rcll
-I our LaJyjhip Jellcted in all dutit
I
RonERT I o Npounds
-----
~
90
Figure 19
~ )~To the friendly Cenfurcrs
- Eart jriend1 for fi I ~sJIyou ~(you pltbulltJ(e to acctpt my 7ood lllttJning i prefented yot l~fl rraquouh a Vreame i1j
middot wbich 1 doubt not ttt Ottr jJJta(ies htJue receuud fame rcafota6e contentment and now f JO~t pleaje to lee 1l9afd ortt of that VreiJJne f jhaU for your rerre JIJOIJ 1nd rcfi pound(bing guide you to tbe_1v( v s ~ s G A u ~
~=-o~-o~~ o EN Pberrytu (halljindj~cbVttrittiemiddot of Jelighn tiJt quc-ihunltfeJmiddoton n ill wilitt~Jjcnd fome time in the vien
t rrtof 1 n )Ot~r 1jentr411Ce into -which Cjardtmiddotn) yotl jhJIJ mtett ~ith Lout 1 CJr r and li6tl6ht bHt L4Jur frt foortb at lt~rge i11 biJ colourrby JFay ofdecypht t in6 bim in hit 11 ~1turt_~ ln the midfl ofzt yat4 fbaU find Lcmt rciefleJ) vpon t~rLnfu~cie 1nd b1rd mtajuteoj-ingrt~titude T ruching them that ar~lourrt gtI cr1 tumiddot tl1em to tltiro1~ne Ctl~(ure in Lout I defcripttou eJrul nowfor tht end it tf )liJn~ble UJ anorbcr ~ tur)for tbedcligbt oftht ettrf tnjamptUJjit opbull~1io1 14111
nM ft lrogant loco 1mf1Jd mi1te onme gitt neither yet fo Jegtnerate IU to be-g )Uto tdl(rartvn fftbejt d hgbtroFloftl(rt) or)4r(tico[PruittY ruaymJ
)1 ~1~Yt J -t rle _rjtng WJOffr_(ut i 1 jla1 bl gitJd Othel TPije J raquoiiJ )O)) nelIICr to J~middot t_fot~gtPluu orgraft and my ittbourJ butcrflrtb jh111l rtaft to trou61e)middot~ott
iJ Jt41)middotilln retlr lniflil r ~-tren ot will f1etunty ourctnforesl and dcfi~ your malice if you drJfe iht 1 a111 rifolute 1
ijyou11[e me r~ith rtjfe(l 1 bidJou mojl bearti_v
R I
--I
91
Figure 20
THE ry A11 L E
~Ouelouc=
middot~ tpound1 Soft Cupid fofi middot~ Alec 1 the fiUy 6th begu1c 1middotmiddote lounuhtcs ~~noake o =okin~ hy ti~( Riocr ride 1 n nnot (n 1fc but liuc 1 (mile loy in lhy Imiddotmiddot ( S
How rn~uy New yccrcs luuc grow ~n nldc There vvas lt~~ ll lcptCoJrd bull hn d~d litH The Sea h~h 1nany tbo~L~nd llnd Omiddotlmiddote dimiddotJ tnt thoHgh 5-both cLbc bullnd Sow l ~m b t~rrt ftom piuyh g th rc h 1 2] lately in a d1 came There wu 2 wil y a ddt My f~thtt fampinc would hluc me uke Mv loue harh hcr trot L ue bctro11d All roy fenC~e thy tweeuncfl~ g2incd T middot t~ CC de1fe A fpc wnh dyna voice Ddwld her I d ct like wire~ ofemn Gold 1lhouwb d1lt 1iogs ufmy ddirc h( dipt _l~ht 1 rcdccun cnln cu on witu mtnc ryet
middot
92
I Figure 21
Robert Iones bull XIX CANTVS
-~----- middot_ - ---------~- htl_ _+--=--= =- middot __ - -middot ---=---- - middot- --- -==== ramp-1==+~- - middot -~------- middot-- ---- ---___-
kt her goc
rtmiddot-w
bull And 0019 lbc rwofa dit but hu Nzyny)l moRneoctdlyou An yri I will ltis fo ( 1
A5 tlaquobelt tahha ~hen loucn IIKGC
5trt ~oma~oo tk ~ ~ Tatdl you mateilis necdldft~ I nnnt md c u hew by middotthe 1ooe And tbcnlQll chis wu ooJ~
93
Figure 22 ------~--- ---
bullsAtlV
llil 11 ~ middotl llh1J 11111 lllll t ~ I l ~ ~ I II II II I ttJ S amp I a HIH lf lll It g I J ~ I L~ Ill~ lt lll
vi i i II t middot1 ~ ~ I I II I ll
r
I l I I
l I bull
l 0 middot bl
1J 1 bull i ] _ Q
middot a middotmiddott kl U I I I I
_____~_=~=-~JIlW~ wrong bdccue htr not it wu not fo I dJd but lilfc her I did b~ Lilfc bcr aac~
-__1---------- -middot- ------middotjmiddot------ ------------- - --- -~-- middotbull - ___~__-- ~
~ ~__ - ~--- middot --~--~
----- -------------middot--------------------===-================-=-=~--middot---------
4
Figure 23
Rob~ rt lonts Xlr CANTVS
~ F 1 r ~ l ~ - ~ ~ - P r lt1 J c r bull ~ ~ r t r- r n t b c- - c
- middot (~-middot~ ~ ( - ~)7-47-~- ~ ~ amp --_-_ ---_- ~sectC-~---_---~- -(--~- --~-- -- -~ -_- - _ E - -- middot- --- --~ -L-~L-middot = middot ( -- --~middot-- f -=---~~ -77-_-C_ - t _ c ( t2 - -= ---~---- -- middot-----------
middot~ middot
n_ tt=l= -iIt~_plusmnt_~~poundltr=t=~~~=middotumiddot==---= -_ ~t=-==t=-=xtptl--~=t---=-t-x~-E~=-------
go there be many mo I fcltC nor why then let her goe 1 care DO[
---middot-------
l
Far--cwt UfJrewdllincc d1ls 1 finde it llllt 1 will not fpCod more nme in wooing you
nul I iH cce d w htre lfl mivfindhctthcrc S1=-ll l bid hct goc Vh1~ and rll Jocf
Sh~lbid her go and fparc not tll oo oo no I date noc
J Ten Lhoufand imes f1rcwcll yet fl2y I hilt Swca kilfe me onceJ t t ltdfcs limcbcguic 1
l h~ue no pow ~r lo mouc
How oow 1lt2m 1 io laue W ilr d10u nec middotbe gone Go then all is one
Viit thou need be goncoh hi~ thee Nay 01y ~nd doc no lnoampe dcwcmec
Once moce flrewcll t ~lorn rodcrrwrct Bids oamp adcw to her due holdcs Ill bm
But fcdh~ r mnR kgtof~
7hy loucwbi h ldid chufc Go rhy waies for 111t_ smiddotncc irmay nOt k
Gothywaiesfor mehucwhithcr Go oh burwhcrcl may come lhitber
r Wh~cCh~D I doe~ my laue is novvdqnr d Shccinsramiddot~ -a -c iscrucUhart d
Shcc would nor be intrc-attd Wirh pnicrs oft ~~ -J neccomc no more Shall I die ther(forc
H tb~e come no mor what c~rc II Faithlctbcr go or c-owe oa
(
95
Figure 24
---middot -- _____-- ~ -- ~
I
- --__ -----~ -------__- ~-~~ _ _ ____ ___-__ -
- middot --~~--~ ______ ------------111middotmiddot-middot ~-_--------middot ----middot---___- ___ __ _______ _ ____ ~------~--~-- ~__~___ __ _
------ -~ _~-----~- -~-middot----------------
96
Figure 25
204 SONG
CoMIOS-U uv middotnoLn nT Jor-o Js
~ - I middot middotluoted by ShakbullHiU~are - ~~~~ homiddotm tht 1 Hnukpul1lliOI
middot~ h-51 Jggff==r middot r~ Fate- ~ wtdl (l~arl loe since thou wilt needs he gem~
-=-t middot g-one
luC 111inn~ thnn wile IHls lu ()UC
J J loftgt since thou rilt nteds middot lumiddot
1 Jp4 J =-amp=imiddot------middot -r~--t-11---+-middot r=~-r=----middotJ__tJJ middot Jnine ttcs tloe tth~w my life i almost done
--
fl-=t~ -
IPg I WlH y middot t
~fLSI==r=f=lplusmna min~ eie doe _ 11hew
r nbully middot lite middot is almost douc yetmiddot J wilt
rplusmnHmiddot ~ ~ff my lilc iJ ycmiddott I will
Imiddot r--d E4 m y life ia almost yet 1 will
( -~
~__~middot--==--==t~- ~~plusmn 1
ne Vtr die HO lni1J t I ran tpit 1lumiddotnmiddot l)l- trHlll)
~- Jl==q=T-=_==~-middot- ~T~ - 11~~----e= - =r=-=ct ~middot - r--==EF~----=I-~-===+=FL0 - middotFJ==Z=c~~middotmiddotmiddot- - -
n-=- wer dit~ lon~ as I taU 51lio tlu-nmiddot ltl ny nm
~MIEF F i t~sect E tr l I c=middotreg~-~~~~-D bull v~r dit bulln oug a~ CiR hllie thn c 1-tmiddot uuuy inu
a~ t==t~~ r _ q~~~-=-~ ~= lllt - tr tlic ~ ~0 long lUI I I can illh t1wr htmiddot Utmy UIU
97
Figure 26
LO)
J t W=- --~4-~ middot thoughtlmt 5heeclre gomiddot -there he rnan u1u I If~ -1110
I I b P c ~ -B - j- -k=tJ4--t==fi=4D_ I ~middotrt thouKb that Hbec llo e Jeo fhuc be nuny mo not
not 1 _why tlnm let laer gne 1
Eamp--e - ~ - 1 r
1
uot ~middotby th~n let her gne I
1 F~nbullwell fflttbullwl1 sintmiddot tlll i I rt11ltltt li truemiddot I will 110t 11p~ml rn~bulln~ time iu wouing- )Oil~
Unt I lt~ ill fttbull(bullk tmiddotl~ wlwnbull If I m~y fhnt l1r hlaquo~tt
Shall 1 hid hlr gnf hat litnl if I de~
Sha)) 1 bid lwr gne and middotpar~
0 no no tut no 1 dare nut not
l i
Ten thnmbulland bullimt-11 lart-wllII)Lbullt 11taymiddot Jwh ile Swevt kisse me onctlfmiddotWNt kis~d t ime b(J~middotuile
l hamiddote uo flPWer to mmmiddottbull lluw uow arn I iu I on Vilt tbon n~tgtd8 be gonemiddot
Go then) all i~ onbull Wilt thnn umiddotN)~ btgt gontbulloh hie the4l Ny ~tay oUHt lintbull 11U lnonbull thmiddotuhbull lll~middotmiddotmiddot
J L IJ_ -
0
cnr-r lOt
-~ 1-e lg
care not J
JJi I 11laquo1 ) ~ar-e not -
0 IIi
ca re nut
4- middot bull ~ Onc-e more fu~wbullmiddotll~ l 5ee )Qth to dlaquo part j middot
1
llid R ull bulldew ifl lwr that l1ohtfbullbull my b umiddoth Butmiddot ~~ting I nnut )O()In~
_Thy love whkh I did chuite
Go thy wRie Jbr me _ Shlfe itnu1y not he ~ middot
(4) Uy WHit~ for me~ lu1t whithfr~ bull 0 J - f
Go oh hut wlu~re 1 mRy come th~~lur
f bull bull lmiddot I It tihaH I doer my lo~ it now middot-middot~middotpart~middotd ~ Sheto is ttll fnirr asmiddot6hee ls cruel1 harted
Slu~middot would nnt h~ intr~ated
With pra irra oft repeated ~ _ ~ If slw~ f()rne nq more middot middot ~ ~
Shnll I middot11~ thtoreforf I
lrsh6e come no mor~ batwh9t cbullr middote I~~ -1 FHifh)rt htr gnor lomfor tarry
98
Figure 27
CANT VS vI I I rCDERT loNE~
== ttf=y-=-t-===~=~~plusmni+==---=middoti--=rr~ -t=-r~==t-=t= W sect~~= - =i middot =clt=cL =~-t=- -middotr ----=i_ --~ ~-- - -middot-- middot-- --middot--- ----middot-----l- --middot----middot- ---middot middot--- -middotmiddotmiddot-
Clut no I phinrly Cu how chou wouldftbinclc~ucauurc l ~a~ t c11rll not to gofatbullu a
1 r 1 l 1 l r l lmiddot r ~ r i r --- ~---n_plusmn ______ ~ ---J middot- ~ s L -d--r--gtlt---- J LL---- J ___ c_ -------j- ~-n1l ~1~( _ _ il_il_ t_ ~----nt_L- -----_[c______ -+~~ 1--L- p ___ -L- -~--Lpound ____ _ ~-____ j__ __ + ------ l -middot~-- ~~- l --1 __ j_ ______ (__ l ~10_ -~---- -- i - -- - - middot - middot -- - ----- - ___ _ I _ __ --middot ~-~ ----- - 4l_ __ ampJLt __ --------~----P-1---~middot 3 __ c__l_J _ _r__-ltJ ___ _ _ _____ L ------
- n
--~- -~--+--middot-1--~ 1 middotmiddot---middot--middot~---- middotmiddotmiddot- -----~~-middott- =--~--- ~~ - middot~---iL-i- -~-- -- -t- r middot-~- middot -l middotjmiddot -bullmiddot I- middot -t ~--~---- -t-~~-tmiddotmiddotH- - middot -----t-~T middot ---- -l -- ~ middot-07- middot- -middot-middot bull ~-Lmiddot- J bull---- ~--- middot-t- - -- - --f -middot-- - -fi-l-L- -+- --[middotmiddot -middot-~ middot--middot--middot--1 --middot-- - -- - bull - -f- ~- --I=_ --middotmiddot---- _I __ __ _ --~- middot- _ _ - _ ______ __L _-t _ middot~_- --_middot--r~ -~~~ Q-- -
fuct 1 wlscnrfiO Jic fi~ nofwtctt lhy amp 1 w 11i leU thee why noafuc 1 wu ace urn JJol bullto goc oat bull
t f t 1 ~ lmiddot t r 1 1 t i ----middot-l~a--__ _ __ St_tLi-3---- --~(~ l-~---1~-d- a aL _ __ _ ______ Jtl a_JAi~-11---~-middot(_---+7Jk~-- - [ A--- -----__ lgt __ ~-1 ----lmiddot l _ ____ i-----middotmiddot-----~--L-----6~ - -
S-( _ 1-h_kJ--middot ----middot ~- L-----Llt-S-L----L__L ------- _______ J_ ______ ---Aplusmn- ---__ _1 ____ -middot---bull ~ ---~-~---1 ~-----L---- 3- ~_t_~- - ____ [ _ __ ~-~- -A - --J
----middot-1---r--t---------t-t-middot-----1---middot ------11-I-t=-~ middot ----L-- - -middot -plusmn --- r-middot-~--- ------middot middot --~middot--- 1--~-middot _-middot- --- ~---------===middot ~-middot-b-1_ --middot- - --- - ----- -~---f- ---fmiddot~-- L- bull - ----- --- middot--- -1-- - ----- --~middot-------~- ---- -1middot-middot1middot-middot--t- --J- -middot- -- - -middot--middot----~-----shy--- middot----~-~ ---- - --middot------------- --~ -~middot ------~- ----------middot
firnrurc I wu l lturfi 0 fie fie oegt rwct lll) uu J will tell thee why no
t I t l t lmiddot~ 1 l -L--~- - - middot-tmiddot J _______ ncU ~A ---S-A-------tl- -11- middot~-- - - --------middotbull-- middotbull----t_ _ _~_ 1 ---middot-~ - ll -o-A--AJl ___ ------middot- t------k- Jt-- -~~ ~--middot- - - - -- -middot- -r~-~ 4- ------llmiddot - middot -
-_~------ _ --~-~---t- -~-----J-- -- A- ------~ _ ----- - bull 1 --middot- -L--middot -- ------------ ~- - c --~--------~----- --------middot ---______ z_j_ _______ __ ___~~ ~-L-------a-e middot- ----middot --
J Oncr m()tdrewdllincc fiJI l 1ord lh_ lpcak
1 uJ bull 1rl bu1 (mlIJrcwcll ubull larHIWout lbullrcalt( Bbull middott bullbullo middot ltn( 1 Joe linJ 1hy loumiddot~ 1lltkt 1he -middotioampl
Wl11 1 l olo-u I Tl llcl-1 cro die
Whlll foolc- lnll u aor Y t fq 1 at l (oulc J ~~lfc nor
)
Wocnne ai~Gc h) diJ lllt[ b_im soc~ 1 hdc be the ~middotutccs of uilc fiym nbull
Now tbu hec o dfproucluchow uullhc cuct loucroe Nay bu t n he gCncbull
lhcn I am bullndunc Nay lnn i1l1c ~oneO hodliD
fl(c-uy hing lU ~CCVD oJcihua
vi gt VI V)
lt a
99
Figure 28
1 tn 1 I I I II
ll 1 I l middotI I I ll l l l tl I I i Imiddot i I i II I 1111 ll I l n I It i i Ill l I d l t I I I ~
f Hif tt I I ~~ I if t
1+1 ~ a j
thll
ALl V S
I Tl Ill i II L I I I II I I
II II I I rL ll1 I t I I
l i I I I I I I I
Iii 1middot I t
IHL IIIli
I I II 1 II l I II 111 I I I I I bull I I I I I
I bull I I ll 1 I I J
L t I llmiddot II ~ I ~ middott
I I ~~ ~ 1
I 1 t I 1
111
t 1middot II I bull
I tJ It I q I I
~~ I I I I
r
I z-1 __ 1 __ =t=-~-----1- - middot -~--~- ~ -f=middot -t=--~--~- middot~-- -===-middot~~-1 N~tsect t-~--_ _ c ~middot _--- __ _ ~-- c -=-b-- _ ~ ~ =-=-=--Xl =plusmn=
- b--- ~--_ __ -- -----middot-middot --middot--- - ~ ___ - ------------~-
nl rJ iiOr-T 1 -
ArCwtll fond )OUt h iflhcu hbulldR llOt bccnc blinCl aut cf Dline emiddotcbull thcu mi~tu n ll)Ut read my mintl ~~ J411
t==+=i =middot -=+-middot---poundmiddot _Emiddot -~ i=j ~ -ti~- -Qt=~ middot=i==- -tl-~- --~ - -~shy~t ~-i ~----+=middot = --~~ - -= bull ~ _ +=a~C -c + -~-=-middot ~ ------ -----~ --- --- --middot -~ - ----------laquo= ---- --~- middot-~ middot--
but now I plaincly fcc how thou wouldll fainc luuc mc(orc lPII~S Uturflnot hJ I)OCIC firtlft~re lu atcurflO hamp
-=t~-----------r+--tmiddot --1-1-l middot 1middotmiddot-r~--- -- middot middotmiddot- --- ~------ - )middot~-----~----- at-middot_t-~--1= 11_ ~tc=l=~ Ei middotmiddot-r- --tI +middotl =0Etmiddot plusmn middot i irlttmiddot ~ - ~-~ middot ~ --plusmnt-~ - - ----middotmiddot-middot---middot--- -middot- -middot _[ - ---- middot- middot---J -- - 1--l-- - -- - - - - -- -~---middot------middot--- - ----middot-- ---- middot---middot---middot+middot--- -~-r-4- -- --middotmiddot fic6cao fwect Aay ~nd I will cell thee why t~ofurc I w~~ accudl not JO goc at firfll(urc 1 wu accudl ~0 fie no f wcct
100
Figure 29
I
CANTVS
lt ll-rllt 1r1t 1 lmiddottl 1 1 - t4---6 A-A~ d~Apound~-fi------ ~ middot ---~
bullmiddot te_- ~I i~~I~- ___ --=~rmiddot --t=Z=j- = --Lt-- -- - middot--- --middotmiddot -- -----middot - - A-- middot - -- _ _~__ __ J ___ _ J_ - - --- - -----~ n a- L r amp_-4--- - -A I - -
~ - - -bull -middot_[- _ - - - - middot - -middotmiddot - - - lt- ~ Ll bull middot- -- ---_ middot- --- ---l~-middotmiddot -~ middot -~gmiddotr ~iiftmiddot- middot--~11--j~-middot _t~middot ~-- plusmn~~ - _-- -- ~- _ J middotmiddot~ - middot J J -- - J~ ~ - bull - ~ -- - ----= ----middot~ --- ------middot -------- J __ ___ --f ___ ~ -~----- -----middot bull middot- - - middot--middot- -bull- middot --- -- middotmiddotbull--- -1-- - middot- - -- I - bull bull --~-
I
bull A Mble d~middot ~fc wH ~ obin Jhlod - V(c l ~t be cbullJultl J ccc 1uc Jumj
yet r- ~r r middot~middotin hh br ltlt H lmiddotllOJ
C u iJ~~I hbulll hrlll bcruuc h middotlll to gr u rn ductelbulltl-hidkn wJltr ~kinmiddot
then lnauty doft lylo~l~ddn womcnt C )CI
Htf i lly jobJh
4
J An Our-b lr as 1his Rollin I lood
H1i l-1fc free and vnruly Yu [O fitc M~bullri~n boull d h~nood
Atul louu debt payed hu duel y Who111 cur be of Ctnc lmllaiyen could nor hold ia
Louc t~ri th obe)middottd~s mJ a winLt could wiltnc Heyiolly Roh
NoW~ w(nd wt l1olll r ilou1 Robi ro HooJ Lc~uc wuhc woodl bchsnd vt
_our fl ho n1 muU nor be w~lhfiood but ~~nr whelt u fi lld ll
1 h t Ill hclIbull11J h)WUC 1 bullud fo ltltd h( I otm( w r icentW~HJdbull 1 1ootlollnwcd r
lhr ullzllt~~J
v~
gt Vl V)
lt
Jlftl
litH ~~rm ~ middot II
I Imiddot~
I
II tt-1 )~
101
Figure 30
I
102
Figure 31
CANTVS bull III
W=tRW=~~~~==--=-------=--=--=--== 0 lollc is but 3 bhu~1-fwtetmiddott I en r r middot r r
~tP ltm~~-~t----~-
Mu1enorvpon hCI fmili ng lookcs Thinke thtr they ~re bttt baitcd hooka
Audu fncy Loudufranzy~
middot e( not J toy Then breed chtc foch annoy1
bur kaue to coke vpponfuch fond booka
)
L(Jtnt ro fotgct fu ch idle royn Finer for youtbcs md youd1full boya
L~ o~ one fwccte frnilc Thy rrue loue igtegllile ~flOibulltiownc
r c-ur uft theedowne- Jlopund jllmiddot to bed iathcf~ioy~
I
bull
103
Figure 32
BASSVS
---------middot--- ----- ------- ---- -- ---------- ---- -~ ------------- - ----------- _ ___ - ~ _____-------~~~------------ - ----- - - ---
- -- -- --~-- - ___ __
CJ
I
-70-
If other sacred music by Robert Jones exists 1 it has not
come to light The Reformation did much to improve English
Church music However the combined effects of Civil war
supremacy of Puritanism suppressed church services disbanded
choirs and the destruction of organs and libraries by the B
soldiers of the Commonwealth resulted in irretrievable loss
The hatred of the Puritans for the English Church and its music
was so strong they seemed to consider it their duty to root out 9
and destroy every office-book they could find lmiddotluch music has
also been lost because of errors and omissions on the part of
scribes the use of old manuscripts as waste paper and in the
binding of new books and in the practice of sending manuscripts 10
to continental bookbinders The fact that any sacred rausic by
Jones exists may possibly be attributed to its inclusion in two
sources meant for secular use
What happened to Robert Jones after the theatre difficulties
remains a mystery Loss of records because of fire or
carelessness only allows speculation in this area Since the
English style of string playing was in fashion in Germany France
8 ~Talker p 56
9 F~ Landon Hunphries The Evolution of Church Music (New
York J J Little and company 1896) p 94~
10 William Joseph King The English Anthem from the Early
Tu ~or Period t roug_ the Restor_fltj gn Era diss Boston University Graduate ~chool 1962 vol I and II (Ann Arbor university Microfilms International 1982) p 12
-71-
and Italy he may have returned to the continent It is equally
possible that he died in any of the plagues which forced the
theatres in London to close so often That his music still
exists to be enjoyed may be epitaph enough
104
Blank
Appendix One
Sources of the Husic of Robert Jones
BookSong
The First Booke of Songs or Ayres
The Pirst and Second Boeke of Songes and Ayres
Ultimum Vale
First Set of Madrigals (inc)
A Husicall Dreame
The Muses Garden for Delights
Hhat if I seeke for love of thee
There is a garden in her face
Doe not o doe not prize Beautie sate bathing 11 Goe to bed sweet museu Shall I locke to ease
griefe 11
11Jhat if I speed Cease troubled thoughts Scinthia queene of seas
and landn Thinkst thou Kate to
put rre down 11
nt1hen will the fountaine of my teares
F1ie flie flie from the world 1
Fy fy 11 (inc)
Date
1600
1601
1605
1607
1609
1610
1600
1605
1605 1605 1605
1605 1605 1605
1605
1605
1605
1605 1601
-105-
Source
British Igtluseum Folger Shakes~eare Library
British 111luseum Central Library
Hanchester
Royal College of Music
Private ownership Furst Alexander
British Nuseurn Royal Library
Brussels
San Marino British 1middotlus eurn Euing Library
Glasgow
San Harino
British Library Add Ms 15117
The First Book of Songes or Ayres
British Library Egerton ~s 2971
Ultimum Vale
British Library Add Ms 24665
Giles Earles his book taken from Ultimum Vale
u
II
fl
fl
n
The First and Second Boeke of Songes and Ayres
-106-
The love of change hath changed the world 11
What shall I render to the 1614 Lord bullbull
Let thy salvation be ~Y joy
Lament lament my soul cry 0 cry
n Sing j oyfull ybull
Arise my thoughts
11 Dreams and imaginations
uFie what a coyle Now what is love
no date
1601
1601
1601 1601
Folio ms in Folger Library
British Museum Royal App 63
The Tears or Lame tations o f a Sorrowful Soul
RISM attributes 4 songs to Jones
Christ Church Music Mss 56-60
Christ Church Husic ~1ss 439
The Second Book of Songes and Ayres
lt
-107-
APPE IDIX THO
Contributors to Manuscripts nu~beren 56 through 60 in Christ Church Oxford
SEC~~ number CC lmiddot1SS Voice 334 Hus 56 c 335 Mus 57 Q 336 Mus 58 Sx 337 Mus 59 Ct 338 Mus 60 T
Bassus lacking ca 1620
a alternate sources published b transcribed c Psalm 81 in two versions
Amner John~ 1579 1641 B r-1 Oxford 1613
Consider all ye passers by (b) 3349835803378633896 verse
I am for peace inc) (with different verse section) 33463356337~6 3386 verse
Bennet John flca 1600-ca 1615
Great God of Gods 0 God of Gods (a) 334 113 33595 33710133811 verse
To the almighty Trinity (ptll of 0 God of Gods)
Bull John ca 1562-16287 B H Oxford 1586
Almighty God who by the leading (ab) 334110 33592 33798338 108 verse
How joyful ana how glad (inc) a) 33448335483374833748 verse
Byrd William ca 1542-1623
Save me 0 God for thy name bull s sake (I) 33410 33510 33710 338 10 fS
Sing joyfully unto God our strength and Blow the trumpet parts I and II and Sing we merrily and Blow up the trumpet parts I and II not in this source from Christ Church (c)
-108-
Corkine William1 fl 1610
Praise the Lord 0 my soul (inc) 33441 335413374133841 f5
Cranford William fl early 17th c
My sinful soul (inc) 33413833512033616337126338136 verse
Daman (Damon) William ca 1540-1591
0 heavel]nly God (b) 33451335513375133851 f5
East Michael ca 1580-16481 B M Oxford 1606
Blow up the trumpet Sing we merrily (Pt II Take the psalm PT III Blov1 up the trumpet) (ab) 33420933520233698337196338214 verse
Take the Psalm
Ferrabosco Alfonso Sr~ 1543-1588
0 remember not our old sins (a) 33414133512333619337129338139 f6
Ford Thomas ca 1580-1648
Miserere my maker (inc) 334151v33513533631337141338151 f6
Gibbons Orlando 1583-1625 Phd Mus Oxford 1622
See the Word is incarnate (ab) 33495335773378333893 verse
Hooper Edmund ca 1553-1621
Hearken ye nations (a) 334211335204336100337198338216 verse
Jeffreys Matthew fl ca 1590 B M Oxford 1593
If the Lor~ himself (a) 33414833513033626337136338146 verse
-109-
Lord rernerr~er David (a) 334142 335124336120337130338140 f6
My love is crucified (inc) 334100335823378833898 fS
Out of the deep (a) 33414633512833624337134338144 verse
Sing we merr-il y (II) (a) 33414433512633622337132338142 verse
Jones Robert fl ca 1600 BM Oxford 1597
Sing joyfully unto the Lord (inc) 33412335123371233812 f5
Lupo Thomas fl 1593-1628 or fl 1605-c1660
For I knowledge my faults Have mercy upOii me (pt IIFor I nowledge my faults) (inc) (ab) 33418335183371833818 f5
Out of the deep (c) 33420335203372033820 pound5
Mundy John d 1630 B M Oxford 1586 Phd Mus Oxford 1624
0 give thanks unto the Lord for he is gracious (a) 33416335163371633816 fS
Mundy William ca 1529-ca 1591
0 Lord I bow the knees (a) 33490335723377833888 f5
Parsons Robert (I) d 1570
Deliver me from mine enemies (ab) 3348335833783388 f5
Peerson Martin ca 1572-1650 B M Oxford 1613
0 Lord in thee is all my trust (inc) 33488 335703377633886 verse
-110-
Philips Peter d ca 1635
Bow down thine ear unto my crying (a) Adapted from the motet Cantai mentre 334217 335210336106337202 338220 f6
Portman Richard~ d ca 1655
Rejoice in the Lord 0 ye righteous (I) (a)334226 verse
Ravenscroft Thomas ca 1590-ca 1633
0 let me hear thy loving kindness (a) 3343133531337 3133731 verse
0 woeful ruins (a) pt II and pt III Those sacred walls and 0 how these graceful piles not in 334-338 33440335403374033840 f5
Simmes William fl ca 1600
Awake (Away (a)) fond thoughts 33415733514233638337148338158 verse 6
Rise 0 my soul (pt II and pt III And thou my soul To theee o Jesu) (a) 3342833528 3372833828 verse And thou my soul To thee o Jesu
Stubbs Simon fl ca 1600
Father of love (a) 3348633568 33774 33884 f5
Tye Christopher ca 1500-ca 1573 Phd Mus Oxford from Cambridge 1545
Christ is risen Christ is rising again (pt II Christ is risen) (inc) 334225335218336114337212338230 f6
I lift my heart to thee (ab) 33492335743378033890 f5
-111-
Ward John fl early 17th c
Down caittiff wretch (a) (pt II Prayer is an enciless chain) 33424 amp 2633524 amp 2633724 amp 2633824 amp 26 verse
How long wilt thou forget me (a) 33422335223372233822 f5
Let God arise (a) 33411633598337104338114 verse
Praise the LordO my soul a Lord my God (a) 334219335212336108337206338224 verse
This is a joyful day (a) 33413333552336523375233852 verse
~~larwick (Warrick Warrocke) Thomas d 1660
0 God of my salvation (a 3349 335933793389 pound5
Weelkes Thornas1 -1623 B M Oxford 1602
Alleluia I heard a voice (ab) 33414335143371433814 pound5
Gloria in excelsis Deo Sing my soul to God (ab) 33415533514033636 337142338156 pound6
Hosanna to the Son of David (ab) 334214335207336103337201338219 f6
Lord to thee I make my moan (ab) 3341023358433790338100 pound5
0 Johnathan woe is me (ab) 334151v33513433630337140v338150 f6
0 my son Absolom (I) (ab) When David heard that Absolom (ab) (~t II 0 my son Absalor1) 33415033513233628337138338148 pound6
-112-
Wilkinson William Thomas
Hear my prayer 0 Lord and with thine ears (a) 3341043358633793338103 verse
Preserve me o Lord (a) 33443354 33743384 verse
Put me not to rebuke (a) 3341063358833794338107 verse
Compiled from
Nan Cooke Carpenter Music in the Medieval and Renaissance Universities
Ralph T Daniel and Peter Le Huray compilers The Source of English Church Music 1549-1660 part I and II
C F Abdy Williams A Short Historical Account of the Degrees in Music at Oxford and Cambridge
-113-
Appendix Three
Graduates of Oxford
Doctors
Robert Fairfax John Gwyneth John Merbecke John Shepeard Robert Stevenson Orlando Gibbons Nathaniel Giles John Hunday Christopher Tye John Bull
Date
1511 1531 1550 1594 1596 1622 1622 1624 1548 1592
Tye and Bull were incorporated as Doctors of Music from Cambridge
Bachelors
tathaniel Giles John Bull John t-1unday Thomas Morley John Dowland Giles Farnaby Edward Gibbons George Waterhouse Arthur Cocke Francis Pilkington Robert Jones Thomas leelkes Thomas Tomkins Richard Deering
1585 15B6 1586 1588 1588 1596 1592 1592 1593 1595 1597 1602 1607 1612
Author
Robert Grossteste
Robert Kilwardly
Roger Bacon
Bartholomaeus Anglicus
Walter Odington
Simon Tunstede
John Hanboys
John Hothby
William Bathe
John Case (attr)
William Barley
Thomas Morley
-114-
Ap~endix Four
Oxford Treatises
Date Title
ca 1175-1253 De artibus liberalibus
d 127 9
ca
ca
ca
1351
ca
1584
1600
1586 1588
1596
1597
1214
1230
1330
1450
94
De ortu et divisione philosophiae
Opus majus and opus tertium
De probrietatibus rerum
De speculatione musice
Quatuor principalia musicae
Surnma super musicam continuam et discretam
Regulae super proportionem De cantu figurate Regulae super contrapuncturn Caliopea legale
A Briefe Introduction to the True Arte of Music
A Briefe Introduction to the Skill of Song
The Praise of Musicke Apoligia musices tam vocalis quam instrumentalis et mixtae
The Pathway
A Plaine and Easie Introduction to fvlusicke
-115-
Appendix Five
Baccalaureus in musica solvet
Imprimis pro cumulatione presentatis Pro comrnuniis Pro scriba universitatis Pro circuita Pro camera Pro curnulatione sex annorum Pro anno instante Pro horolog-io Pro deric[t]o universitatis Pro inferiore bedello artiurn
Si beneficiatus vel patrimoniatus fuerit solvet pro vino
Si non praebat convivia solvet betiellis facultatis suae pro prandio
vj s
i j s
xiij s
vij s
viij d vj d
xij d xij d
iiij d
xij d ij d ij d vj d
iiij d
iiij d
ix d
116
Appendix Six
Words set by Jones for Leighton
Let thy salvation be my joy
Let thy salvation be my joy Confirm me with the spirit of grace Let sadness not my soul annoy For pensive thoughts too much take place 0 let my comfort still reside In Christ who for my sin hath died
In setting the third line Jones uses sixteenth notes on the word spirit 11 to compensate for the extra syllable
What shall I render to the Lord
What shall I render to the Lord For all his blessings poured on me My heart and soul with one accord Shall laud and praise thy majesty All praises do from thee desend Blest be thy name world without end
Lament my soul cry cry o cry
Lament my soul cry cry o cry Swe et Jesus pity pity me Help help help help for sin I die Sweet Christ come ease my misery
BIBLIOGRAPHY
Primary Sources
The Bible That is the Holy Scriptures contained in the Old and Newe Testament London Deputies of Chrlstopher Barker Printer to the Queenes most excellent Maiestie 1596
Book o f Common Prayer and Administration o f the Sacraments and Other Rites and Ceremonies of the Churchof England WiSh the Psalter or Psalms of David Printed by Thomas and John Buch Printers to University of Canbridge 1629
Fellowes Edmund H ed The English Madrigalists val 35A Revised edition edited by Thurston Dart London Stainer and Bell 1960 The First Set of Mad_ri a_l s 1607 by Robert Jones
The English Madri al School val 32 London-stainer and Bell 1923 The Triumphs of Oriana to 5 and 6 voices Compose - y D1vers several Authors published by Thomas Mor ley 1601
Jergens Elise Bickford English Song 1 600-1 67 5 Part I British Library Manuscri ts London
Pu middot- 1sh1ng Inc 1986
Leighton Sir William Th e Teares or Lamentaciones o f a Sor rowful Soule London W2 1arn Stansby 1614
The Teares or Lamentations of a ----Sorrowful Soul Transcr1bed and edited by Cecil Hill Vol ll Early English Church Music London Stainer and Bell 1970
Morley Thomas A Plaine and Easie Introdction to Practical Music Edited by R Alec Harmon New York WW Norton and Co 1952
Smith John Stafford Musica Antigua London Preston 1812
Sternfie1d FW gen ed English Lute Songs 1597-1632 A Co l lect~on o Fac s imiDelRepr ints
ress t Vol 7 edited by David Greer The First Boeke of Songes or Ayres 1600 by Robert Jones The Second Booke of Songs and Ayres 1601 by Rober ones t1mum Vale 1605 by Robert Jones A Musicall Dreame 1609 by Robert Jones The Muses Gardln for Delights 1610 by Robert Jones
-118-
Books and Articles
Abraham Gerald ed New Oxford History of Nusic vol IV uThe Age of Humanism 1540-1630 11 London Oxford UP 1968 3rd impression 1974
Adams Joseph Quincy 11 A New Song by Robert Jones bullbull Modern Language Quarterly I (March 1940) 45-48
Adler Kurt The Art of Accompanying and Coaching Minshyneapolis The University of Minnesota Press 1965
ArkmiddotJright GE P Catalogue of Music in the Library of Christ Church Oxford London Oxford UP 1915 ed 1971
Bateson fW ed The Cambridge Bibliography of English Litshyerature 4 vols Cambridge University Press 1969
Bentley Gerald Eades The Jacobean and Caroline Stage Dramat~c Companies and Players 5 vols Oxford Clarendon Press 1941 reprinted 1949 bull
The Profession of Player in Shakespearebulls Time 1590-1642 Princeton Princeton UP 1984
Blom Eric ed Groves Dictionary of Music and Musicians vol IV New York St Martins Press Inc 5th ed 19B4
Boyd rbulllorrison Comegys Elizabethan Music and Musical Criticism 2nd ed Westport Greenwood Press Publishers 1962 reprinted 1975
Brown David nJones Robert in The New Grove Dictionary of llusic and Husicians vol 9 p 703 Edited by Stanley Sadie 1980
Carpenter Nan Cooke Music in the Medieval and Renaissance Universities Norman Okla University of Oklaho~a Press 1958 reprint eo New York Da Capo Press 1972
Chambers E K The Elizabethan Stage Vol I-IV Oxford Clarendon Press 1923 ed 1961
Crewsdon Henry Alastair Ferguson TD MA comp The Worshipful Company of ~t-lusicians Loncion Constable and Co Ltd 1950 new ed London Charles Knight and Company Ltd 1971
Cutts John P 11 Everie Woman in her Humor Renaissance Nevs 18 (Autunm 1965) 209-213
-119-
Daniel Ralph T and LeHuray Peter compilers The Sources of English Church Music 1549-1660 Part I and II London Starier and Bell 1972
Dart Thurston t-1A The Interpretation of Music 4th ed London Hutchinson University Library 1960
Dodd Gordon 11 A Summary of Nusic for Viols Early flusic 6 (April 1970) 262-267
Doran T s A Dr Annals of the English Stage from Thomas Better ton to Edmund Keen Vol 1 New York bullJ J ~1 iadle ton Publishers 1865 republished St Clair Shores Mich Scholarly Press no date
Doughtie Edward ed Lyrics from English Airs 1596-1622 Cambridge Harvard University Press 1970
Einstein Alfred Essays on Music London Faber and Faber 1956 rev eng ed 1958
Feldman Martha 11 In Defense of Campion A New Look at His Aryres and Observations The Journal of Musicology v
(Spring 1987) 226
Fellowes Edmund Horace CH Mvo MA Mus D English Cathedral l~sic Edited by J A Westrup Westport Greenwood Press Publishers 1981
_________ The English Madrigal Composers 2nd edition London Oxford University Press 1921 1948 reprinted 1967
bull The Text of the Song Books of Robert Jones Music --------middot and Letters VIII (Jan 1927) 25-37
__________ Tudor Church Music Appendix ~lus D New York Brouclex Brothers reprint 1963
Greenberg Noah music ed Auoen ~middotlH and Kallman Chester text ed An Anthology of Elizabethan Lute Songs Mad rigals an Rounds Pew York ~middot1 w Norton amp Co Inc 19 55
Greer David What if a Daybull - an Examination of the Words and r~usicbullt husic and Letters 43 (Oct 1962) 304-319
Gutmann Veronika Instrument oder Diminutionspraxis 11 Archiv fuer Husikrvissenschaft 35 (1978) 187-190
Heseltine Philip and Warlock Peter The English Ayre London Oxford University Press 1926 reprinted Westport The Greenwood Press 1970
-120-
Hesel tine Philip 11 Robert Jones and His Prefaces The rmiddotusical T ime s bull ( Feb -t-1a r 19 2 3 ) 9 9 -1 0 0 16 8 -17 1 bull
Humphreys Rev F Landon ~lus Doc STD The Evolution of Church Music New York J J Little and Co 1896
Jeffrey Brian ed Elizabethan Popular Music for the Lute London Oxford UP 1966
King William Joseph The Englsh Anthem from the Early Tudor Period through the Restora t ion Era PhD dissertation Boston University 1 962 Ann Arbor Mich University Microfilms I~ternational 1982
La Fontaine Henry Cart The Kings Musick New York Oa Capo Press 1973
Lewis c s English Literature in the 16th Century excluding Drama 11 in Oxford History of English Literature p 266 Edited by F P Wilson and B Dobree Oxford Clarendon Press 1954 reprinted 1962
r1ason Dorothy E Husic in Elizabethan England Washington Folger Shakespeare Library booklet 1958
rtaynard Winifred Elizabethan Lyric Poetry and its Music Oxford Clarendon Press 1986
McGrady Richard J The English Solo Song from William Byrd to Henry Lawes 11 PhD dissertation University of Manchester 1963 This dissertation arrived to late to notate McGradys theories on Italian Monady and Jones
Meyer Ernst H Early English Chamber ~iusic ed Diane Poulton London Lawrence and Wishart Ltd 1946 Boston Marion Boyars Inc 1982
Mies Otto Heinrich PrussJan Castle
Elizabethan t1usic Prints in an East rrusica Disciplina III (1949) 171-172
Naylor Edward Noodall Shakespeare and Husic rev ed New York De Capo Press 1931 lew York Benjamin Dlom Inc 1969
Pagallelli Serpoundio Jusical Instruments from the Renaissance to the 19th Century trans Anthony Rhodes Milan Fratelli Fabbrl Editori 1966 7 London Hamlyn Publishing Group 197 0
Pattison K An Analysis of the Ayres of Robert Jones MFA thesis University of Georgia 1965 (Request for this thesis has been submitted through the inter-library loan service but has not arrived)
Phillipps G A Charles 1 11
-121-
11 Crown r1us ical Patronage from Elizabeth to Music and Letters 58 (Jan 1977) 29-42
Phillips Peter 11 Performance Practice in 16th Century English Choral Music~ Early Music 6 (april 1978) 195-199
Prior Roger Jewish Musicians at the Tudor Court The ~~sical Quarterly LXIX (Spring 1983) 253-265
Poulton Diane Graces of play in Renaissance Lute Music 11
Early Music (april 1975) 107-109
Reese Gustave Music in the Renaissance revised ed New York W w Norton and Co Inc 1959
RIS~t Einzeldrucke vor 1800 Karlheinz Schlogervolume III Basel Barenreiter Kassel 1974
RISM Recueil s Imprimis XVIe-XVIIe siecles l-1unchen G -Henle Verlag 1972
Robertson Dora H Sarum Close London Jonathan Capt 1938 Bath Firciurt Publishing Limited 1969
Seng Peter J The vocal songs in the Plays of Shakespeare a Critical History Cambridge Harvard UP 1967
Shakespeare William William Shakespeare The Complete Works Edited by Alfred Harbage Baltimore Pen~middotuin Books rev ed 1969
Smith Irwin Shakespeares Dlackfriars Playhouse Its History and Its Des~gn New York New York University Press 1964
Spink Ian English Song Dowland to Purcell New York Charles Scribnerbulls Sons 1974
Sternfeld F w Music in Shakespearean Tragedy London Routledge and Kegan Paul 1963 rev ed 1967
Stevens Denis Tudor Church t-1us ic Nev York Merlin Press 1955 bull
A History of Song New York W W Norton and Co Inc 1960~ First American Edition 1961
Stevens John Music and Poetry in the Early Tudor Court reprint ed Cambridge Cambridge University Press 1979
Traficante Frank Anthony 11 The Mansell Lyra Viol Tablature parts I and II PhD dissertation University of Pennsylvania 1965
-122-
Walker Earnest A History of Music in England New York Da Capo Press 1978
Wells Robin Headlam John Dowland and Elizabethan Melancholy Early Music 13 (Nov 1985) 514-528
Wickham Glynne Early English Stages 1300 to 1660 2 vols London Routledge and Kegan Paul New York Columbia UP 1972
Williams C F Abcty A short Historical Account of the Degrees in 1usic at Oxford and Cambridge Lonaon lovello Eivers and Co 189 3
Woodfill Walter L Musicians in English Society from Elizabeth to Charles I New York Da Capo Press 1969
-4-
The dates for Richard Jones span a time period of
ninety years from 1532 to 1624 Even allowing for
extraordinary good health and ideal living conditions these
dates must at the very least be for two men The first
Richard Jones is listed as the High Master of the Grammer
School for the children of St Pauls from 1532 to 1549 He
followed John Ritwise who was said to have allowed the boys
of the grammar school to perform interludes at the court of
Henry VIII There is no indication that this practice was
continued under the headmastership of Richard Jones The
lack of reliable information in this case can be attributed
to the loss of archives in the Great Fire of 1666 and the 10
confused records of the choir school and the grammar school
It is also possible that this is the R Jones who
entered three plays in the Stationers Register from 1567 to
1569 which had been performed by the Children of the Chapel 11
The headmaster then was Richard Edwardes In 1561
Edwardes received his patent as Master fron1 Queen Elizabeth 12
and this patent was entered into the records by an R Jones
10 Chambers volII pp 8-12
11 Chambers volIV p 381
12 Chambers vol II pp 33-34
-5-
The next two Joneses Richard and Robert have caused
the most confusion They were active during the same time
period and were associated with the same group the Children
of the Revels In addition both men were musicians both
were connected with a theatre troup manager named Robert
Browne and both men travelled to Germany It is a very
real possibility that these men were brothers possibly sons
of the first Richard Jones discussed It may not even be
far-fetched to suggest that all three were related to
the Robert Jones connected with the courts of Henry VII and
Henry VIII
Richard Jones was associated with the acting companies
of the Earl of Worcester in 1583 the Lord Admiral in 1589
1594-1596 and 1597-1602 and the Earl of Pembrokesbulls Hen in
1597 He was in Germany in 1592-1593 1615 1620 and 13
1622-1624 In 1623 he was a musician to the Duke of
Wolgest At this tioe he petitioned the Duke to be allowed
to return to England In 1624 Richard Jones again
petitioned the Duke this time to be taken back into service
as a musician In 1630 he is connected with John Jones a 14
dramatist
13 Chambers vol II p 324
14 Gerald Eades Bentley The Jacobean and Caroline Stage
Dramatic Companies and Players 5 vols reprint ed (Oxford Clarendon Press 1949) val I and II pp 135 485
-6-
Richard Jones entered four plays in the Stationers 15
Register between 1578 and 1594 In 1580 he was the
enterer of the song A newe northern Dittye of ye Ladye
Green Slevesu Jones was granted a license in 1584 to print
a book really a collection of ballads printed in broadsheet
form entitled Very Pleasant Sonets and Stories in Meter by
Clement Robinson Robinson was an Elizabethan poet fl 1566-16
1584 This was in response to a popular interest in signing
to the lute This Jones was not above using the name or initials
of well-known writers to enhance the sale of his verse books
At least three of these books A Smale Handful of Fragrant
Flowers (1575) Brittons Bowre of Delights (1591) and the
The Arbor of Amorous Deuises (1594 and 1597) used the initials
of Nicholas Breton much to Bretonbulls anger These books included
poems by Breton and others used without their consent Other
collections printed by Richard Jones are A Handfull of pleasant 17
delites and A gorgious Gallery
It was this Jones erstwhile actor and printer who was
granted the patent by which the Children of Whitefriars were
once QOre entitled to call themselbulles the Children of the
Queens Revels This patent dated January 4 1610 was
15 Chambers vel IV pp 382-383
16 The Cambridge Bibliography of English Literature
ed F w Bateson 5 vols (1940 Cambridge University Press 1969) p 646
17 Winifred Maynard Elizabethan Lyric Poetry and Its
Music (Oxford Clarendon Press 1986) pp 16 14 48-50
-7-
given by James I It reads in part
Know ye that wee haue appoynted and authorised Robert Daborn Phillipp Rosseter Iohn Tarbuck Richard ones and Robert Browne from tyme to tyme to provide keep and bring vpp a convenient nomber of children and them to practice and exercise in the quality of playing by the name of Children of the Revells to the Queene within the white fryers l8
It is this patent which seems to be the source for
confusing Robert Jones and Richard Jones Several
authorities claim that the Elizabethan COQposer Robert Jones
was involved with the Children of the Revels of the Queene 19
in 1610 However he is not mentioned in their
history until five years later One historian even claims
that Robert Jones is the founder and manager in 1610 of the 20
Children of the Revels to the Queen within White Fryars
18 Chambers vol II p 56 Chambers and Bentley
Jacobean Stage discuss the various associations of Richard Jones and Robert Browne in greater detail than is within the scope of this thesis
19 Edmund H Fellowes The English t-1adrigalist 2nd ed
vol 35 A (London Stainer and Bell 1960) p 4 and Heseltine Prefaces p 171 It is interesting to note that both these works were originally published in 1923 and neither lists sources Chambers also originally published in 1923 clearly states his sources for these patents the original cocuments
20 Morrison Comegys Boyd Elizabethan Music and Musical
Criticism 2nd ed (Westport Greenwood Press Publishers 1973) p 199 Boyd has all references to Robert Jones under one index heading although be discusses the work of the Tudor composer as well as that of the Elizabethan composer No source books on Elizabethan or Jacobean Theatre are included in his bibliographies
-3-
Robert Jonesbull connection with the Children of the
Revels is clearly stated in a patent granted by James I on
June 3 1615 It gave authority for the erection of a new
theatre for the continued training of the Children of the
Revels This theatre would replace the expireci lease on
another house used by Rossiter
And whereas the said Phillipp Roset~r together with Phillipp Kingman Robert Iones and Ralphe Reeve to continue the said service for the keeping and bringing vppe of the children for the solace and pleasure of our said most deere wife bullbullbull by the name of children of the Revelles to the Queene have lately taken in lease and farme divers buildings Cellars sollers chambers and yardes for the building of a Playhouse therevpon bullbullbull All which premisses are scituate and being within the Precinct of the Blacke ffryers neere Puddlewharfe in the Suburbs of London called by the name of lady Saunders house or otherwise Porters hall and now in the occupation of the said Robert Jones Nowe knowe yee that wee of our especial grace bullbullbull doe give and graunte lycense and authoritie vnto the said Phillipp Rosseter Phillipp Kingman Robert ones and Ralphe Reeve at their proper costs and char~~~ to erect build and sett vppe in and vppon the said premisses bullbullbull one conve ient Playhouse for the said ctildren of the Revelles 21
It is interesting to note that Robert Jones is mentioned
three times in this patent
This patent and its various details are confirmed in
other sources of the period The Privy Council was
21 Chambers vol II p 473
-9-
approached by the inhabitants of the Blackfriars area They
maintained that another theatre in Puddle Wharfe would be
too close to the church of St Anne and that it would
disturb the congregation during services Because of a technical
flaw the work that was begun on the building was ordered
stopped in September of the same year (1615) Plays were
performed there as late as January 1617 The last mention of 22
Robert Jones in this instance was the Kings patent
Robert Jones had other connections with the theatre
although he is not called an actor In 1602 he was in
Germany at Frankfort where he was named as a fellow of
Robert Browne Browne was something of a theatre impresario
who specialized in bringing English actors to the continent
and was also included in the patent of 1610 with Richard 23
Jones This year was the start of a three year
publishing hiatus by Robert Jones Appendix One includes
the titles and dates of Jones work An interesting fact
which may or may not be connected with Jonesbull time in
Germany is that his third book Ultimum Vale is one of eight
22 Chambers val II pp 472-473 61 val IV pp 343-345
23 Chambers val II pp 273-282 p 56
-10-
Elizabethan Music books which used to be in the library of 24
the East-Prussian Castle of Schlobitten
This Robert Jones then is the Jones who is the subject of
this paper He was active in the latter years of
Elizabethbulls reign and the early years of the reign of James I
He may or may not have been an actor but he was
associated with actors and the Chilciren of the Revells He
was stable enough to own a house and to enter into a risky
theatre venture
24 Otto Heinrich Meis Elizabethan Music Prints in an
East-Prussian Castle Musica Disciplina III (1949) 171-172
CHAPTER II
EDUCATION A~ID SOCIETY
Robert Jones is known to have graduated from Oxford
University in 1597 It is also known that he was at St Edmund s 1
Hall and was for sixteen years a student His date of death
is unknown although a valid theory has been put forward for 2
his approximate year of birth to have been 1574 This would
have made him only twenty-three when he graduated slightly
younger than n1ost of his contemporaries A comparison may be
rMde by using Appendix Two an outline of works contained in
Christ Church rlusic Mss 56-60 Composers who graduated from
Oxford University are identified as well
Music both sacred and secular was an integral part of
university life Until the Reformation it was customary to
have Masses sung for the souls of the kings and founders of
the various colleges ~ The playing of secular music and
instruments had become so distracting that it was forbidden
at bullbullunseasonable times 11 unless after meals and there was a 3
fire in the fireplace of the hall or communal erea
1 c F Abdy Williams A Short Historical Account of the
Degrees in fiusic at Oxford and Cambridge (London 1893) p75
2 Hese1tine Prefaces p 99 Heseltine combines the fact of
Jonesbull years as a student and Jonesbull admission of practicing music since he practiced speaking to estimate the date of 1574
3 Nan Cooke Carpenter Music in the Medieval and Renaissance
Universities (1958 New York Da Capo Press 1972] p 169 81
-11-
-12-
Since the singing of Masses was required by statute some
means had to be provided for the training of choristers Many
colleges maintained choir schools These younger members of
the college community actually owed their positions at Oxford
to their musical talent and duties In 1547 the Act of
Dissolution under Edward VI closed many church schools but
not the collegiate foundations in the universities the
choirs of St George and Chapel at Windsor and the cathedral 4
schools
The young choristers were taught plainsong and pricksong
and when their voices changed they were preferred for vacancies
in the universitys scholarship lists Among these colleges
were the Schola flusicae of Queens New College Corpus Christi
College Cardinal College (later Henry VIII and nm1 Christ
Church) St Johns College and Magdalen College The statutes
of Magdalen College also provided for places for thirty indigent 5
student-- iemyes) to study plainsong
In the preface addressed to the reader in his First Booke
of Songes or Ayers Jones states that ever since he practiced 6
speaking he practiced singing By his own words it is likely
4 carpenter pp 167 88 388
5 Carpenter pp 267-171
6 F w Sternfield general editor English Lute Songs 1597-
1632 a Collections of Facsimile Reprints (Manston The Scholar Press Ltd 1971) 26 Robert Jones The First Boo~e of Songes or Ayers 1600 David Greer ed
-13-
that Jones was trained in one of these choir schools anG it is
not inconveivable that he was a recipient of a scholarship to the
university of Oxford Indeed Jones was probably at school at
Oxford rather than London and may even have been one of the
demyes of Magdalen College This is especially likely in view of
the fact that Jones had no steady patronage each of his song
books was dedicated to a different person and he was not 7
connected as household musician in the same way that John Wilbe B
and John Ward were involved at Hengrave Hall and with Sir Henry
Fanshawe
The power for presing choristers into service started in
1420 and this practice continued through Elizabeth bull s reign Im-
pressment of exceptional singers men and boys from all over 9
England into service in the Royal Chapel was commonplace
7 Sir w H Hadow English Music (London Longmans Green and
Co 1931) p 65
8 John Aplin Sir Henry Fanshawe and Two Sets of Early
Seventeenth Century Part-Books at Christ Church Oxford Music and Letters 57 (January 1976) 14
9 Carpenter p 341 Foster Watson The English Grammar
Schools to 1660 Their Curriculum and Practice Cambridge University Press 1908 Encyclopedia Britannica Library Resources Inc LEL 10880) pp 155 212 217 Watson mentions several grammar schools in London which incorporated music into their programs at this time They include the Merchant Taylors School St Paul School Thames School and Christ Church Hosshypital It was necessary to know the catechism in English or Latin read perfectly and write co~petently before acceptance at these schools Hulcaster headmaster at Nerchant Taylors claimed that extra subjects like music were studied privately by gentlemens children and that nusic itself was a part of the math curriculum
-14-
It is doubtful that Robert Jones was impressed into such service
He was both eloquent and voluble in the prefaces to his song
books and would certainly have alluded to this aspect of his
life had it been part of his own experiences
The awarding of baccalaureate and doctorate degrees in
music at Oxford was a tradition dating from the early fifteenth
century Music had been established as a separate faculty the
only liberal art so distinguished In fact the English
universities were the only ones to confer degrees in music
There is no indication that a prior arts degree was required for
the Bachelor of Music as was often the case in other fields
Many of England s most talented musicians became bachelors or 10
doctors of music at Oxford Appendix Three is a partial
listing of these musicians drawn fron information in Carpenters
and ~lilliams bull studies Furthermore the University of Oxford
was after the University of Paris the inspiration for more 11
treatises on music than any other medieval university
Appendix Four is a compilation of these treatises taken from the
work by Carpenter
The dichotomy of music that is musica practica versus
musica speculativa was reflected in the requirements placed
upon the degree seeker at Oxford It was as necessary to study
polyphonic music as to study theory Music classified within the
mathematics traditions and the text of Boethius De institutione
10 Carpenter pp 159 89 336 160
11 Carventer p 82
-15-
musica was required by statute since 1431 In 1549 after
Edward VI visited Oxford the candidates for the bachelor of
music degree were to concentrate on the disciplines of the
quadrivium Sixteen terms (four years) were to be spent in
grammar rhetoric dialectic and arithmetic and 11 in musica
Boetium Admission to the bachelor of music granted the right 12
to lecture in any of the music books of Boethius
Each student at Oxford was instructed by his own tutor until
he had obtained his first degree This meant that the musical
careers of some students were actually shaped by the methods of
their tutors Attendance was required at public lectures Aside
from the usual difficulties with student participation and indif-
ference or inability of some faculty these lectures were to be
given in Latin Dr John Bull not being proficient in Latin
was granted permission to read his lectures in English in 1597
Jones of course should have attended these lectures since John
Bull was incorporated as a Doctor of Music from Cambridge in
1592
In order to obtain a degree it was necessary to compose a
Mass song or canticum bull bull bull to be performed before the university bullbullbull 14
on the day of the Cornitia 11 This was not meant to determine
eligibility for a degree rather it was meant to add to the
12 Carpenter pp 89 77 153 159
13 Carpenter pp 154-156 163-164
14 Williams p 21
-16-
solemnity of the occasion This rule specifying a piece of music
to be performed in the university churcl1 at Act time remained un-15
changed from 1516 until 1608 when a hymn only was required
However there was a dispensation from this rule A
candidate could apply for a degree pro circuitah He would
request the Vice-chancellor and proctors to summon a Congrega-
tion On the afternoon before the Congregation the student
preceded by one or both of the bedells of his faculty and accompanied by the person who was to present him in congregation bullbullbull attired in academic dress but bareheaded went round to the schools and also called on the Vice-chancellor and both proctorsl6
Tradition always was an important part of university life
Oxford in the early sixteenth century was no exception Fre-
quently these traditions became codified in statutes Gloves
were an expensive luxury and early in Oxford 1 s history it became
obligatory for the degree seeker to give a pair to the Bedells
and other officials No man could dress above his station and
students fined for wearing silk were required to wear gowns 17
with loose sleeves and square caps in public Following is a
list of graduation fees established by statute at Oxford in 1601
taken from Carpenter Appendix Five is a copy of the original
version According to the custom Jones would have had to pay
some if not all of these fees
15 Williams p 27
16 Carpenter p 165 citing Clark in Register II p 46
17 Williams p 59
-17-
TABLE ONE
Graduation fees at Oxford in 1601
The baccalaureate in music will disburse
First for the total for gifts 6 s For the service of the room For the clerk of the university For possessions For the chamber For the six year total [tuition] 2 s For services during the present year For the clock For the right of the university For the lesser porter of Arts
Total 13 s
IE he has been subsidized by the church 7 s or by patronage he will disburse for wine
If not arranged in advance [] he will pay for the table servants to the porters of his faculty for meals
The greatest expense on this list is for wine [)
a d 6 d
12 d 12 d
4 d
12 d 2 d 2 d 6 d
4 d
4 d
9 d
-18-
It is not indicated in the available sources whether Robert
Jones composed a piece for graduation or used the pro circuitubull
option However a good case can be made for the former there
is an anthem in Christ Church Imiddot1usic Mss 56-6 0 Singe joyfully
which was composed by Jones The words are from Psalm 81 and
are identical with those in an Elizabethan Bible printed in 18
1595 This is two years before Jones graduated from Oxford
Furthermore the Christ Church lbulllus ic t-lss was compiled 11 wi th
most of the material at hand gathering together works which may 19
already have existed in worn or loose copies It was planned
as a memorial to Prince Henry and most of the composers repre-
sented were court-based friends of the composer John Ward who
was in the service of Sir Henry Fanshawe These part-books were
compiled at Fanshawes request and completed by his son before 20
1620 The Oxford anthem Singe joyfully will be discussed
further in the chapter on sacred music
As can be seen music was an important and necessary
part of the education of a gentleman and it was a necessary
18 The kindness of Mr Richard Austin of St Luke bulls Shrine
Smithfield is gratefully appreciated He allowed access to the Bibles there which proved that Jones used the Elizabethan transshylation and not the King James version of Psalm 81
19 Aplin p18
20 Aplin p 14
-19-
21 accomplisr~ent of the perfect courtier Even Morley begins
his book with a description of the embarassment caused by a lack 22
of ffiUsical knrn~ledge Furthermore a degree in music was an
invaluable asset to obtaining a post in the Chapel Royal
Neither Elizabeth nor James I gave honors such as peerages or
knighthoods to musicians rather they used offices in the
Royal Household the Chapel Royal and the Kings Musick as reward 23
for services In 1605 Jones dedicated his Ultimum Vale to
Prince Henry ~hether this earned a reward for Jones is not
known However it is likely that the Mr Jones listed as a 24
Gentleman of the Kings Chappell in 1612 is Robert Jones
It is possible that this position and not great reknown earned
a place for Jones in the Fanshawe part-books
As a Gentleman of the Chappell Jones would be expected to
be quite proficient in reading music and well-versed in plainsong
and pricksong That he could COQpose apart from performing 25
would have been the highest recommendation of all It is note-
21 Carpenter p 343
22 Morley p 9-10
23 G A Philipps Crown Musical Patronage from Elizabeth I
to Charles I Music and Letters 58 (January 1977) 29
24 Henry Cart de Lafontaine The Kingbulls Musick (New York
Da Capo Press 1973) pSO
25 John Stevens Music and Poetry in the Early Tudor Court
(1961) Cambridge Caniliridge University Press 1979) p 309-317
-20-
worthy that although Jones was actively composing in the latter
years of Elizabethbulls reign he was not associated with her court
Like many others he sought patronage elsewhere as can be seen
from the dedications of his song books His appointment as a
Gentleman of the Chappell may indeed have been a result of his
having dedicated his third song book to Prince Henry elder son
of James I Jones published no work after 1610 two years before
his name appears as a Gentleman of the Chappell It is possible
that Jones again travelled to Germany with theatre impresario
Robert Browne or he may well have decided not actively to
compose as he had implied in the prefaces of his last three song
books Records in these areas are incomplete although further
connections with the theatre will be discussed in the following
chapter
CHAPTER III
WAITS V~SQUES AID THE THEATRE
The waits were orisinally watchers at the gates and were
probably descended from the watchmen and sentinels for camps 1
castles and other fortified places In fact wait is the Saxon
word for watcher Eventually they were employed by the cities to
keep watch and guard during the night and to call out the time
and weather Their main purposes were protection order and
safety within the cities To carry out these duties the waits
were furnished with musical instruments These were used to
sound alarms and call for help when needed and were probably an
early type of shawrn or a horn made of metal In 1296 a statute
was enacted in London which required the servants who closed the
gates at night to have waits at their own expense Eventually
the term wait came to mean the man the instrument and the music 2
played on the instrument
The connection between Robert Jones and tte waits only
beco~es clear when the development of the waits and their
1 Walter L Woodfill Musicians in English Society from
Elizabeth to Charles I (New York Da Capo Press 1969) p 33
2 Henry Alastair Ferguson Crewsdon camp The
1-Jorshipful Company of -iusicians ( 19 50 London Charles Knight and Co bull Ltd bull bull 1 9 7 1 ) pp bull 16 2 -16 4 bull
-21~
-22-
place in Elizabethan and Jacobean society is discussed It was
not long after the first statute concerning the waits was passed
that they came to be considered musicians They are included
called by the nanle of wayghte and other variant spellings
among the musicians of Edward III (1327-1377 and are named in
records from Henry VI through Charles I From watchmen with
musical instruments to capable musicians is a logical development
of talent and time For a watchman with musical ability there
was time to acquire skill and thus gain employment publicly or 3
privately as a musician when not on duty
Many of the principal cities in England employed waits In
London the nunilier of groups varied from six to nine and the
number of masters and apprentices in each group was strictly con-
trolled Their places were so coveted that musicians good or
bad bargainea fought or sued for any vacancies Often a place
would pass fron1 father to son Their privileges included
monetary compensations and gifts distinctive livery status in
the city as freemen in the Company of ~usicians without charge
and the right to keep two apprentices at a time Their services
publicly and privately were much in demand by the lord mayor the
sheriffs and aldermen and the playhouses They were required
to meet regularly for rehearsals and only the 11 ancientist
3 Crewsdon pp 165-167
-23-
4 that is the eloest of their society could dispose order and
direct their music
Until 1525 the wait pipe (horn) and shawm were the only
instruments used by the waits The sackbut was added in 1526
In 1561 instrumentation was expanded with the addition of
viols and recorders and cornetts were added in 1568 and 1576
respectively In 1597 the curtal a bassoon-like instrument was
added Records indicate that portable organs keyboards and
harps were hired for special occasions In some waits the lute 5
and singing were included as early as 1555 The waits
provided the music for visiting dignitaries parades and court
masques and dancing The First Book of Consort Lessons by Thomas
Morley was meant as a guide for the groups of instruments used by 6
the waits Their music consisted of traditional wait tunes
(simple airs meant originally for wait pipes and shawms played
with cold fingers) music which may have existed only in
manuscript form written expressly for use in a masque or pageant
and music apt for viols or voyces u including madrigals
Ultimum Vale of Robert Jones contains music for colibination of 7
lute voices and viols Figures 1-20 are facsimiles of tbe
4 Woodfill pp 37-44
5 Woodfill pp 34-36
6 Wood f i 11 p bull 4 5
7 Woodfill pp 44-52 Waits and their history are more
fully discussed by both Woodfill and Crewseon A very brief outline only has been possible in this paper
-24-
title pages dedications and prefaces and tables of contents of
the song bool s of Robert Jones from Greer
Ultimum Vale is probably the book included by Gordon Doad in 8
his list of music for viols This song book is also the source
for ten of eleven songs by Jones included in the Giles Earles 9
book It is this custom of performing vocal and instrumental
music only instrumentally that forms part of the basis for early
chan~er music in England It was advocated by Thomas Morley in
his book and used not only by Jones but also by Sir William 10
Leighton in Teares or Lamentaciones of a Sorrowful Soule
It is possible that this evolutionary process in performance
practices and adaptations of popular pieces for other instruments
may be the basis for the idea that Jones composed for the
virginals Certainly no music specifically for the virginals or
instruments other than lutes has been found to have been
composed by him
When playing for the masques the waits probably performed
in a room or chamber near the pageant rather than on the street
or porch where the masque was being presented Robert Jones bull
8 Dodd p 263
9 Jergens p f 13V-f22V
10 Ernst H Meyer Early Englisn Chamber ~1usic ed Diana
Poulton (1946 Boston Marion Boyers 1982) p 135 149
-25-
11 naroe is not in the lists of appointments to the London Waits
But Jones did have so~e of his music included ill masques Everie
vloman in her Humor a masque by Maclin published in 16 09
includes two songs from The First Booke of songes or Ayres The
title My mistris was not used in notes for the masque rather
lines from the song were used thus hindering our identification
of Jones as its author Figures 21 and 22 are facsimiles of this
song This same song was used in Loves Charity by Shirley in 12
1631 and The Dutch Courtesan by John Marston The latter was
presented at Blackfriars in 1603 performed by the 11 Children of 13
her Maiesties Revels Christ Church Ms 439 which contains
four songs from The Second Boeke of Songs or Ayres is said to be 14
a compilation of songs used in masques
The dates of the songs discussed indicate that Jones was a
source for music used in masques rather than a co~poser of music
for masques This is admittedly a subtle difference but it is
a critical one since Jones is not credited with supplying tPis
music in tle published sources of the time such as the plays
themselves
11 Woodfill p 48 and Appendix A
12 John P Cutts Everie ~loman in her Humor Renaissance
News 18 (Autumn 1965) 210-212
13 Chambers vol III p 431
14 Cut t s p 212 bull
-26-
Songs used in masques were declamatory in vocal style with
rare word-repetitions except towards the end of a song The
lute accompaniment tended to be chordal with an harmonically
15 statis bass The aforementioned 11Ny mistriS 11 (see Figures
21 and 22) very clearly demonstrates this principle The masque
an offshoot of the main dramatic movement was musically con-16
nected with the great nass of songs with lute accompaniment
Robert Jones was a natural choice for the masque authors His
melodies tend to be rhythmically simple and singable By his ow~
admission in the preface to his First Booke of Songes or Ayres
Jones main concern was fitting the note to the word (See Fig-
ure 3)
Shakespeare also liked to use contemporary songs in his
works for the theatre and in the music of Jones Shakespeare
found songs to express the moods of his characters Perhaps the
best known instance of this reliance upon Jones is in the comedy
Twelfth Night The song 11 Farewell dear love bullbull is number twelve
in The First Booke of songes or Ayers
15 Ian Spink English Song Dowland to Purcell (New York
Charles Scribners Sons 1974) p ~0-41
16 Ernest Walker A His tory of Music in England (rJew York
Da Capo Press) p 153
-27-
In Twelfth Night II iii Sir Toby Belch and the clown
Peste sing a version of this song that telescopes the first and 17
second verses Malvolio warns Sir Toby and Feste that
Olivia will bid farewell to Sir Toby unless he reforms It is at
this point that these two characters alternate singing lines of 18
the song This song was set in 1600 and the date of Twelfth
Night is 1601 The obvious conclusion is that Farewell dear
heart was a popular favorite and would have been recognized no
matter how much it was condensed Another testimony to its
popularity is that the tune appears as a hymn setting in a Dutch
psalter The Dutch version is Heilgierig mensch and the 19
psalter was published at Amsterdam in 1713 That Jones himself
favored this song is shown by the fact that in his fourth book
nine years later Jones sets Farewell fond youth Its meter
is identical and its melody is similar to that of 11 Farewell dear 20
heart Farewell dear heart may be seen in Figures 23-26
and bullFarewell fond youth in Figures 27-28
17 John Stafford Smith Musica Antigua (London 1812) p 10
204
18 Peter J Seng The Vocal Songs in the Plays of
Shakespeare A Critical History (Cambridgemiddot Harvard University Press 1967) p106
19 William Shakespeare The Complete Works ed Alfred
Harbage (Baltimore Penguin Books 1969) pp 316-317
20 Edward Woodall Naylor Shakespeare and Music rev ed
(New York Da Capo Press and Benjamin Blom Inc 1969) p70
-28-
Shakespeare also turned to Jones for parts of the mad songs
for Ophelia in Hamlet IV V Although it is not a proven
fact the setting of In Sherwood liude stout Robin Hood see
Figures 29-30 from A Musicall Dreame bears close resemblance to 22
the words sung by Ophelia That it probably is this song is
due more to the nature of the scene and the impropriety of the
words words which would never have been sung by a sane Ophelia
and to the popularity of Jonesbull work rather than contemporary 21
documentation Frequently Shakespeare had his
characters sing snatches of songs or refrains and further
attributions to Jones are possible but not provable without a
shred of documentation Nor in general are Elizabethan
composers who often set the same words identifiable unless the
tune had been transcribed or the composer named in the
manuscript
21 Heseltine Prefaces p 168
22 F w Sternfield Music in Shakespearean Tragedy
rev ed (London Routledge and Kegan Paul 1967) p 57-58 71
CHAPTER IV
THE SECULAR t-1USIC
The secular works of Robert Jones consist of five books of
lute songs or ayres and one book of madrigals One or two copies
of each song book have all survived in excellent condition with
minor problems such as missing title pages The madrigals 1
however exist only in an incomplete state Possibly this is
due to the difference in publishing techniques of the two types
of song The song books include all voice parts printed on
opposite pages in such a way that tt-e performers can stand around
a table and use the same book The madrigals on the other hand
were printed in separate part books with the result that the
loss of one part book took away from the whole
Lute songs increased in popularity and availability
when the printer Peter Short acquired a font of lute tablature
This acquisition in 1597 greatly facilitated the publishing of 2
lute music William Barley had published a book The New
1 Fellowes Madrigalists p iv In the preface
Dr Fellowes describes in depth the location of various part bookst and which madrigals are complete because they were found in alternate sources
2 Spink p 15
-29-
-30-
Book of Tabliture in 1596 which contained the first solo song
with lute accompaniment published in England In the four years
between the publication of this book and the First Boeke of Songs
or Ayres by Robert Jones in 1600 books by Dowland Morley 3
Cavendish and Farnaby in this style were printed Peter
Short by the essence of Thomas Morley was the printer of the
first two song books of Jones and the first book of Dowland It
may thus only have been for practical reasons that the title
pages are virtually the same
Lute and vocal music were easily printed For the lute
tablature letters not notes were placed on a six line staff
Vocal music used about a dozen signs for clefs tempos and
accidentals and thirty individual signs for notes apportioned on
a staff of five lines each with a note on one of the lines or 4
spaces Obviously it is this setting of each individual note
with its staff which gives the music its slightly wavy
appearance
Each of Jones five song books includes twenty-one songs
although contemporaneous song books usually vary in the number of
songs Whether this really has any special significance for
Jones is impossible to know For all his loquacity he did not
3 Phillip Hes~ltine The English Ayre (1926 Westport The
Greenwood Press Publishers 1970) p 138
4 Boyd p 178 Keyboard music was not published until 1611
and tben it was engraved This was because of the difficulty of dividing the staff to print cords of two or more notes
-31-
refer to this in his prefaces All five prefaces are illustrated
as follows The First Booke of songes or Ayresw Figures 1-4
The Second Boeke of Songes or Ayres Figures 5-B Ultimun
Vale Figures 9-12 A Musicale Dreame Figures 13-16 and
A Musebulls Gardin for Delights Figures 17-20 However that it
was important to him could explain why he chose to include two
Italian songs in A Husicall Dreame They are for solo voice with
lute or bass viol accompaniment (or both) and come at the end of
a book of songs for three and four voices
The idea of performing vocal music instrumentally has
already been discussed with the performance practices of the
waits Another common practice of lute playing was to use
alternate tunings of the lute The more usual tuning is gd A 5
F C G Plternate tunings included the sixth or bass string
tunec to F not G or the tunings called the 11 leero fashion 6
These were d a f a F c This method was used by Jones in 7
The Second Book of Songs and A~res published in 1601 The
words 11 Set out to the Lute the base Viall the playne way or the
5 Edmund H Fellowes The English t-ladrigal Composers 2nd ed
(1921 London Oxford University Press 1967) pp 304-5
6 Veronika Gutmann Instrument oder Dininutionspraxis
Archiv fuer Husicwissenschaft 35 (November 1978) 189
7 Frank Anthony Traficante The Hansell Lyra Viol Tablature
Parts I and II diss University of Philadelphia 1965 pp 188-189
-32-
Base by tableture after the leero [lyra] fashion appear on the 8
title page There often was a seventh string added below the
bass string tunec to D To avoid confusion this note was not
annotated on the staff instead ledger lines were added to 9
indicate its implementation This may not have been a popular
practice Jones used it sparingly in Ultimum Vale his third
book However all songs but one in A Musical Dreame call for
the extra string That Jones was criticized for use of this
extra string in Ult1rnuro Vale can be inferred from the preface to
A Musicall Dreame This preface is not addressed to the reader
but rather to all Musicall Murmurers
Understand me thou vnskilfull descanter deriue from that Note of Plaine Song charitable numbers and thou shalt find harsh voices are often a Note aboue Ela reduced by truer iudgement which I bereaue thee of nowing thy Rules are as our new come Lutes being of many strings not easily used vnlesse in aduenture till practice put forward into deseruing Diuision
From this preface it appears that Jones was something of an
innovator often embracing ideas before their full acceptance
Jones also may have ornamented or used graces in his work
However we cannot know this because the art of ornamentation was
a live tradition passed from one player to another The second
reason is that printers of the time did not have the necessary
8 The title page of this book is misleading The correct
title appears to be The First and Second Boeke of Songs and Ayres It is usually referred to as The Second Boeke of Songs and Ayres See Figure 5
9 Fellowes Madrigal Composers p 304-305
-33-
10 signs for ornaments or graces in lute playing
The following chart of lute tablature is adapted from
Fellowes The strongs are labeled treble small mean great
mean countertenor tenor and bass All but the treble string 11
were doubled
Treble ( g I ) a b c d e f g h Small r-Iean (d ) a b c d e f g h Great Mean (A) a b c d e f g h Counter-tenor (F) a b c d e f g h Tenor (C) a b c d e f g h Bass (G) a b c d e f g h
The fingerboard of the lute has ivory frets When stopped
each fret raises the tone of a strong by a half step The small
letters bullbullabullbull bullbullbbullbull 11 C 11 and so forth indicate behind which fret the
fingers are placed to produce the desired tones The letter a
indicates an open string that is one which is not fretted or
stopped b shows to stop the string behind the first fret It
raises the string by a sernitone Each letter represents the
next semitone to be produced on a string
These signs irdicate the duration of the note 1 ~ ~ f ~ ~) and stand for semibreve minim crotchet quaver and semi-
quaver respectively The last sign used gives the duration of
10 Diana Poulton Graces of Playing Renaissance Lute Music
Early Music (April 1975) 108
11 Fellowes Madrigal Composers pp 304-305
-34-
following beats Dots of augmentation with their accepted mean-
ing are used when needed Barring follows the rhythm of the 12
music or the words and is not always indicated It must be
remembered that Jones did not always use this tuning for the lute
rather he indicated it by specific performing instructions on his
title pages
Lute songs have roots in the freemens songs Freemen bulls
could be a corruption of the Anglo-Saxon work 11 freibull meaning 13 14
fesitval or of the term three mens songs In either case
they were lively cheerful songs with the tune in the uppermost
voice the tenor They were the basis for the simple part songs
which were so popular in mid-sixteenth century England These
songs then evolved into the Elizabethan consort songs and finally 15
the lute songs
Lute songs ordinarily were published with only a word or two
of the first line printed in beneath the score The singer
12 Fellowes Madrigal Composers p 306
13 Smith p 10
14 Walker p 45 The book published by Wynken de Warde in
the early sixteenth century which contains the work of the first Robert Jones also includes freemenbulls songs~
15 Spink p 16
-35-
16 either knew the rest of the words by heart or vocalized 11
Jones however is one of the few composers whose words are
carefully and consistently placed beneath the notes in his song
books This note-to-the-word placing allowed him more control of 17
the rhythm in strophic settings of different stanzas of poetry
The lyrics of English lute songs and ayres consisted mostly
of typically short verses The sources for many of the lute
songs and ayres were the ~any Miscellanies published during
Elizabethbulls reign ~ong these The Phoenix llest and Englands
Helicon were the most popular However the collections of
Richard Jones were also used by some composers Richard Jones bull
not properly detailing the authorship of the poems in his
collections is the primary source of confusion in identifying the
authors of the poems set by composers Another problem in the
use of MiscellanieE is the resultant multiple settings of 18
favorite poetry Robert Jones set many poems of Francis
Davison Sir Philip Sidney and Thomas Campion What initially 19
may appear to be plagiarism is really an accepted practice
16 W a 1 ke r p bull 4 6 bull
17 Winifred Maynard Elizabethan Lyric Poetry in Its Music
(Oxford Clarendon Press 1986) p 71
18 Maynard pp 54-55
19 Heseltine pp 130-131
-36-
The main differences between lute songs and ayres tended to
be those of length and rhythm Ayres generally had simpler
settings were more strophic and shorter and usually were better 20
sung as a solo song with lute acconpanirnent The ayre is
normally considered a short lute song with the accompaniment
providing the clue to the difference~ Performances could vary
according to the abilities of the performers and the instru-
mentation they used Frequently this lead to harmonic 21
discrepancies in the vocal and instrumental part-settings
This perhaps is the basis for one claim which has been made
that Jones did not write these parts for what are really solo 22
songs in his last two books
The English Madrigal developed as a result of the
publication in 1588 by Nicholas Yonge of a collection of works
by Italian and Italianized Netherlands composers This book
Musica Transalpina contained fifty-five of the best Italian
madrigals translated into English and proved to be very po~ular
20 Maynard p 55
21 Walker pp 80-81
22 Edmund H Fellowes The text of the song books of Robert
Jones Music and Letters 8 (January 1927) 25-37
-37-
In 1598 ~iichael Cavendish wrote a madrigal with the nLong live
fair Oriana refrain This may have been based on a madrigal
published in Il Trionfo di Dori It was this refrain which may
have been the impetus for The Triumphs of Oriana published by
Thomas Harley in 1601 The Triumphs of Oriana contains twenty-
five madrigals by nearly all the most distinguished English 23
composers of the time 11 Robert Jones contributed Fair Oriana
seerring to wink at folly 11 to this collection
The First Set of Madrigals was published by Jones in 1607
Its being called the First Set is no proof that Jones intended to
publish more sets Rather this avpears to be a publishing
convention of the time Where this set is unique is its
containing madrigals of 3 4 5 6 7 and 8 parts tvhereas
most madrigal sets were in groups of one or two different numbers
of voices this book has six different voice groupings These
combinations alone would give rise to the idea that although
Jones experimented with the madrigal form he either was not
comfortable with it or was not proficient enough with it for
his own standards On the title page~ Jones claims that the
collection is for Viols and Voices or for voices alone~ or as
you please 11 Several of the texts included in this transcribed
edition are poews by Francis Davison and two are by Campion
23 Walker p 78
-38-
The English madrigal was something of a compromise in form
It combined the contrapuntal secular music of the Italian style 24
and the harmonies of such songs as the frottola It typically
was a single stanza of seven to eleven lines in length A line
maybe made up of seven or eleven syllables with short and long
lines in any order The rhymes were mostly feminine and in
random order For this the Italian verse setting was standard 25
but short verse ottara rima or sestina were also used
Perhaps the one concept about the secular work of Robert
Jones that should not be overlooked is that he intended his music
for pleasure He had no rigid rules about performance practices
and he was willing to experiment with new techniques He was not
tied to rules of harmony and counterpoint and he seems to have
been partial to the sounds of open fifths and false relations
He was clever and innovative in his use of rhythm and rests
formed an integral part of his control of rhythm It was an
unhappy man who composed the song Goe to bed sweet muze This
was in Ultimum Vale the book that Jones intended to be his last
He seems to be saying goodbye to his love of music and composi-
tion rather than to an unfaithful lover That music in his muse
can be found in his explanations for publishing again in the
prefaces to A Musical Dreame and A Muses Gardin for Delights
24 Walker p 77
25 Maynard p 55
CHAPTER V
THE SACRED NUSIC
In a fashion typical of the Elizabethan era one music
publication could contain ayres madrigals or religious motets
The Teares or Lamentaciones of a Sorrowfull Soule by 1
Sir William Leighton is one such book It contains eighteen
consort songs twelve songs for four voices and ten songs for
five voices The contributors of songs for this book include
Byrd Milton Bull Ferrabosco Jones Peerson Thopul
Coperario Dowland Ford Gibbons Giles Hooper Johnson
Kindersley Lupo Pilkington Ward Weelkes and vlilbye As can
be seen Jones is numbered among the finest composers of the era
Sir William Leighton was born into an influential family
He had social economic and educational advantages However
because of carelessness and misfortune in his finances he was
imprisoned In 1613 Leighton published a book of his own
poetry The Teares or Lamentaciones of a Sorrowfull Soule This
was followed the next year by a book with the same title cf
musical settings of these poems composed by himself and twenty
composers The purpose of these books was to show Leightons
1 Walker p 81 The consort in this case refers to the
accompaniment of the cantus voice with the treble viol and lute tablature The altus was accompanied by the flute and had tablature for cittern The tenor voice included tablature for the bandora and the bassus was paired with bass viol tablature This was in reality the broken consort
-39-
-40-
repentance But the laudatory verses composed by his friends
and included in the introduction of the book seem to negate
this These poems use word-plays and puns on Leightons name and
deal with his unjust imprisonment
The works in this book are on sacred themes and could be
considered appropriate for use in church However that Leighton
intended for then1 to be domestic fare is seen in the style of
printing used that is on a double folio in the same form as
that used for lute songs and in the performance practices he 2
recommended
Jones set three poems for this work The first two anthems
are included in the poems published as The Teares or
Lamentaciones of a Sorrowful Soule The third piece by Jones is 3
set to words not included in the 1613 edition and the poetry
differs in form from that of the others The words of the first
two anthems consist of six eight syllable lines rhyming ABABCC
The third anthem is a simple quatrain with an ABAB rhyme scheme
The first two anthems closely resemble the favorite form set from
The Phoenix Nest the difference being that the lines in the
2 Leighton p x
3 Leighton p xxv
-41-
4 miscellany are ten syllables long The poetry from these
anthems is included in Appendix Six
Robert Jones composed a fourth sacred work This piece
Sing Joyfully which will be referred to as the Oxford Anthem 5
is included in the Christ Church Mus Mss 56-60 The source
for this manuscript has already been discussed in Chapter II No
modern transcription exists for this anthem and may be attributed
to the fact that the bass part is missing and this anthem is one
of a few anthems in the Christ Church Mss not found in other
sources
The possibility that the Oxford anthem was the piece that
Jones composed to meet degree requirements at Oxford has been
presented in Chapter II To substantiate this claim further the
words of Psalm 81 from the Book of Common Prayer printed in 1619
and from The Bible of 1595 are included here This will
facilitate comparison with the Oxford Anthem facsimile from
Christ Church and its transcription and recreated Bass part
4 Edward Doughtie Lyrics from English Airs 1596-1622
(Cambridge Howard University Press 1970) p 25
5 This manuscript has not been recorded in RISM
-42-
6 The Book of Common Prayer 1619
Sing we merrily unto God our strength Make a cheerful noise unto the god of Jacob
Take the psalme bring hither the tabret The merrie harp with the lute
Blow up the trumpet in the new moon Even in the time appointed And on our solemne feast day
7 The Bible 1595
Sing joyfully unto God our strength Sing loud unto the God of Jaakob
Take the song and bring forth the timbrel The pleasant harpe with the viole
Blow the trumpet in the new moone Even in the time appointed At our feast day
6 The Book of Common Prayer and Administration of the
Sacraments and other Rites and Ceremonies of the Church of England with the Psalter or Psalmes of David Printed by Thomas and John Buch Printers to the University of Cambridge 1619
7 The Bible That is the Holy Scripture contained in the
Old and Newe Testament London Deputies of Christopher Barker printers to the Queenes most excellent Maiestie 1595
-43-
The bass was reconstructed after a study was made of the
style used by Jones in his two madrigals for five voices and the
one anthem for five voices in Leightonbulls work The madrigals
were used for this comparison because of the similarity of style
with the anthem
In general Jones uses the bass as a platform for the other
voices Large skips are used sparingly and the relationships of
thirds and sixths with the tenor voice is usually maintained
The frequent use of whole notes and rests and the rare use of
dotted rhythms and eighth notes emphasizes the stable voice
leading Jones rarely initiates word painting or new rhythmic
patterns in the bass However the bass is used to start an
upward scalar pattern carried through by the other voices in turn
It is hoped that the reconstructed bass for the Oxford
Anthem is in keeping with Jonesbull methods The transcription
would not have been possible without Dr Clyde Brockett It is
possible to include the anthem because of the assistance of Mr
H J R Wing of Christ Church Oxford
44
Cantus middot
( -11 ((
) L ~L I
middotmiddot~middot 0
I I
45
Cantus
------------------------------ ====~====================~ I
I ~
j-- ---====-=--=--=--=---=----=---=--=----~~----------===shy
l I
r
l t
I
~-
t ~
middot r I
(1 c I ( middoto
A ~ -1 bull T I bull 1-Jtc v I
bull
~iof~ictf ----middot-
t~L f ef a attf j az ~ E I cfft ~ fiipound wuamp J1 -------- --4----bull- - -- --
iS
l ----=-----------
47
I middot--- - -- - -- I
j It~middot~ ~~I ~CJ m bKpound fy nt-l a~ PJtttfd (Ul A ~
t Ybull T 0 A I I I
~ -t-I I I - bull I I l bull I I I bull bull J I 1 bull I I I
A - bull ~ I
1
-~-- -- ---middot-------------+
-------middot---middot~---------
1----- --------~---
48
middot- middot---- -- ------middot --~___middot---~- ~--middotmiddot ~
49
Contra tenor
middot -bullmiddota --~ilirtttwbullnbullmiddot d_rl_ mr
I ~
i-----------------------_)_
F------ --
______ _
-------middot--middot-----middot -~-- ----- middot-middot-middotmiddot --~----middot- ------- ------shy+----- ------------ -----r=-~----_____middot ~~~---~--~- ~~~-~~-~-----_ --I
I
(I
bull
middot~
I ii l
l
l Imiddot
-I
(
50
Tenor
------
fwaft qtmiddoto( tft~ tfttttt~l hF Ibull bull ~ l~~r---~-~- ~ - =13
t)tl) tfc G11 pound th (b ir th~ tf~~ v
~-f~~-~3 -----+ ~ ------middot =-==~-~-fi I 1Ppoundf ft t1 c If r 11 a h -middot qCo ~~ l-K~-
I I I
bull
51
Tenor
l ~
~ ~r--=t-~ ~ J middot~middot bull I I
13fon ~ lppt ~fie bmpt~H1 tfv1VC btpound lLi hum( Efl J A t I o bull
H-1----r~ni----=ll bull1 -----i - r~ n middot bull -~ t i ~ -J j) I l 1 bull 1 bull l
~ bull bull T _ obull bull -x I n _PI I I I T I I amp bull T 1 1 middot y tl- 1 L~t--I ----J-middot-middotmiddotmiddot1_--1-- _-~--~~--Jmiddot middotL__-1L --1-- -
- I 1 I _ 1___1 - -4-1-J - +--+1--ll- J ) 0 I 1 I I I I -~-- ----- ~ A bull bull I (I V =-
---- - --------- middot------
I he Oxford Anthem 52 Robert Jones
5 J J J ) J f r middot r I
Sing joy ful ly un to the Lord our I 1) I Js - I 0 I ) ) ]I ) 11 J bull v- l l
Sing JOY ful ly un I to the Lord Si ngl I I - _ f r
1 r t7 t r t l middot~ I I I ~ _l I I
I l I
Sing joy ful ly un to the Lord our i strength
1 6J
J I
i - ( J amp J
-plusmn=-
I Sing joy ful ly
-c un to the
r r2 c= f r F ( f z 0 r I l ~ 1
Sing joy ful - ly un to the Lord our
10 j J r
I I I l r I I 1 I f I
0 0 tJ bull middot I ~ I I I t _a l r
II I I strength Sing joy - ful -t ly un - to the ~middot Lord our I I I i
I
_I 1 I I I I l I
I ) I 0 I ~I I j l Ll I I
$ j I lfO J I - -~~ L7 t I -v - _
~ joy - ful - l y un - to the Lord our I I
~ ) _ IQoll I ~ 1 y middott I -
I I j I l r I I I -r r 1
I Sing joy - ful - ly un - 1o the I Lord our
I I I I I 1
0 0 I ~ Q - -~
- I - -~ - lord our l strength Sinmiddot] _
I I 1 - I I ) i j J middot __ ___ -- t -
strength Sing loud un-to the
I r I J () h fl e J j (~ I I II r- j 0 I v 0 i r c
53
I i
I - I - I - I r r r ( J I _J_ I 11 _l [
~ I I I
I
~
I strength Sing 1oud un-to the I
I I I I r r r J y r J - 1 v I I 1 l -l - I - -
I str ~ength Sing 1 oud un-to the j god of I la -
t I I J J l J r
11 - f~ t v I I I L y
r l I
I
strength Sing 1 oud un to the god of j I
I
- ~ ~
r r 1 r r t Igt I
J r I I I r - I
I - loud un to the god of I Jq -
I
v I () p 0 I I _ I ~
I I
god of Ja cob Ja
5
god of Ja cob
cob Sing I lou un to t e j I I
] l ~ ~ i
r - I r r r I v I I (7 I v I I I i
I t
Ja cob Sing loud to thf god of I~
- un I l
~ bull
I I L A 1 I I f- I 1 _J _I L l_ l I t I I ~ t r __ __
-fi I l I I
cob Sing loud un to the god
0 eO 0 __ =J
of j Ja cob i middot
----------~--------------------------~1---o----------~l ~ gt~ f middot
cob Sing
20
- I r j I 11
C I r
I
loud Sing un ~ - r 0
I
god of Ja
r 1 I t7 J _J
~
Ja cob -
1 -I J p 0
Ja cob
r c r f
(l
loud un to the god
I l I JI I
-1
0 l-
cob the god - y 0
I I I
the god
0
I
cob f
~ I I 1 I I J
I ~ t I J middot 0 t--1 J I
t to the g od
c9
god of
r I
to
-I
fvO
Ja
I I
l
Sing l
~~
of
I r I I
the
I
I -
---L--1 I
I J ~
54
y
god
L-
cob
I J
cob
_j
I 0
I amp
Ja
25
l 1
--of
- a I
of
Ja
0
i
I of l Ja
I 1
~ t 1 _ Q _ ~ middot
of
Ja
Ja
I I -J I I
- 0
of Ja -I -middot I
J l _ I I
rl 0 0 - -
I of Ja middot-
I j j I _ J I
~
~ (_ I ~
loud un
ampI _
j9
cob the
r
J I I -1 --11 2_ ~~~~
I
Ja - middotcob
i-1 I -f-1
I bulli cob
I
I
- j - w cob j
i l i
J I ------ I t-1 I I - I cob
cob
1n I
I I I J (7
c_ -
-Take I the
- bull- I I r 7 A_ f I r
0 I ---
j
Take the harp t the I
J ~middot
I bull I f~ [ I [ I
J -Take the harp the
1 1 -I I I _
( y
~
Take the
p f bull
Take the
35
f J J I
I 15 Z
) lt I
brell I
tym tym
I 0
CJ ) J forth the tym- 1 bre 11
I I l _ I I I 1 j I
omiddot i I I
harp and ~ bring forth the I I I
1 r
I I + and bring I
~)
r t harp and bring
55
_ -
harp
j fr
r - ti (J J ____ r
-
f ) I
v J
harp the
a
(2
harp the
f
brell
1__ J
and
0 I tl
-
)
harp
~
harp
I J
harp
harp
~ the
r bring
r [I
I I y
rJ I
11
and I bring
f I
and I
f
I ~
I
t take
___
I
I
r ta ke
J 1
tym bull
( r forth the
- _ --- r
tym - brell I j J
I I I J I r I i
_) middot forth the tym - bre 11 the
( t
f I r r-I I z
forth the tym brell the
I 1 1
amp
forth the
1 A ~
bring
I A
7
the
t )
the
I
~ I ~
I I
l
56
40 I I I I I
I t I 0 I _i I I i ~ ~ --middot
li 11 11 I -
- brell and bring forth the I tym - bre 11 tym - brel 1
I ~ - I 1 () 0 1 I r 1 - --- i
I
tym brell and brin9 forth the I - I
_ 17 - i 77 j
- r - T T _ I I J ~ I I I I
I I 1 ( bre 11 ) the tym - brell I the
i I I II
u I pound I A J ~ -1
I -
~
tym - brel l and bring I forth the tym -I
J amp Fyen tji
F l
tym brell tym brell
I I -- I I j I
I l
-J ~ I ~ ~
J
harp and the sweet the ~ I plea sant
middot - --f ) I i I e 61 0 J ( z
bull
tym - brell the tym brell ~ the ft ~middot c t r 19 ufJ f ( c t I
pleasant harp and the vi 0 ll the pleasant harp
j ) j middot99 J GJ or gt _ -5
brell bring forth the tym brel1 th ~e
9 l f~ ( __ r I ~~
-- -
Bring forth the tym brell
57
45 J
I I I [ f I C) A A I A I j l - -
-
~~ ( _
vi - I 011 t sweet vi - oll the I I
I -- 1 - l l 1 (7 I I I J 0 A I J bull
$ r - I brell I
themiddot 1 pleasant harp and the sweet i I
- p I I
r I I lt I_ c I I I r
I I and the vi - I 011
l vi - 011 I
I I I 0 I I
r I -J y v - I I I ~
p~~~~~nt harp and the sweet vi - 011
I
_ v - 0 I I r t I I II 1 I J I I
the plea sant harp and the sweet vi - oll
50 1 I I I I j tl I l bull I
I J L t- 0 J I
-
I ~
J I
pleasant harp and the sweet vi I ollll the I
~ -- _f I A middot bull 0 J i r 1 l I I
vi I oll the plea - sant p
r I i T 0 - 0 I I
I f I I - ------I I I I j
i
the ple~sant harp ~nd the vi - -
I
--- I _l I I I --1 0 I r l
C-
vmiddoti I - 011 the ~
pl ~ea sant harp - C) r 1-
~ r I I )
r ( I l r
I I t
and the sweet vi - all sweet vi ol1
58
I I I I L_ I J _l J f J
I I I
~ r
pleasant harp bull and the --_
t I I I -_j
harp and the sweet -l I
f middotv A I I I I
011 t the I plea - sant I I
I I
I I I i I J t7 Lc -I
and the sweet I
vi I -i - I -
- J
I c- -
oll and l i I
1 I J J J_ v A
I I
oll the I pleasant harp j _ k
-r= 0 I
t I
t
sweet I vi I I _I I
11 i I I I I I I 11 _j ~ C I J _lj bull
harp and th~e I J I ~
sweet vi - 011
J ~
t
the pleasant harp flnd
55 r J1
1 _r _I_
swe ~et vi - I I
- ~ I I A ~middot _t2_ I
I
vi oll I -
t I _l l
fL
harp and
t
al l
-
j_
A I I
th~ swee~ I
j_ 1 L1_
J _L _r I
I I
and the sweet l A
~
i t l I I
I
011
- I
r r the
the sweet vi
0
-0
vi 0
~
the
I t
the
-
60
0bull
vi
0
vi
-
J
pleasant
-
l I I
J bull
pleasant
-
-
amp l
I
l the
I
I
harp I
----1
59
I I
_ middot-I
- I - - __
I ---- oll I I
~~ - f r I f I J e_ I I _
011 I the plea sant harp and
0 - 11
r - - 1 v I I r l I I --~
J _L I l I
pleasant harp and th ~e sweet I vi --j 011 t I
I _I_ ) - I
_I r D I J I 0 I I
I and the sweet vi -- 011 and l the
J ~
-- -=- 7 r I
I T T r l I I 7 l I
pleasant harp and the sweet
65
- - r I
I I J I I J
I ~J ~ v I bull J cent ~
--
the pleasant harp and the sweet - _ r r ~if L) I I tJ - - I I l I I 0 -1 F _l T 0 j I J l I - -- the ~weet
vi - 0 ll t and the sweet vi -ll n middotmiddot-
I I ~middot r I - - t - f7 I I I l _ (7
j j --w
sweet vi - 011 sweet - vi -
I I I I T T - t i -- A t7 r 1 T 7 T i ~ i
_l J
I I I I
I sweet vi - 011 fhe I pleasant harp and the sweet j I I
u I l I J -1 1 0 I )
f I
vi 011 and the sweet
ou
70
-- - I I I I J
~ I I j ~ (1 77 -~
vi - oll the pleasant harp
I I - j I I I A I 410 7
-- L
- oll the plea - sant t --1
I L I I J 0
I I I I ~ ~ t r _fl_ 0 0 _ II I I
1 I - oll~ the pleasant harp and the swmiddoteet
~ I ~ ~
y JoiO c I- I l I r
I I
vi
I 011 sweet v+ 0 ll - -L
- l I I 0 J --- t 0
I
vi oll the sweet
75 I I
I I T J j I A ~
~
I - _() ] middot -- -- -- bull l I and the sweet vi - 0 ll
_l I 1 77 0 0 0 -I - 0 I y l ---- t ------ I I I
harp and the sweet I vi - 011 bull I I
0 0 C)
poundJ I - t (7
I middot-I
vi - oll sweet vi - 011
I I
~---0 J 1 I t J -middot
I _ _ bull I I 17 ~
I - -
I
f t he sweet vi - - 011 bull
- I CJ I
C if- I I
I I 0 T _ I I l I
vi oll vi
~ bull Scr-ibe error shc~AIJ b~
61
80 111
I I j t - - I - J I I y ( j r 1 bull
amplow the I
up I trum - pet I
~ - - j j I r A j J I t - 1
Blow up the trum - pet oiL - r
p r r Igt t r r r f- I I t J I I i middotp I I
I I J I I
Blow the I
i trum up trum - pet Blow up the l - pet
I I I middotr I
f r l J ~I I r- r _r j A I I I _
I i I I r I
Blow ~p the trum - pet Blow up the I trum - pet _ I bull_ _
0 ~ I I l I I I I I I
I
I I l I
Blow up the trum - middot pe~ the trum - pet
85
f 1 - I I I ~ I I I r ( J-middot I I r J J -1
I r l bull
I
trum pet the I trum pet the trum p ~et - -A - I p - - I t
~middot J I r _1 L I t
I I ~ I
the trum - p ~et 1 the I trum - pett
- i I i ~ _
-l f r r ll _r_ [ middotp t
t I I J l t I I I I l
~ I bull I bullmiddot
Blow the Bl~ ow the r bull
trum pet up trum - pet up -t I
- I t l j_ L _L A I
r r J r J I A J f ~
l I I - I bull I
bull I I
Blow up the trum pet Blm_r up the trum pet I - -I
tt) 7 - 0 _ I 0 i I I -I 7 I I I I I I l I
--J I I _J
Blow up the trum pet the trum pet
0pound
_I I I I - I I J I I I 0 -II I L J I J - j
- Jf o I J 0
ln] the new moont evn i n the time ap -
- -- I
- I t l v t -1 I I_ I l I J ~() -in the new moon the new
I I
~
[ 11 -~ - 0 J - I
I ~ l I I 1 I I
I
in the new moon in I
I I I I - I I j J l J _0 r r J p
I
gt in
I the in the new moon~ new
1 _ - r- r r r - I
I I J I I ~
1
in the new moon
A ~ I I I
r
r f cl - A I _f I I I I I
- _ 0
l I gt _ _ I
I poin - ted at our feast day at
-middot - _
-moon
I l I
_ I I J r ~middot I I J j - t 0 A A
I - r-- ~ ~
the new I moon evbulln [in) the time ap-
J I ~ 7 j I I I ~
r r T I I _I I
1 _ J J t J l - j ~
I I pol nted I sol moon I evn in the time ap at our - emn -
I I + -( _-f- i- ___ - ~middot
_ T I I I J 1 t l r 0 ~-
r I I 1 bull - I I r I I j_ I I I
r
evbulln at the time ap- poin- ted- at our feast day at
93 [ot] Ct =at II otl~ va middot
95 I I [ I l
17
J I
__ J r rJO
r---
our feast
- - I I
v_ ev 1n
0 f6 r I J l - -J I l I I I_ l J
pointed at ou~ast
1 L _ II I y _ r Cl
I r - I
feast day at our I I J
bull _) 0 [j A I _ I - t I
__- I I I
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110
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iblihing Mil 414 A bullbullbullbullbull
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67
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72 ___________ ____ Ff gure 1
I I I
middot-
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FIRST BOOK E I I ofSo11ge or q_fyftlJ of iRetiiu~
rourf parn ilh TJ 1
binsr~l tb( lbullU
paru togethcror ~lther of middot dle1Jlfhur2llynliay be toils it _ l 11l~U~~~r
to dte Lutebull Orpbad~l
or Viol de gllllbo Compoftdby Robct~ ltJ~Xto
f
----
1
l
I ~
1
I I
73
Figure 2
TO THE HO middotNORABJJE Ai~O VETt T OVS GENTLEMAN SIR ROBERT SlDNEY KNlCH -c
Gouernour nder her Mai~fi~e of the tOne f VltlbitJ1
and the CaAJe of the Jldlraquotftns In the low C oumnes and of tJtjorll ojtltf411Jt AJtntLrrpuh thtJbullrr-ifonthenmiddot
In plilctdMTftU D b~ifi~jiUitt
~~~ii~5fil Our great loue and famor Honorable Syreuer rhanifellcd toal OrthyScier ces hath ltnbdened me to offer vppe t
y~ut ~ordfiups Shrnc thefe the vr I wortht~middot labours of my uulicall trau~~middot And though in refpect or their Veake nes they ln~y perhaps leenu vntin1ely
bull=-o=====~ broughtfor[hand theremiddotbre the vnlikelrshyerlo pr~fpermiddot yet doubt I rt~t butj~ renderd by you they fl1all happclbulle find gentle cherdh~ng w h tel~ n1ar be a mea ne to make them more tlronger or elfe mtfcarrytog to etcour~ge my en~ ~ deuours to beget a better for as no arts vinclf at fever errors than muficke fo none greater enimies to thcirDvoe profeffion then Mu 1cians whowhdn in their-own ~tlguaritietheycon demne euery mans ~rkes raquo as fome wate ~duty they are cbe caufe dm an istbcmiddotldfcentc~emcJ ian~ they thuitfelues feEuted as fclfc-com e1enders tnd men man fan[aLlicll Vhcrfore if chis one cen~uringinfirm itie were remoued thefe nty ayres (free l dare fay from groffe crraurs) wauldfitde euery where mort gratious entcrtainement bull Butfince euei thofe who are betlfecneirtthis art cannacvaunt themfelueJ free from fuch de tra~ours~ ~ lhe~ leffc rega ~d irbting_fo w~ accompanie Howfaeu~r tfheretn I may gatne yout Honor~goodallOwance fuaU thinke I haae attained co the better en de of my labours (vbicb with my fdfeandthebell of my Ctruite) rcfies eaer more at your Lordihips in1ploimenc
Your LorJjh1ps lmotetl in ~tO dutifiiJfirmce
aobett lonebull
----
middotmiddot
74
Figure 3
ro THpound READER
~ gtltmiddot bull bullbull bull bull bull middot~ EntlettztnJfincem1dtireu)ourtllrtsfoulde middot ~~-- ~imiddots benlindijferentiudgtrfclllnot thin41t nt
-~~i ~ ~rflary to filalt nv trautil or nu hringing -vp ~ tbull middot 01 argtttJmts to plr[Jllade you that f haue a ~Ofd
~ op11110n of 111) feft~ only tht~ much lwzl~tJte 1n~ ~ I ot ihatJmttypretttnttherifhudgnlentsoJ[uch
bull _~~~ ~ t- ) u now n1c not E11er jinre I praflftJ fe4-- middot bull ~ kng I hat~e praRifid inging lbullauin hail not
itr qualitie tobitJder mefro1nmiddot the pifefimiddotI(TIOTPfedgt o(th~]aculu I rtue ~~~n incortngtil kr tbl lParranmiddott oj Jiucts good iugmentr that my
pt~ints herein foal 11tihe eafl proct~re_gooJii~ng if riot delight ~hich Jttfor ntineownetJtitl muflueeder Jeare 111 much 111 defi~e ~efpmiddotecialy
lien I conidtr tb Nptnes ofthu induflriousagtlhtrtillaU mtn tndeshyrwurto nol~t all Ninges I ronfefo I 1as not --nTiiUing to emhract the conctitr of fuch ge1tlemen uraquorere ear til to h11 ue me AfpbullreU thtfo ~~~ tits for them ~hihthough they intendet or their pmiddot_iuate rmeation 11eUcr meaning thfJhoultcomeintothe~tght~tre 1elf(I1Jten~ )pon inshytrtiiJ ~o ma~ thtoncouragementr of tq1s ~ jrfl di~tr~tllre 1Pkere11p~ PO f lilas ~lmrfl ~~to m4~e tnJ flfaJ ftiJt~ne lJJtbtU~OTJ pr~-shymtn~ thAt if lY ctfimiddotnnrfoilttltn( ~ M_~HJI ~~H fllghl P_eakt for theme~ts ~boTPfoeiltr 1~plt4ftth tbtm middottodlaquonunl bl~tt of thest ihen oftbeft1 0 f purp_ofo ( M -ltfiOiddfiemt)tom~t4 mehJ1eut I hm do (omething 1111 onb hope i1 thai fo~ing ntither J cold AJres A nor fheir idedties ( u thgDi[ntedtl hau t cAUthtin) hAue hithn-to Jeene foc~ttd in Ut tdrtJ of rnanie thg maierh~nttlflil)dt f~Kh enshytertllinmentJ llJ conmonlit nn~e1 aoth in tht bullorJ ~thith if I J he fo
middot ~appie~(o he11re lTtiUnoefaie my next jh11H Itt ampttirr1hut I ~a promift tO tfl~middotIJfOft f4intmiddotsroJmJ lliOt fOintsof mfiampJtwbich noJJt coufJ not JohectJuft YlitJtffcllrerPu (ofttlht (Jf~mtk~Jor~ ~~~~hen muflhe-ullJe~ connntDith e11ch IIJantlll))foU cenfurtU IjhJbe giAJ of fomt mtns vndeftrueJ fouourl
-J
--
IJ
Figure 4
~~ ~ A Table of aU the Songs contained in thir7JooJc ~~~Ul
middotImiddot AWordans LookecS middot Fertd Wlnto~ youdu ~~= Sheewhorematd)Jet1ebcaury f+- ~ Qncre did I laue ~~~ L~d ~r~Atongdcfuc l Ltc dOwne poorc bean J ~ bull n Wl I _ ~ -b _nere rngrrnguare
1 - i1 Hcroatenotchougb ~ z- middot ~ Wbcnleucandumo bull ~~ Swee(te come awa t bull -a Wmiddotomenmiddotbullhataicrtbey
EarcweHdccrc louc ~ middot gt ~ ~ 0 my paorc eiu r~ ~ a If fathers knew
bull ~e i Life is a PoeampJ phablo ~~~ Sweere Pbilomdl fi ~- ~ 9 That heart 1 ~
1 VVbit ifl feckc MymiRris
middot~ M ~ Petplcxed _ 1 ~ Can lllodca pbine dctir
I
middot 11 - 1 ~ ~ middotr_ ~ r fl~ - I
l j It I I
~ ~
-I i I
lj middot J ~t ir- I
bull Ill - -middotmiddot - B
L lL m IUL v VL vu VUL IX X XL xn
xm X1Dl-xv XVI xvn
I t
I r-middot
r --- ~ I r- ~ J
I
Figure 5
--------------~- ____ __ t
lf~ flfl TJE
B 0 0 K E 0 F S 0 N G S AND AYRES
Set out to the Lute lhe bafe Violl the pr-ynt Wdl etr tbr 84ft by
tablcturc afitr lhc lctlo ~114
CftftJJ Kobert Iones bull ~middotihl~ by Pr flaquo Afbs by bullbe
~Jm ~f11HtfNI Al~rl)l J tbull6t Cold bulll bullhe Inner l(mplc
u bullr bull 1-ot
_ +- - middot tmiddot bull
~
II
Figure 6
------middot--~ middot-------
T 0 T I-1 E It l G I-I T V E R T V 0 V S A~ D V oR T II Y K ~I G H T S 1 R
H F N It Y L f 0 N i D -middotrmiddot t ~ ~ ---middot~middot 0 R T H) Sir mJ my_ Honourablc fiicnd I giue you thi~ ~~ ~~~1 bull CIJIIJl pr~u~ gtou hnng at vp bccaufc I ttm o1 ~orc mn ami t ~ middot ~ _ can nor maanrunc bull t 1t bulluy ~ulfcc muchaducrfi u~ ~~~ my nam c
middot middot your For~u~c mnc aJ~cr llJS rtJrrcs 1_nd make h1m hJppac bull f ~ I fhopghllllbtherbe ahmiddot oe l ulltec~Uhoun Orpbanrlorpm rc
mens CbddrlfJ -are Orplano borne and more to be piuiCd d~cn they liJJt hJ11c changed thcidltl cr) lor their ltuJ ~ fud1 mlc bullai(e themfduc~hl due time we h0111C oo wJ ic to l lciglncnour being bm by lbulllothcr pomiddotNcr As Gcntlcwo- mtn pecce lhcmfdbullcs with Tij es and Co ronctsto t p flC trt mor~ per fcmablc ~nd t~ll o UltJfi woaJdc VntO OUl )ulctlCS if wew11 not De (corned iardwarfcs) rhccroYlC of Acnllc pC1fons mgtre cmincnt and hi~h Our (Lnurcs ~rc nor fct aboue d3nshygcr i WCcJuJowc hdor CUCflC footetO trcadc vpOtr OUt place IS he cround there icnodnng balc-~trwsandycr dcuil~ion _m pun n lower if wee h~uenotgood ~(reds Th~ y wiH fin_J _me~nc~ lfl digg c and In v s down~ irnu the cllth ~ nd burie yenS
bcfotc ourume Th1s 1s the nufc of pttroua~ct nnd thli ts rho p(rlecutton o( ahem tlpt wouldingroffc ~11 Gloric imo the~r owne hmds But t~cdJt UJl~ o~ rhtfe mcn they bite the truhe~ thcmfdues 01ould fee de vpon Vcrtuc would llrlng fonh mmie h1idrtfl but 1hey hold them an the wombe that lhcy due not come hut As the coshyucrolls maf~~ fi~gcth aU the hind about h1m wath fi3tuus 6ncsand b~nds i1 nd othc r (uch Iike~iumiddot 1 warre (o doth the ambitious intrap the Jinle pori ion of ante commenshydations cha m~ ic fie II bcfidcdilm And like the mercalcff- Souldicn lhe Cafilcs they cmnot t~ kc they blow vp They uc a~ f(nring of cucr ie CmUlrcJun~flc of crcdifbull ~s iflt were I aide vp in oonnnon-bmke and the more were giuco a wile the IelTe would ~orne to tl1cic nbullarcs Theya1 c mafcra~lc men) _f roill onlf br~md (htm wi1h this m rk~ and let dttmgoe Thty were Eaglci tftheyd1d not rJtch Hycsas lheY ate thcy-bullro grculhings)muchldfcthcnnoamphing For my parc)l willnotcorucoa wiJhchcm ( aeiire JlO appf~u(c or commcndadons lei ch~m haue the flmc of Ecchocs and (oundf and let me be a Bird in your C~ge fin~ to Y fclfc ~nd yo-1 Tl)is is uiy coment and this is my llmbition~ if 1 haucthis Jfiile nm in mtcxpclhton il more for rour akcth~t is my ashbntagct andl will owe you duciie for it in the m~anc time lrcfL
fl 0 Jt I ll T 1 0 H R ~
A 2
10
Figure 7
f
TO THE READER
rSI~~---11~~~ E AD E R 1 btt11t atrl moruuuttiWtJ to At~ IIgtJ oujlU rtPhul~r J b411t 6o1ft WU r no td~n( tlull
--=middot ~m~laquoh ft~inen~ rltoife thrt e~tU th4t jwiUf-1 fortify j - ~ry inrtnl toJll~rJdbtt lllll JJ 1tt btctufo
z kow tlwcwot r middot41d I IU jtlllrl ftDf gr~flJ(t D
comftlirltfto Wilrrant J tnJtutJMrs lll-bullfl o~U met~ ~ J bull JqJ it 110 fJ1J1111t tJ ()~~ Vfri~btrztQt ~~~ thttiJJkJt 1 ~~
J tntlfflt IUJtl~ AUfljt my Jrlfrof~lliJtnltt yluggbullJ ~~a~ ~~~~ iby fat~olll ~ whrrtin l t~sft rt~tiJti tJ itftritk rkJt ~D11bull
II~~~~~-~~ llllldllllorlt 1 then PJ my ownt bullfi 1 to frt 9 l4hD~ifl ~Ill (o Jbulllr The llNIIb b lllthlugh l wbull nbulll fo nilt
Jllltll J rptnpofol l~rt cA7rn t~Jt J J4n1Jt~t jl11d c tbrbbull~r~ of t~rirt~~min~tion Ttt Jwould bt ~it~J( if 1t ~IJtbi) thfl~tlt J1nJI7 tpptabat~tm mtJbtgtlltll1t mcouragtmtntto foutJJm t1Jan4rfoltJumfltt JrtlltfJJJJ rlmu t4ttJ hertJttr bull Jftb( Dtt~itr aiftk dJrlmiddot 1
1ll mjiullt- th~tt lJU fo e~DlJ til flbfffll 1J_
pri~su rt~nttnrntu(JilltrJ Gnt(tmt~ith~ut tbti~tonj~IUJ lhh ( lmiddotbPfl J nor 4middot gbullmJltbdr tltls RPtrtm if t~oN ftrJJ afllltiJmg to rnrtttfllltbmiddotrlq Jefiri rblt~k m~ jtlr th] rtltre ~uwr mr~nt tiNt~ J (nmiddotow nDJ l11w 11 ttiiIbullrt~ttmt Q(lr~IJt bullMtillllb~n~l tkrt p~NJ btn~ GtJ~thmbulln ( btn H 1tJ4j ~middot1 fo mfcb pbullrnufor fo hulltMJ) tbl wbullD n ~911middot cl11~1ht c~n 4~ ItA k bull~ loiftr bi Imiddot~~~middot 1l~~JtMjrlrJIJ g_olll bullJtiK tlritil bullfhu tNnmng JifJbulltlltmtbulltJJ tblttll) bt(t11TiflfllJ ~~JUJhlllfJ nolliIYIIJ hu tiJN)t rl1tfo Jrtlo dtjilehim Cif ht-6middott nt~~zruiiPbullP bulllirbnmiddotz ii) tb41hfmaj(J 4ctrp1tbt N6inrri DnDfiiiJ Nt1111t M 11 f~cirnl Tiflsmonit th~t J ttm wat bAiflrJ oinflrt~DJ~Il Jflhtrtifl Iter 1 iraquo94fftt~r rt~hbullffibullNJ7rll ~ ~ J~fiijitJIIjon ~so~middotrbrr~fl tb~l1fDMJj~inc in formt llltil tbtY ktofMttlhm~ Jytbur gmzt411Jtjl~ ~INtrltlbltlg J IJ n1t j11 rnbullch 41 tltfirtthtm o 6elftbulltbull ltARJf11ould hfrrbl teacluhmr At lr~tp bow tbl) IJII~ bt ttmt je F r 1hl 1Jc)Dl 1 will foit 1n1J t hHJ mMch tbtrt blllh not bttnl u~tPttt of tbil fojhitm wampicblf tha jh11l1 pron~gturt to bt blWirtbmiddottb btAtHitJ rtfl fJfifjitJ) if tlbJtit~tor Pbullrewell~
Leaftanie ntan fi1ouldfeen1e to acctlfc tneoflingularitit for expref~ fing thetimeo( myfong~s by prlcke fong Neres neuer b~reto fore vfemiddotd Ihaueforhis ~euer innruction hcr~un~o indeuoored to fatiffie him
amp t r f A Scmlbrcofe Minnum~ ChrocberQampIItr
-----
~ qA~ ~- ~ 1b [G~ ir~1
~~J ~ v 1
~ ~~ c a
c ~ ~79 - =-m
IC~~
~ p _l
9t ~ ~
ll4 ~ l
-- 79
Figure 8
-
A Table of all the Songs contain~d in thitltBook
I loue wing middotd my hopes I I Jly louc bound m~ with ~ kiffe
1 I f bull 0 how my thoughts doe be~ t me II [ Ore ames ~nd I magi Oitiom V Nfcc thought thi~other night V l IVho fo is tidmiddot= 1 II fie fie V Ill e~~utic (bndc further I X Now what is loUI X loues God it a boy X I Ouerthcfebrookcs X I ( Whither 1Unnc1h my fw cct hart X II I Once did lloue X II I 1 F1ire womtn X V D~mtic d~rling
X V l My Jouc is neither yoong nor otd X VI I Loue is a b~blo X V I I I A rife XIX Did cuerman
middot XX To lighandtohefad X X I Come fa tro-w con1e
0
I l Jl
iir 01 11 -~
~~~ ~~ ~
t~ ~1
~P J
~~8 L e
( _] middot~- - ~
v lft -amp A
l -
I
~u
Figure 9
-----------------------------~
VLTMfiM fl IILE virh a triplicity ofMuficke
W HEREOF lbt firfl p~trt ir (or t~t Llltt J tbt Voyc~ and the Vbullolc Deg1mbo The Jcflt lbt Lbulltt tfH Yllt 2J IMrt
p1ne1 to fine The third part is foe twoTtcbl~t to 1fint ~it hc 10
lbtAr n- rhll 1~ bullr t-
bull bf ~ Compofed byR obull bull T lo bullbullmiddot
fl fr1fbull1JibullJ~ ~ 4111 Priorcd It london br r~ i JIIiWd
~re robcfoJd l)yS pfn (lw J bt sJ-laquo
ttfiN C01bull1 I 6 G l bull
81
Figure 10
r~IW~- ~~~middot middot~- middot ~middot bull bull
TO THE GREAT lOY AND HOPpound OF PCZ(ESB~Tuf ~Jgt rUTUfF
Times H E N R ~ E P ri nee of lf a cr Duke Cl~r41wt1 ElJieoflhc CIJjtJirfbullibulltifttfchtjltr Knight ~fthdiDIN ribkoJenf
dl G4rUr Hcyu App rant 10 tht Rcllmcs of Elrjuntl Scotbnd France and JrdoJnd
Ojl Exrelknt Prince T Jr flrengtb of our d rt (] houJ aythrrPuaf(ncsgt) cannot endure tbc force of Soueraigne
erltlCpoundOf1tcncarcitwemay tU ncarc u to you your poundarcJ TPillyet_ be arc to deale wuhfottndes tbougb nor to
dwcU there yet to pajfe by tbcm1nd by teJiJ to learn to tune Jenjcs lJ a nper a~c c-A lmo all attr k[JlPicdge ir drallme through the ftnfirtbey arc the Saulctntclligencfrf -wbcrciy (he paffith into tbc -world a11J theTPorld into bcrttnd tJntangl ali ~(than )there is none fo learned__ a1 the tare~ none hatbobtainedfa cxccllrnt tJJJ ufrtJjodelicate1[a ablrufe fo p_irituaJ thAt itCIJtChftb rup TPifde fo undet in tbe Jitt and brin~~J tk Under tJ goucrtJC1fttnt ntJt to he expreffi1gtbut donegt and done by no sQll buf it otPn~ Thereu Mufic-k in all thinretbttt ettery tnan cannotfinde i t Ot4t)
iltampAJJjeofbilo~neurri11ghee MJlft baue 4 harmo1J_J in hiinftl[e)hat hold goe-about it and then bt u in~ good way 111 be that ht~th a gwti ~artJ in d
oudfot1llardtUJ to our focultit [ onceitc u but aTPtll tundejat~ry done in tinu ~ pLsce ~~~ ex(ellezt fintencril hut a TPell lHn~e rea(vn Dell nit ltgethtr P ollte or the fubt efl therof a [omit 1on IJ1ellltbu6utll lite I tuul middot e
Song T~htr~-allr41ltl Joettgrec ana lnccte together~ith foil C011ftneanti lJartiJOnJ one Jertung otherand cuery ont rhemfeltlet in tht Jam~ lAbour ButnolP] intrudeintoJOilr llrtin whicb 411 pnry(anJ ftc hoper)thal q oJ ~iff giucyou a oJy aru profpetOI~S k_JoIIJfedge anJ t)en aJ orhtr eJ rtCS foal profPpoundrnder it Our gracious S tll7aigt7(Tour H~h11ei dear FatJcr) hath ar11trd atul conortedjomc great prOfifiolH areaJy~ fi~eh1ittleoneJ dJ this )oo e for itgtand heg il cfw OJ4 your p ri nccb nature promi[eth it J hich m4 es nv boJJnet bopefor p4r on ltJucbfiifc tne(mojl exctllcnt Pr1nce) )ourProte8ion Ph(f1flt)on41lowJall Qtbtrs rPill conrmtnd theircenfitrer n A it fobulluoflrlikjngthst ot~~rraquoJift1Pold Jifpift me bull EN en your n meJ the forefrTJntu ll charmifor ~~talttiOHl trmgtu ThAI praJtng thatyour Htghnt IIJ aDtaet h~ttte dtJ tttre t~be te alir bulllltuJijingulj1J ~tht _fo14tuJ of lTlCth l necl tftJOUr Higbnes feet
Your Highnes in all hom blc tl~~tJt AIIJ cruice
RoaampampT
lo N s
82
Figure 11
- ~ H c ldndc A pplauf~ vherevith I hau~ been~ revardcd in n1y former A yrcs hr fuch Gcndemen as can iudg~
~~~mJ Imiddotb middot Y the e bull are~ an not other 1n~ns Echo~s hath nov du s ~ middot durd t1me gmcn n1e heart fron1 then to hope for the
like in tbcfe V hich l hauc corn ofed cuen to hew n1y
graticude rovarcles them I lulO eucry Father is paniall ouer the i ue ofhis body)and hauing his iudge1nentcorrupced by Insaffecti- onis VOn[ rofpe~J e bis Chtldrens prayfesaccordingto hisovn de fires rather the i1 I he ir de f~r ts 1 t tna y bcJ h aue thuS oucrlookcd this iffue ofn~~ br3iue whereforel wiU onely comm~nd my pur_pofceto ntakc tlus lail my bdt expcchng to reade the rruchof my fdfe out of thy reporc AnJ becaufe ant notignorancenough)to b ~egroffely taxed by any of our cunningJvlaiJlers nor bigge enouamph to beflar te~ed or c n u yed 1 hope I 01a1J not be driuen toe nq utre out my en~ 1 middotes) co heare of n1y fa~cs nor to befpeake mylriendes~uour F or ho1rvloeuer l an1 fe t in an vndetfortune thac hath need ofampicndlhip y~cit n1y Vorl e~cannot 1ufiifie n1erny wordes Htalluotl bad rather dye a be g r 1tbcn Jiue a boaler what skilltimeand mycontinuall
radifehath biucnme)hcre I gladly impantocuery wel wiUert lat gr(tuntcs me buc acc~tanae for my paines And fa I comn1it my icfe to thy cenfuse1 F arevcJI middot
7ohertloner
( middot
83
Figure 12
A TABLE CONT AI-ning all the Songs in rhis
BooK E
1 ooenotO do not prize thy be11utie 2 middot 73ea utic fote bathing h y a j pri ng ~ CjoctobedfrJJcct6lvluzcgttak thyrcjl 4Shalil loaktampoenogriifc 5 ~Pbar1jJ fpcd1t1hert 1 leafl cxpeEled 6 Slpeetcijyoulik and lotte 1ne fliJ 7 SetifetrothledrhoughtJtofgh 8 Scinrhia~cene ojSeas and Lands 9 rB la111enot tn) chee 1 I l o There is a qardci1 in hc1 forc 11 S1reete Loue my oney Trcafr4re u ~hinkft thou 1_ate to put me doUJne I) Jfhen willtltfounraineojmy tea res bedrye J+ F lye ji-o11J tbe TParld 11 Happy he botofrraquo etebomc retirdc
-Thcfc following are for z Tr~blcs
l61Jiftlaine thntjoll amph Jilfne 7 middot o) et)erchangeandjjttre not
I8SirctiuftJijJAineh 1~to ri t
19 cuftler ry hands lo vh ue lgrt~ceintreatetl ~o Oft haut fmJe the cartfe to ftn e ll J(o hAuefleamd-mithmuch4doot~tfpjl
B
84
Figure 13
ORTHE FOVRTHBOOmiddotICEOF A Y R E s
The Firlt partisfor tbe Lute poundVO Voyce s and the Viole de G ambo The Second part it for tbe ~amptte ebe Viole and joure V oices to Sing The 7 bird paramp
is for one Voycealon~ ono ~he Lumiddote the llafTe Violeot to bach if you pleaf~ VYIrrtoj~ tAlo ut ltzlitn AJrtt middot
CompufcJ by R o bull l ~ T 1 a bull s
2f trfont (intIJ J1fJJmiddotil4 iMMJifl
L o P n w lrnplintedbyloHN WI~ D T andaretobcColdcbv StCO-rt w TElSO lol inPowlcs
ChMhmiddot]tlfd)bulltlhl SlJt j lit Cfll~middot l o 9bull gt
-----
I
--- 85
Figure 14
1
- ~~
TOTHERIGHT YV 0 RmiddotS HIP F V L L AN D VV 0 R--
thy Gcndcn1nn Sir I o H N ~ E v r N T u o u r pound Knigbc pcrptlll3ll liafpinrffe and [or~tcrlt
~~)1-lpound--- -- fmiddotts not vnkncvne =nco your wcl deft ruing fdfe 0 R igh~ V Vorfhipfull that not long fince 1 cooke n-1y
V~tiltttm )a[t vith a refoluing in my ldft lHter co
put llfh aoy VOdc~sof che f1mC Natllre and Fan ion VJlereupon) betooke n1e co the eafe of n1y PJIIov
middot where SompUI -auing taken poffehionofmyeyesand u 1orphttlf the charge of my feofes it happenrd
~~~~Mmiddot~~~bull rnee to fall into aM uftcal dreame wherein Jbulldl middot nc~d - to haue many opinions and extrauagant hun1ors Lf
di uers Natures and Condttionsfome of rnodet mt rth fame of a marc llS Louc ~nd orne of mofi diuine contemplacion all (hefe I hope 1 fl1all not gue any dtilafie to the eareror d nde to the mind eyther in their words or in their r~~ ueraUfoundsalchough it is not nec~ffarie co relate or diuulge all Drean1es or PhanrafiesthatOpinioo hegcrsin lleepcor happeneth to the n1indes apparbull[i onAnd continuing long in chis my dreaming humber I btgan to avake anJ vp n my eyes v ndofin~ l bethought n1 y fclte being full a Vak~d aJu itlng n my n1ind Vhom~ to dec1 and chute as a Patrone for the lan1~ l Vas eafily in -ued to n11J~e choice of yqur V orO~ip a3 one to V hom~ I necelfarily ou ht
both lou~ and duety l nJ howfocuer l m1ght feare that you Vil not adamp0
ledge it yec in thlt Nature ha th inricheJ you Yith more chen ord1nlrie know le oe in th ~ Art~ be~inga Vi ntsofthat Lo~t~ Vbich you haue ahvaycsl ffor
ded to Mufick gtI en1boldened my fel fe the rather ro pre(ent it vntu ycu Accept itthen(good Sir) as a T oken of vnfained Loueand a e be
worthily Jue ynto middotyou for your many fauours done to him [hat is
uft)middotour lforhiju conJmaund
----
86
figure 15
Thi~ Greetin ~middot bullbull
~~~~ HoulPhofo dare itcbeJ ltJith the VJrietie of opinion h~aring thinr oraquome otlJdtJf tJc ecchqc nuerbcrtJ~ ing otfJeTJ fubflt~nCC and lmprofit4hfr ~n it
middot jtlfefhclpt s to tbe IVorld comfJrtaJie liJc though to thy orvne ~Je bttle middot~~~~pleajurcLJ retjon of)lnch-umiddotirbl~ctn[ure I fpc zlte tot bee m ujirall Mo tuusthotljimiddotcm ruboft Jucctie IUimhcrr ~1 J rajiy pafeJJ drop1 foil in tbc jhonre Dt4l
)ithlrjfiprofiufcomprutmiddotthcetothqhlt nuy Jr4l tbatjlitr int0 11UJUCJCf and ltJill twt tbcncertJithout much troubli) or tbuu rn t JJ Jfper[el iulgemeiltgt not oneamp art afo jeniru tofecing kJonde~~c hut moj fo ttlty f ct o d jcruing i~Jdamptflr]fL~~gtg 1110zte r ctU of the 111oilpurt Bilfoaud Jmoothiu~ tbt~ plztncl Citttl ~ rvben on ely thine on~ne opt 11iltJ1J it more nJrinc~lcd and more vitiotH mit ~( then grcjJcr10Yle lo tbJt 11 a brujh 111
jcFlcdlPilhfithgttbott ralbcrjomiddotlcfl theti iiMI( pebullje( 41VWl) I ha~1e jlooJ atthi11c e lho1PJ andh~arJ tbcl prop~Jtne cur a 1 dlfit c1 bcfl J(ryu and 1tJith thy lntu~zde ref 1b Jot f~rde~J rfl gnoh iy l4J1l ltJJilre~ ~nil f f~ renot g~eaty_tJat tboul~iltlay to raquo1J ciJatg t 1 111 lD vtfu111C )Oll11 ~Cttrrag1tRf 6ecaufe fft011tied a r ~nuch but 1md~rflauJ me tbou-ns ~VIitll dojcanterdtriur Ji o 11 tba t JCrue fPlaineSong charit4bletJtlm hers)and tbotl (hale fnd harb Joicr I ttr~ ojtrtl t1 J0te ahoue pound redr1c el hJ tn~er
izulgtment n bicb 1 htrc4Uc tht of tJmiddotorPinrl by RJtler are as orr nelll cmne Lutf be~ -_ ing ofrJany ftri~I(CfIJOt((ffamp tJjJJlmlcflr ~~~ ~dllefittlreti1 praf1i(tput fon~4rd it1to
dcjerurng Dst4ijtaiJ rr hH nIJ aduerJI ure I r nomiddot rtccd but drtanze) and utJat art tlrcamei poundut aiJie fCtjcfi iotJgtandjcttrall ayrc s 6reathll)~ Jarmonio111 llilijperitJgt tbongh to thee difcordlmiddotet toolbcrs indffirent 1rvill not ttY cxcellel~(~ becHfe it is 4J
othen otflce 110ttni1u 6ru let tbcm6~ as thtY arto~lmiddotcn propuu tul my p~inct _(rt forth j ar pleafurcgt uot for pw1HJIc~l poJou Jiucfl itntrginatioiJIJO but aJ a fhorPrcjt~llitiJ i1 ~urcdfuil ft~fouJ~ 7 jJtUr m fmiddotlje atlrajlaJJd wrl(ay fo et4er bY au otbmiddotrj lPhofe IJ bourfhJI vfJ(t Alujt~udl uuulu~ztt -~ Jbe rmeiy rPiug fJ IrJe courage being tl1e mofl pltttfo~~ 1luice ~(11~ 1) nmiddothotjnmiddoteet~rc J t t11chcr h 1m to hcaiHIJ itfelf~ Jt ir Jjara if a thi r pztt1cs rcpt ntgood romm~ndJti~Jniand it lf t~ttr Ulrtlll out of 11 Flint itJ the toll ith l hou ntHer rl ink (I u ell of di1J 1 Jn ~rlJ bull(rt in tb) fjto v nri(Jifi1 encr aJ l lJ Tt~tor jranJ tbr I ~ Jllol middotrc fotdtlneuct Jnn rbcc 1~1~ it~ irune be 4J thott art a h1mp of Jc(onnity lllbm I Jjhonbrcldt i11 tbe Ufvdr ampi diAI~ir~e nd 6rontht forth b1 b~n~iulr l1emiddot g~r ~ t htftt r1 11idn fc to ~til t i nc m n rt f
j i umiddotme lc u todrplrt Jmiddotor ifnd J1Ntbout it J $111 gonec rtltfic o~ til)middot crnfitrillifi arf jJ~IIy p( ~(n 1dcd thuu ca1Jjl110t thiole tlrlnd tcrefurc art crufl tiJ thy [raJie 11 IHr pound0 1e btu (rttclltJntl being 6on1c wit b rce tb irJ tly bc11dbit eucryeuronJC D47111ele t jJ tbir orwbat rijeboncfl iudujlry~nxcr th) ~111 egosip trJo
fucwdl1f thou wilt in ~in~llclfeot hoi~ tlly fClfltfitgtm1inthcr cupmg
87
Figure 16
lee Caldi fopitmiddoti Samor nfltJ c t~t du119Uc
B
lO
l~
------
88
Figure 17
Or [he tift Bookeof Ayres onelyfor rhe Lure che Bafc vyoll J and the Voyce
[ompofedb) RoBs R T IoN E s
QEe profontjingula mdta ibullmant __ _ ___________________ __ middot~-middot -middot middot--- -
L 0 N DC
rrintcd hy tlbullc Afigur~ ol ~~
Jij0ilfm lJdr ley t 6 1 o
I 89
I Figure 18
TO THE TRVE HONOVRABLE AND ESTEEM ED VVOR THIE THE
1 f q H T If 0 7 S H I P F V L L r If E LAVY vv R 0 T ll
~~~~~~On Honoured Lady my ddcfl anJ firft iiTuc hautngthr(ud fo ~middotdl vnder the protec1ion of your Right Honourable Facher blame not this my yonshygell and h1tl Babe if it dcfiroul1y fecke ampnctit~ric
~ with your fdfe as being a mopound1 vonhy branch frotn fo Noble and renov1ned a flocke It is here uarie tc I
a - your whole houfc noton ly to be trudy Honoura7 bl~ i o your feluesh ut to be the fa u ou rers and fu rd1ercrs of all hone 0 and crtuous end~uourpound in others And [hJt n1akes n1e fo farr~ daringas ro prefunle to offer rhis o~dicadon to your fJire acceptlOCP- AnJ hovfoe uermy defeCts therein may happily (or rather v1happtl y) be n1any ~t an1 I moficonfiJent(and tl1atgrow~s fion1 tbe worthinefleofyourowne nature) that your 1-Ionourable minde middotviii he plea fed (fince it cg s c fc lfc moll humbly in your annes) to giue it villin~ eqtcnain~ment and to countenance it Vith the fairc Liuca ie of your nobl~ Name It may bee flighted in ref peel of its ovne valev bur your f1uourable acceptance
wil~ bot~ grace it andmy fdfe a~ a poore Table hung vp euen tn Pnnces G lJoncs ndt for lhe VVoo ~hut for the Ptdurc
And fo (Noble ~ad y) not d~ring to bee ir~Ious of your rlonourable entercaine
menc I rcll
-I our LaJyjhip Jellcted in all dutit
I
RonERT I o Npounds
-----
~
90
Figure 19
~ )~To the friendly Cenfurcrs
- Eart jriend1 for fi I ~sJIyou ~(you pltbulltJ(e to acctpt my 7ood lllttJning i prefented yot l~fl rraquouh a Vreame i1j
middot wbich 1 doubt not ttt Ottr jJJta(ies htJue receuud fame rcafota6e contentment and now f JO~t pleaje to lee 1l9afd ortt of that VreiJJne f jhaU for your rerre JIJOIJ 1nd rcfi pound(bing guide you to tbe_1v( v s ~ s G A u ~
~=-o~-o~~ o EN Pberrytu (halljindj~cbVttrittiemiddot of Jelighn tiJt quc-ihunltfeJmiddoton n ill wilitt~Jjcnd fome time in the vien
t rrtof 1 n )Ot~r 1jentr411Ce into -which Cjardtmiddotn) yotl jhJIJ mtett ~ith Lout 1 CJr r and li6tl6ht bHt L4Jur frt foortb at lt~rge i11 biJ colourrby JFay ofdecypht t in6 bim in hit 11 ~1turt_~ ln the midfl ofzt yat4 fbaU find Lcmt rciefleJ) vpon t~rLnfu~cie 1nd b1rd mtajuteoj-ingrt~titude T ruching them that ar~lourrt gtI cr1 tumiddot tl1em to tltiro1~ne Ctl~(ure in Lout I defcripttou eJrul nowfor tht end it tf )liJn~ble UJ anorbcr ~ tur)for tbedcligbt oftht ettrf tnjamptUJjit opbull~1io1 14111
nM ft lrogant loco 1mf1Jd mi1te onme gitt neither yet fo Jegtnerate IU to be-g )Uto tdl(rartvn fftbejt d hgbtroFloftl(rt) or)4r(tico[PruittY ruaymJ
)1 ~1~Yt J -t rle _rjtng WJOffr_(ut i 1 jla1 bl gitJd Othel TPije J raquoiiJ )O)) nelIICr to J~middot t_fot~gtPluu orgraft and my ittbourJ butcrflrtb jh111l rtaft to trou61e)middot~ott
iJ Jt41)middotilln retlr lniflil r ~-tren ot will f1etunty ourctnforesl and dcfi~ your malice if you drJfe iht 1 a111 rifolute 1
ijyou11[e me r~ith rtjfe(l 1 bidJou mojl bearti_v
R I
--I
91
Figure 20
THE ry A11 L E
~Ouelouc=
middot~ tpound1 Soft Cupid fofi middot~ Alec 1 the fiUy 6th begu1c 1middotmiddote lounuhtcs ~~noake o =okin~ hy ti~( Riocr ride 1 n nnot (n 1fc but liuc 1 (mile loy in lhy Imiddotmiddot ( S
How rn~uy New yccrcs luuc grow ~n nldc There vvas lt~~ ll lcptCoJrd bull hn d~d litH The Sea h~h 1nany tbo~L~nd llnd Omiddotlmiddote dimiddotJ tnt thoHgh 5-both cLbc bullnd Sow l ~m b t~rrt ftom piuyh g th rc h 1 2] lately in a d1 came There wu 2 wil y a ddt My f~thtt fampinc would hluc me uke Mv loue harh hcr trot L ue bctro11d All roy fenC~e thy tweeuncfl~ g2incd T middot t~ CC de1fe A fpc wnh dyna voice Ddwld her I d ct like wire~ ofemn Gold 1lhouwb d1lt 1iogs ufmy ddirc h( dipt _l~ht 1 rcdccun cnln cu on witu mtnc ryet
middot
92
I Figure 21
Robert Iones bull XIX CANTVS
-~----- middot_ - ---------~- htl_ _+--=--= =- middot __ - -middot ---=---- - middot- --- -==== ramp-1==+~- - middot -~------- middot-- ---- ---___-
kt her goc
rtmiddot-w
bull And 0019 lbc rwofa dit but hu Nzyny)l moRneoctdlyou An yri I will ltis fo ( 1
A5 tlaquobelt tahha ~hen loucn IIKGC
5trt ~oma~oo tk ~ ~ Tatdl you mateilis necdldft~ I nnnt md c u hew by middotthe 1ooe And tbcnlQll chis wu ooJ~
93
Figure 22 ------~--- ---
bullsAtlV
llil 11 ~ middotl llh1J 11111 lllll t ~ I l ~ ~ I II II II I ttJ S amp I a HIH lf lll It g I J ~ I L~ Ill~ lt lll
vi i i II t middot1 ~ ~ I I II I ll
r
I l I I
l I bull
l 0 middot bl
1J 1 bull i ] _ Q
middot a middotmiddott kl U I I I I
_____~_=~=-~JIlW~ wrong bdccue htr not it wu not fo I dJd but lilfc her I did b~ Lilfc bcr aac~
-__1---------- -middot- ------middotjmiddot------ ------------- - --- -~-- middotbull - ___~__-- ~
~ ~__ - ~--- middot --~--~
----- -------------middot--------------------===-================-=-=~--middot---------
4
Figure 23
Rob~ rt lonts Xlr CANTVS
~ F 1 r ~ l ~ - ~ ~ - P r lt1 J c r bull ~ ~ r t r- r n t b c- - c
- middot (~-middot~ ~ ( - ~)7-47-~- ~ ~ amp --_-_ ---_- ~sectC-~---_---~- -(--~- --~-- -- -~ -_- - _ E - -- middot- --- --~ -L-~L-middot = middot ( -- --~middot-- f -=---~~ -77-_-C_ - t _ c ( t2 - -= ---~---- -- middot-----------
middot~ middot
n_ tt=l= -iIt~_plusmnt_~~poundltr=t=~~~=middotumiddot==---= -_ ~t=-==t=-=xtptl--~=t---=-t-x~-E~=-------
go there be many mo I fcltC nor why then let her goe 1 care DO[
---middot-------
l
Far--cwt UfJrewdllincc d1ls 1 finde it llllt 1 will not fpCod more nme in wooing you
nul I iH cce d w htre lfl mivfindhctthcrc S1=-ll l bid hct goc Vh1~ and rll Jocf
Sh~lbid her go and fparc not tll oo oo no I date noc
J Ten Lhoufand imes f1rcwcll yet fl2y I hilt Swca kilfe me onceJ t t ltdfcs limcbcguic 1
l h~ue no pow ~r lo mouc
How oow 1lt2m 1 io laue W ilr d10u nec middotbe gone Go then all is one
Viit thou need be goncoh hi~ thee Nay 01y ~nd doc no lnoampe dcwcmec
Once moce flrewcll t ~lorn rodcrrwrct Bids oamp adcw to her due holdcs Ill bm
But fcdh~ r mnR kgtof~
7hy loucwbi h ldid chufc Go rhy waies for 111t_ smiddotncc irmay nOt k
Gothywaiesfor mehucwhithcr Go oh burwhcrcl may come lhitber
r Wh~cCh~D I doe~ my laue is novvdqnr d Shccinsramiddot~ -a -c iscrucUhart d
Shcc would nor be intrc-attd Wirh pnicrs oft ~~ -J neccomc no more Shall I die ther(forc
H tb~e come no mor what c~rc II Faithlctbcr go or c-owe oa
(
95
Figure 24
---middot -- _____-- ~ -- ~
I
- --__ -----~ -------__- ~-~~ _ _ ____ ___-__ -
- middot --~~--~ ______ ------------111middotmiddot-middot ~-_--------middot ----middot---___- ___ __ _______ _ ____ ~------~--~-- ~__~___ __ _
------ -~ _~-----~- -~-middot----------------
96
Figure 25
204 SONG
CoMIOS-U uv middotnoLn nT Jor-o Js
~ - I middot middotluoted by ShakbullHiU~are - ~~~~ homiddotm tht 1 Hnukpul1lliOI
middot~ h-51 Jggff==r middot r~ Fate- ~ wtdl (l~arl loe since thou wilt needs he gem~
-=-t middot g-one
luC 111inn~ thnn wile IHls lu ()UC
J J loftgt since thou rilt nteds middot lumiddot
1 Jp4 J =-amp=imiddot------middot -r~--t-11---+-middot r=~-r=----middotJ__tJJ middot Jnine ttcs tloe tth~w my life i almost done
--
fl-=t~ -
IPg I WlH y middot t
~fLSI==r=f=lplusmna min~ eie doe _ 11hew
r nbully middot lite middot is almost douc yetmiddot J wilt
rplusmnHmiddot ~ ~ff my lilc iJ ycmiddott I will
Imiddot r--d E4 m y life ia almost yet 1 will
( -~
~__~middot--==--==t~- ~~plusmn 1
ne Vtr die HO lni1J t I ran tpit 1lumiddotnmiddot l)l- trHlll)
~- Jl==q=T-=_==~-middot- ~T~ - 11~~----e= - =r=-=ct ~middot - r--==EF~----=I-~-===+=FL0 - middotFJ==Z=c~~middotmiddotmiddot- - -
n-=- wer dit~ lon~ as I taU 51lio tlu-nmiddot ltl ny nm
~MIEF F i t~sect E tr l I c=middotreg~-~~~~-D bull v~r dit bulln oug a~ CiR hllie thn c 1-tmiddot uuuy inu
a~ t==t~~ r _ q~~~-=-~ ~= lllt - tr tlic ~ ~0 long lUI I I can illh t1wr htmiddot Utmy UIU
97
Figure 26
LO)
J t W=- --~4-~ middot thoughtlmt 5heeclre gomiddot -there he rnan u1u I If~ -1110
I I b P c ~ -B - j- -k=tJ4--t==fi=4D_ I ~middotrt thouKb that Hbec llo e Jeo fhuc be nuny mo not
not 1 _why tlnm let laer gne 1
Eamp--e - ~ - 1 r
1
uot ~middotby th~n let her gne I
1 F~nbullwell fflttbullwl1 sintmiddot tlll i I rt11ltltt li truemiddot I will 110t 11p~ml rn~bulln~ time iu wouing- )Oil~
Unt I lt~ ill fttbull(bullk tmiddotl~ wlwnbull If I m~y fhnt l1r hlaquo~tt
Shall 1 hid hlr gnf hat litnl if I de~
Sha)) 1 bid lwr gne and middotpar~
0 no no tut no 1 dare nut not
l i
Ten thnmbulland bullimt-11 lart-wllII)Lbullt 11taymiddot Jwh ile Swevt kisse me onctlfmiddotWNt kis~d t ime b(J~middotuile
l hamiddote uo flPWer to mmmiddottbull lluw uow arn I iu I on Vilt tbon n~tgtd8 be gonemiddot
Go then) all i~ onbull Wilt thnn umiddotN)~ btgt gontbulloh hie the4l Ny ~tay oUHt lintbull 11U lnonbull thmiddotuhbull lll~middotmiddotmiddot
J L IJ_ -
0
cnr-r lOt
-~ 1-e lg
care not J
JJi I 11laquo1 ) ~ar-e not -
0 IIi
ca re nut
4- middot bull ~ Onc-e more fu~wbullmiddotll~ l 5ee )Qth to dlaquo part j middot
1
llid R ull bulldew ifl lwr that l1ohtfbullbull my b umiddoth Butmiddot ~~ting I nnut )O()In~
_Thy love whkh I did chuite
Go thy wRie Jbr me _ Shlfe itnu1y not he ~ middot
(4) Uy WHit~ for me~ lu1t whithfr~ bull 0 J - f
Go oh hut wlu~re 1 mRy come th~~lur
f bull bull lmiddot I It tihaH I doer my lo~ it now middot-middot~middotpart~middotd ~ Sheto is ttll fnirr asmiddot6hee ls cruel1 harted
Slu~middot would nnt h~ intr~ated
With pra irra oft repeated ~ _ ~ If slw~ f()rne nq more middot middot ~ ~
Shnll I middot11~ thtoreforf I
lrsh6e come no mor~ batwh9t cbullr middote I~~ -1 FHifh)rt htr gnor lomfor tarry
98
Figure 27
CANT VS vI I I rCDERT loNE~
== ttf=y-=-t-===~=~~plusmni+==---=middoti--=rr~ -t=-r~==t-=t= W sect~~= - =i middot =clt=cL =~-t=- -middotr ----=i_ --~ ~-- - -middot-- middot-- --middot--- ----middot-----l- --middot----middot- ---middot middot--- -middotmiddotmiddot-
Clut no I phinrly Cu how chou wouldftbinclc~ucauurc l ~a~ t c11rll not to gofatbullu a
1 r 1 l 1 l r l lmiddot r ~ r i r --- ~---n_plusmn ______ ~ ---J middot- ~ s L -d--r--gtlt---- J LL---- J ___ c_ -------j- ~-n1l ~1~( _ _ il_il_ t_ ~----nt_L- -----_[c______ -+~~ 1--L- p ___ -L- -~--Lpound ____ _ ~-____ j__ __ + ------ l -middot~-- ~~- l --1 __ j_ ______ (__ l ~10_ -~---- -- i - -- - - middot - middot -- - ----- - ___ _ I _ __ --middot ~-~ ----- - 4l_ __ ampJLt __ --------~----P-1---~middot 3 __ c__l_J _ _r__-ltJ ___ _ _ _____ L ------
- n
--~- -~--+--middot-1--~ 1 middotmiddot---middot--middot~---- middotmiddotmiddot- -----~~-middott- =--~--- ~~ - middot~---iL-i- -~-- -- -t- r middot-~- middot -l middotjmiddot -bullmiddot I- middot -t ~--~---- -t-~~-tmiddotmiddotH- - middot -----t-~T middot ---- -l -- ~ middot-07- middot- -middot-middot bull ~-Lmiddot- J bull---- ~--- middot-t- - -- - --f -middot-- - -fi-l-L- -+- --[middotmiddot -middot-~ middot--middot--middot--1 --middot-- - -- - bull - -f- ~- --I=_ --middotmiddot---- _I __ __ _ --~- middot- _ _ - _ ______ __L _-t _ middot~_- --_middot--r~ -~~~ Q-- -
fuct 1 wlscnrfiO Jic fi~ nofwtctt lhy amp 1 w 11i leU thee why noafuc 1 wu ace urn JJol bullto goc oat bull
t f t 1 ~ lmiddot t r 1 1 t i ----middot-l~a--__ _ __ St_tLi-3---- --~(~ l-~---1~-d- a aL _ __ _ ______ Jtl a_JAi~-11---~-middot(_---+7Jk~-- - [ A--- -----__ lgt __ ~-1 ----lmiddot l _ ____ i-----middotmiddot-----~--L-----6~ - -
S-( _ 1-h_kJ--middot ----middot ~- L-----Llt-S-L----L__L ------- _______ J_ ______ ---Aplusmn- ---__ _1 ____ -middot---bull ~ ---~-~---1 ~-----L---- 3- ~_t_~- - ____ [ _ __ ~-~- -A - --J
----middot-1---r--t---------t-t-middot-----1---middot ------11-I-t=-~ middot ----L-- - -middot -plusmn --- r-middot-~--- ------middot middot --~middot--- 1--~-middot _-middot- --- ~---------===middot ~-middot-b-1_ --middot- - --- - ----- -~---f- ---fmiddot~-- L- bull - ----- --- middot--- -1-- - ----- --~middot-------~- ---- -1middot-middot1middot-middot--t- --J- -middot- -- - -middot--middot----~-----shy--- middot----~-~ ---- - --middot------------- --~ -~middot ------~- ----------middot
firnrurc I wu l lturfi 0 fie fie oegt rwct lll) uu J will tell thee why no
t I t l t lmiddot~ 1 l -L--~- - - middot-tmiddot J _______ ncU ~A ---S-A-------tl- -11- middot~-- - - --------middotbull-- middotbull----t_ _ _~_ 1 ---middot-~ - ll -o-A--AJl ___ ------middot- t------k- Jt-- -~~ ~--middot- - - - -- -middot- -r~-~ 4- ------llmiddot - middot -
-_~------ _ --~-~---t- -~-----J-- -- A- ------~ _ ----- - bull 1 --middot- -L--middot -- ------------ ~- - c --~--------~----- --------middot ---______ z_j_ _______ __ ___~~ ~-L-------a-e middot- ----middot --
J Oncr m()tdrewdllincc fiJI l 1ord lh_ lpcak
1 uJ bull 1rl bu1 (mlIJrcwcll ubull larHIWout lbullrcalt( Bbull middott bullbullo middot ltn( 1 Joe linJ 1hy loumiddot~ 1lltkt 1he -middotioampl
Wl11 1 l olo-u I Tl llcl-1 cro die
Whlll foolc- lnll u aor Y t fq 1 at l (oulc J ~~lfc nor
)
Wocnne ai~Gc h) diJ lllt[ b_im soc~ 1 hdc be the ~middotutccs of uilc fiym nbull
Now tbu hec o dfproucluchow uullhc cuct loucroe Nay bu t n he gCncbull
lhcn I am bullndunc Nay lnn i1l1c ~oneO hodliD
fl(c-uy hing lU ~CCVD oJcihua
vi gt VI V)
lt a
99
Figure 28
1 tn 1 I I I II
ll 1 I l middotI I I ll l l l tl I I i Imiddot i I i II I 1111 ll I l n I It i i Ill l I d l t I I I ~
f Hif tt I I ~~ I if t
1+1 ~ a j
thll
ALl V S
I Tl Ill i II L I I I II I I
II II I I rL ll1 I t I I
l i I I I I I I I
Iii 1middot I t
IHL IIIli
I I II 1 II l I II 111 I I I I I bull I I I I I
I bull I I ll 1 I I J
L t I llmiddot II ~ I ~ middott
I I ~~ ~ 1
I 1 t I 1
111
t 1middot II I bull
I tJ It I q I I
~~ I I I I
r
I z-1 __ 1 __ =t=-~-----1- - middot -~--~- ~ -f=middot -t=--~--~- middot~-- -===-middot~~-1 N~tsect t-~--_ _ c ~middot _--- __ _ ~-- c -=-b-- _ ~ ~ =-=-=--Xl =plusmn=
- b--- ~--_ __ -- -----middot-middot --middot--- - ~ ___ - ------------~-
nl rJ iiOr-T 1 -
ArCwtll fond )OUt h iflhcu hbulldR llOt bccnc blinCl aut cf Dline emiddotcbull thcu mi~tu n ll)Ut read my mintl ~~ J411
t==+=i =middot -=+-middot---poundmiddot _Emiddot -~ i=j ~ -ti~- -Qt=~ middot=i==- -tl-~- --~ - -~shy~t ~-i ~----+=middot = --~~ - -= bull ~ _ +=a~C -c + -~-=-middot ~ ------ -----~ --- --- --middot -~ - ----------laquo= ---- --~- middot-~ middot--
but now I plaincly fcc how thou wouldll fainc luuc mc(orc lPII~S Uturflnot hJ I)OCIC firtlft~re lu atcurflO hamp
-=t~-----------r+--tmiddot --1-1-l middot 1middotmiddot-r~--- -- middot middotmiddot- --- ~------ - )middot~-----~----- at-middot_t-~--1= 11_ ~tc=l=~ Ei middotmiddot-r- --tI +middotl =0Etmiddot plusmn middot i irlttmiddot ~ - ~-~ middot ~ --plusmnt-~ - - ----middotmiddot-middot---middot--- -middot- -middot _[ - ---- middot- middot---J -- - 1--l-- - -- - - - - -- -~---middot------middot--- - ----middot-- ---- middot---middot---middot+middot--- -~-r-4- -- --middotmiddot fic6cao fwect Aay ~nd I will cell thee why t~ofurc I w~~ accudl not JO goc at firfll(urc 1 wu accudl ~0 fie no f wcct
100
Figure 29
I
CANTVS
lt ll-rllt 1r1t 1 lmiddottl 1 1 - t4---6 A-A~ d~Apound~-fi------ ~ middot ---~
bullmiddot te_- ~I i~~I~- ___ --=~rmiddot --t=Z=j- = --Lt-- -- - middot--- --middotmiddot -- -----middot - - A-- middot - -- _ _~__ __ J ___ _ J_ - - --- - -----~ n a- L r amp_-4--- - -A I - -
~ - - -bull -middot_[- _ - - - - middot - -middotmiddot - - - lt- ~ Ll bull middot- -- ---_ middot- --- ---l~-middotmiddot -~ middot -~gmiddotr ~iiftmiddot- middot--~11--j~-middot _t~middot ~-- plusmn~~ - _-- -- ~- _ J middotmiddot~ - middot J J -- - J~ ~ - bull - ~ -- - ----= ----middot~ --- ------middot -------- J __ ___ --f ___ ~ -~----- -----middot bull middot- - - middot--middot- -bull- middot --- -- middotmiddotbull--- -1-- - middot- - -- I - bull bull --~-
I
bull A Mble d~middot ~fc wH ~ obin Jhlod - V(c l ~t be cbullJultl J ccc 1uc Jumj
yet r- ~r r middot~middotin hh br ltlt H lmiddotllOJ
C u iJ~~I hbulll hrlll bcruuc h middotlll to gr u rn ductelbulltl-hidkn wJltr ~kinmiddot
then lnauty doft lylo~l~ddn womcnt C )CI
Htf i lly jobJh
4
J An Our-b lr as 1his Rollin I lood
H1i l-1fc free and vnruly Yu [O fitc M~bullri~n boull d h~nood
Atul louu debt payed hu duel y Who111 cur be of Ctnc lmllaiyen could nor hold ia
Louc t~ri th obe)middottd~s mJ a winLt could wiltnc Heyiolly Roh
NoW~ w(nd wt l1olll r ilou1 Robi ro HooJ Lc~uc wuhc woodl bchsnd vt
_our fl ho n1 muU nor be w~lhfiood but ~~nr whelt u fi lld ll
1 h t Ill hclIbull11J h)WUC 1 bullud fo ltltd h( I otm( w r icentW~HJdbull 1 1ootlollnwcd r
lhr ullzllt~~J
v~
gt Vl V)
lt
Jlftl
litH ~~rm ~ middot II
I Imiddot~
I
II tt-1 )~
101
Figure 30
I
102
Figure 31
CANTVS bull III
W=tRW=~~~~==--=-------=--=--=--== 0 lollc is but 3 bhu~1-fwtetmiddott I en r r middot r r
~tP ltm~~-~t----~-
Mu1enorvpon hCI fmili ng lookcs Thinke thtr they ~re bttt baitcd hooka
Audu fncy Loudufranzy~
middot e( not J toy Then breed chtc foch annoy1
bur kaue to coke vpponfuch fond booka
)
L(Jtnt ro fotgct fu ch idle royn Finer for youtbcs md youd1full boya
L~ o~ one fwccte frnilc Thy rrue loue igtegllile ~flOibulltiownc
r c-ur uft theedowne- Jlopund jllmiddot to bed iathcf~ioy~
I
bull
103
Figure 32
BASSVS
---------middot--- ----- ------- ---- -- ---------- ---- -~ ------------- - ----------- _ ___ - ~ _____-------~~~------------ - ----- - - ---
- -- -- --~-- - ___ __
CJ
I
-70-
If other sacred music by Robert Jones exists 1 it has not
come to light The Reformation did much to improve English
Church music However the combined effects of Civil war
supremacy of Puritanism suppressed church services disbanded
choirs and the destruction of organs and libraries by the B
soldiers of the Commonwealth resulted in irretrievable loss
The hatred of the Puritans for the English Church and its music
was so strong they seemed to consider it their duty to root out 9
and destroy every office-book they could find lmiddotluch music has
also been lost because of errors and omissions on the part of
scribes the use of old manuscripts as waste paper and in the
binding of new books and in the practice of sending manuscripts 10
to continental bookbinders The fact that any sacred rausic by
Jones exists may possibly be attributed to its inclusion in two
sources meant for secular use
What happened to Robert Jones after the theatre difficulties
remains a mystery Loss of records because of fire or
carelessness only allows speculation in this area Since the
English style of string playing was in fashion in Germany France
8 ~Talker p 56
9 F~ Landon Hunphries The Evolution of Church Music (New
York J J Little and company 1896) p 94~
10 William Joseph King The English Anthem from the Early
Tu ~or Period t roug_ the Restor_fltj gn Era diss Boston University Graduate ~chool 1962 vol I and II (Ann Arbor university Microfilms International 1982) p 12
-71-
and Italy he may have returned to the continent It is equally
possible that he died in any of the plagues which forced the
theatres in London to close so often That his music still
exists to be enjoyed may be epitaph enough
104
Blank
Appendix One
Sources of the Husic of Robert Jones
BookSong
The First Booke of Songs or Ayres
The Pirst and Second Boeke of Songes and Ayres
Ultimum Vale
First Set of Madrigals (inc)
A Husicall Dreame
The Muses Garden for Delights
Hhat if I seeke for love of thee
There is a garden in her face
Doe not o doe not prize Beautie sate bathing 11 Goe to bed sweet museu Shall I locke to ease
griefe 11
11Jhat if I speed Cease troubled thoughts Scinthia queene of seas
and landn Thinkst thou Kate to
put rre down 11
nt1hen will the fountaine of my teares
F1ie flie flie from the world 1
Fy fy 11 (inc)
Date
1600
1601
1605
1607
1609
1610
1600
1605
1605 1605 1605
1605 1605 1605
1605
1605
1605
1605 1601
-105-
Source
British Igtluseum Folger Shakes~eare Library
British 111luseum Central Library
Hanchester
Royal College of Music
Private ownership Furst Alexander
British Nuseurn Royal Library
Brussels
San Marino British 1middotlus eurn Euing Library
Glasgow
San Harino
British Library Add Ms 15117
The First Book of Songes or Ayres
British Library Egerton ~s 2971
Ultimum Vale
British Library Add Ms 24665
Giles Earles his book taken from Ultimum Vale
u
II
fl
fl
n
The First and Second Boeke of Songes and Ayres
-106-
The love of change hath changed the world 11
What shall I render to the 1614 Lord bullbull
Let thy salvation be ~Y joy
Lament lament my soul cry 0 cry
n Sing j oyfull ybull
Arise my thoughts
11 Dreams and imaginations
uFie what a coyle Now what is love
no date
1601
1601
1601 1601
Folio ms in Folger Library
British Museum Royal App 63
The Tears or Lame tations o f a Sorrowful Soul
RISM attributes 4 songs to Jones
Christ Church Music Mss 56-60
Christ Church Husic ~1ss 439
The Second Book of Songes and Ayres
lt
-107-
APPE IDIX THO
Contributors to Manuscripts nu~beren 56 through 60 in Christ Church Oxford
SEC~~ number CC lmiddot1SS Voice 334 Hus 56 c 335 Mus 57 Q 336 Mus 58 Sx 337 Mus 59 Ct 338 Mus 60 T
Bassus lacking ca 1620
a alternate sources published b transcribed c Psalm 81 in two versions
Amner John~ 1579 1641 B r-1 Oxford 1613
Consider all ye passers by (b) 3349835803378633896 verse
I am for peace inc) (with different verse section) 33463356337~6 3386 verse
Bennet John flca 1600-ca 1615
Great God of Gods 0 God of Gods (a) 334 113 33595 33710133811 verse
To the almighty Trinity (ptll of 0 God of Gods)
Bull John ca 1562-16287 B H Oxford 1586
Almighty God who by the leading (ab) 334110 33592 33798338 108 verse
How joyful ana how glad (inc) a) 33448335483374833748 verse
Byrd William ca 1542-1623
Save me 0 God for thy name bull s sake (I) 33410 33510 33710 338 10 fS
Sing joyfully unto God our strength and Blow the trumpet parts I and II and Sing we merrily and Blow up the trumpet parts I and II not in this source from Christ Church (c)
-108-
Corkine William1 fl 1610
Praise the Lord 0 my soul (inc) 33441 335413374133841 f5
Cranford William fl early 17th c
My sinful soul (inc) 33413833512033616337126338136 verse
Daman (Damon) William ca 1540-1591
0 heavel]nly God (b) 33451335513375133851 f5
East Michael ca 1580-16481 B M Oxford 1606
Blow up the trumpet Sing we merrily (Pt II Take the psalm PT III Blov1 up the trumpet) (ab) 33420933520233698337196338214 verse
Take the Psalm
Ferrabosco Alfonso Sr~ 1543-1588
0 remember not our old sins (a) 33414133512333619337129338139 f6
Ford Thomas ca 1580-1648
Miserere my maker (inc) 334151v33513533631337141338151 f6
Gibbons Orlando 1583-1625 Phd Mus Oxford 1622
See the Word is incarnate (ab) 33495335773378333893 verse
Hooper Edmund ca 1553-1621
Hearken ye nations (a) 334211335204336100337198338216 verse
Jeffreys Matthew fl ca 1590 B M Oxford 1593
If the Lor~ himself (a) 33414833513033626337136338146 verse
-109-
Lord rernerr~er David (a) 334142 335124336120337130338140 f6
My love is crucified (inc) 334100335823378833898 fS
Out of the deep (a) 33414633512833624337134338144 verse
Sing we merr-il y (II) (a) 33414433512633622337132338142 verse
Jones Robert fl ca 1600 BM Oxford 1597
Sing joyfully unto the Lord (inc) 33412335123371233812 f5
Lupo Thomas fl 1593-1628 or fl 1605-c1660
For I knowledge my faults Have mercy upOii me (pt IIFor I nowledge my faults) (inc) (ab) 33418335183371833818 f5
Out of the deep (c) 33420335203372033820 pound5
Mundy John d 1630 B M Oxford 1586 Phd Mus Oxford 1624
0 give thanks unto the Lord for he is gracious (a) 33416335163371633816 fS
Mundy William ca 1529-ca 1591
0 Lord I bow the knees (a) 33490335723377833888 f5
Parsons Robert (I) d 1570
Deliver me from mine enemies (ab) 3348335833783388 f5
Peerson Martin ca 1572-1650 B M Oxford 1613
0 Lord in thee is all my trust (inc) 33488 335703377633886 verse
-110-
Philips Peter d ca 1635
Bow down thine ear unto my crying (a) Adapted from the motet Cantai mentre 334217 335210336106337202 338220 f6
Portman Richard~ d ca 1655
Rejoice in the Lord 0 ye righteous (I) (a)334226 verse
Ravenscroft Thomas ca 1590-ca 1633
0 let me hear thy loving kindness (a) 3343133531337 3133731 verse
0 woeful ruins (a) pt II and pt III Those sacred walls and 0 how these graceful piles not in 334-338 33440335403374033840 f5
Simmes William fl ca 1600
Awake (Away (a)) fond thoughts 33415733514233638337148338158 verse 6
Rise 0 my soul (pt II and pt III And thou my soul To theee o Jesu) (a) 3342833528 3372833828 verse And thou my soul To thee o Jesu
Stubbs Simon fl ca 1600
Father of love (a) 3348633568 33774 33884 f5
Tye Christopher ca 1500-ca 1573 Phd Mus Oxford from Cambridge 1545
Christ is risen Christ is rising again (pt II Christ is risen) (inc) 334225335218336114337212338230 f6
I lift my heart to thee (ab) 33492335743378033890 f5
-111-
Ward John fl early 17th c
Down caittiff wretch (a) (pt II Prayer is an enciless chain) 33424 amp 2633524 amp 2633724 amp 2633824 amp 26 verse
How long wilt thou forget me (a) 33422335223372233822 f5
Let God arise (a) 33411633598337104338114 verse
Praise the LordO my soul a Lord my God (a) 334219335212336108337206338224 verse
This is a joyful day (a) 33413333552336523375233852 verse
~~larwick (Warrick Warrocke) Thomas d 1660
0 God of my salvation (a 3349 335933793389 pound5
Weelkes Thornas1 -1623 B M Oxford 1602
Alleluia I heard a voice (ab) 33414335143371433814 pound5
Gloria in excelsis Deo Sing my soul to God (ab) 33415533514033636 337142338156 pound6
Hosanna to the Son of David (ab) 334214335207336103337201338219 f6
Lord to thee I make my moan (ab) 3341023358433790338100 pound5
0 Johnathan woe is me (ab) 334151v33513433630337140v338150 f6
0 my son Absolom (I) (ab) When David heard that Absolom (ab) (~t II 0 my son Absalor1) 33415033513233628337138338148 pound6
-112-
Wilkinson William Thomas
Hear my prayer 0 Lord and with thine ears (a) 3341043358633793338103 verse
Preserve me o Lord (a) 33443354 33743384 verse
Put me not to rebuke (a) 3341063358833794338107 verse
Compiled from
Nan Cooke Carpenter Music in the Medieval and Renaissance Universities
Ralph T Daniel and Peter Le Huray compilers The Source of English Church Music 1549-1660 part I and II
C F Abdy Williams A Short Historical Account of the Degrees in Music at Oxford and Cambridge
-113-
Appendix Three
Graduates of Oxford
Doctors
Robert Fairfax John Gwyneth John Merbecke John Shepeard Robert Stevenson Orlando Gibbons Nathaniel Giles John Hunday Christopher Tye John Bull
Date
1511 1531 1550 1594 1596 1622 1622 1624 1548 1592
Tye and Bull were incorporated as Doctors of Music from Cambridge
Bachelors
tathaniel Giles John Bull John t-1unday Thomas Morley John Dowland Giles Farnaby Edward Gibbons George Waterhouse Arthur Cocke Francis Pilkington Robert Jones Thomas leelkes Thomas Tomkins Richard Deering
1585 15B6 1586 1588 1588 1596 1592 1592 1593 1595 1597 1602 1607 1612
Author
Robert Grossteste
Robert Kilwardly
Roger Bacon
Bartholomaeus Anglicus
Walter Odington
Simon Tunstede
John Hanboys
John Hothby
William Bathe
John Case (attr)
William Barley
Thomas Morley
-114-
Ap~endix Four
Oxford Treatises
Date Title
ca 1175-1253 De artibus liberalibus
d 127 9
ca
ca
ca
1351
ca
1584
1600
1586 1588
1596
1597
1214
1230
1330
1450
94
De ortu et divisione philosophiae
Opus majus and opus tertium
De probrietatibus rerum
De speculatione musice
Quatuor principalia musicae
Surnma super musicam continuam et discretam
Regulae super proportionem De cantu figurate Regulae super contrapuncturn Caliopea legale
A Briefe Introduction to the True Arte of Music
A Briefe Introduction to the Skill of Song
The Praise of Musicke Apoligia musices tam vocalis quam instrumentalis et mixtae
The Pathway
A Plaine and Easie Introduction to fvlusicke
-115-
Appendix Five
Baccalaureus in musica solvet
Imprimis pro cumulatione presentatis Pro comrnuniis Pro scriba universitatis Pro circuita Pro camera Pro curnulatione sex annorum Pro anno instante Pro horolog-io Pro deric[t]o universitatis Pro inferiore bedello artiurn
Si beneficiatus vel patrimoniatus fuerit solvet pro vino
Si non praebat convivia solvet betiellis facultatis suae pro prandio
vj s
i j s
xiij s
vij s
viij d vj d
xij d xij d
iiij d
xij d ij d ij d vj d
iiij d
iiij d
ix d
116
Appendix Six
Words set by Jones for Leighton
Let thy salvation be my joy
Let thy salvation be my joy Confirm me with the spirit of grace Let sadness not my soul annoy For pensive thoughts too much take place 0 let my comfort still reside In Christ who for my sin hath died
In setting the third line Jones uses sixteenth notes on the word spirit 11 to compensate for the extra syllable
What shall I render to the Lord
What shall I render to the Lord For all his blessings poured on me My heart and soul with one accord Shall laud and praise thy majesty All praises do from thee desend Blest be thy name world without end
Lament my soul cry cry o cry
Lament my soul cry cry o cry Swe et Jesus pity pity me Help help help help for sin I die Sweet Christ come ease my misery
BIBLIOGRAPHY
Primary Sources
The Bible That is the Holy Scriptures contained in the Old and Newe Testament London Deputies of Chrlstopher Barker Printer to the Queenes most excellent Maiestie 1596
Book o f Common Prayer and Administration o f the Sacraments and Other Rites and Ceremonies of the Churchof England WiSh the Psalter or Psalms of David Printed by Thomas and John Buch Printers to University of Canbridge 1629
Fellowes Edmund H ed The English Madrigalists val 35A Revised edition edited by Thurston Dart London Stainer and Bell 1960 The First Set of Mad_ri a_l s 1607 by Robert Jones
The English Madri al School val 32 London-stainer and Bell 1923 The Triumphs of Oriana to 5 and 6 voices Compose - y D1vers several Authors published by Thomas Mor ley 1601
Jergens Elise Bickford English Song 1 600-1 67 5 Part I British Library Manuscri ts London
Pu middot- 1sh1ng Inc 1986
Leighton Sir William Th e Teares or Lamentaciones o f a Sor rowful Soule London W2 1arn Stansby 1614
The Teares or Lamentations of a ----Sorrowful Soul Transcr1bed and edited by Cecil Hill Vol ll Early English Church Music London Stainer and Bell 1970
Morley Thomas A Plaine and Easie Introdction to Practical Music Edited by R Alec Harmon New York WW Norton and Co 1952
Smith John Stafford Musica Antigua London Preston 1812
Sternfie1d FW gen ed English Lute Songs 1597-1632 A Co l lect~on o Fac s imiDelRepr ints
ress t Vol 7 edited by David Greer The First Boeke of Songes or Ayres 1600 by Robert Jones The Second Booke of Songs and Ayres 1601 by Rober ones t1mum Vale 1605 by Robert Jones A Musicall Dreame 1609 by Robert Jones The Muses Gardln for Delights 1610 by Robert Jones
-118-
Books and Articles
Abraham Gerald ed New Oxford History of Nusic vol IV uThe Age of Humanism 1540-1630 11 London Oxford UP 1968 3rd impression 1974
Adams Joseph Quincy 11 A New Song by Robert Jones bullbull Modern Language Quarterly I (March 1940) 45-48
Adler Kurt The Art of Accompanying and Coaching Minshyneapolis The University of Minnesota Press 1965
ArkmiddotJright GE P Catalogue of Music in the Library of Christ Church Oxford London Oxford UP 1915 ed 1971
Bateson fW ed The Cambridge Bibliography of English Litshyerature 4 vols Cambridge University Press 1969
Bentley Gerald Eades The Jacobean and Caroline Stage Dramat~c Companies and Players 5 vols Oxford Clarendon Press 1941 reprinted 1949 bull
The Profession of Player in Shakespearebulls Time 1590-1642 Princeton Princeton UP 1984
Blom Eric ed Groves Dictionary of Music and Musicians vol IV New York St Martins Press Inc 5th ed 19B4
Boyd rbulllorrison Comegys Elizabethan Music and Musical Criticism 2nd ed Westport Greenwood Press Publishers 1962 reprinted 1975
Brown David nJones Robert in The New Grove Dictionary of llusic and Husicians vol 9 p 703 Edited by Stanley Sadie 1980
Carpenter Nan Cooke Music in the Medieval and Renaissance Universities Norman Okla University of Oklaho~a Press 1958 reprint eo New York Da Capo Press 1972
Chambers E K The Elizabethan Stage Vol I-IV Oxford Clarendon Press 1923 ed 1961
Crewsdon Henry Alastair Ferguson TD MA comp The Worshipful Company of ~t-lusicians Loncion Constable and Co Ltd 1950 new ed London Charles Knight and Company Ltd 1971
Cutts John P 11 Everie Woman in her Humor Renaissance Nevs 18 (Autunm 1965) 209-213
-119-
Daniel Ralph T and LeHuray Peter compilers The Sources of English Church Music 1549-1660 Part I and II London Starier and Bell 1972
Dart Thurston t-1A The Interpretation of Music 4th ed London Hutchinson University Library 1960
Dodd Gordon 11 A Summary of Nusic for Viols Early flusic 6 (April 1970) 262-267
Doran T s A Dr Annals of the English Stage from Thomas Better ton to Edmund Keen Vol 1 New York bullJ J ~1 iadle ton Publishers 1865 republished St Clair Shores Mich Scholarly Press no date
Doughtie Edward ed Lyrics from English Airs 1596-1622 Cambridge Harvard University Press 1970
Einstein Alfred Essays on Music London Faber and Faber 1956 rev eng ed 1958
Feldman Martha 11 In Defense of Campion A New Look at His Aryres and Observations The Journal of Musicology v
(Spring 1987) 226
Fellowes Edmund Horace CH Mvo MA Mus D English Cathedral l~sic Edited by J A Westrup Westport Greenwood Press Publishers 1981
_________ The English Madrigal Composers 2nd edition London Oxford University Press 1921 1948 reprinted 1967
bull The Text of the Song Books of Robert Jones Music --------middot and Letters VIII (Jan 1927) 25-37
__________ Tudor Church Music Appendix ~lus D New York Brouclex Brothers reprint 1963
Greenberg Noah music ed Auoen ~middotlH and Kallman Chester text ed An Anthology of Elizabethan Lute Songs Mad rigals an Rounds Pew York ~middot1 w Norton amp Co Inc 19 55
Greer David What if a Daybull - an Examination of the Words and r~usicbullt husic and Letters 43 (Oct 1962) 304-319
Gutmann Veronika Instrument oder Diminutionspraxis 11 Archiv fuer Husikrvissenschaft 35 (1978) 187-190
Heseltine Philip and Warlock Peter The English Ayre London Oxford University Press 1926 reprinted Westport The Greenwood Press 1970
-120-
Hesel tine Philip 11 Robert Jones and His Prefaces The rmiddotusical T ime s bull ( Feb -t-1a r 19 2 3 ) 9 9 -1 0 0 16 8 -17 1 bull
Humphreys Rev F Landon ~lus Doc STD The Evolution of Church Music New York J J Little and Co 1896
Jeffrey Brian ed Elizabethan Popular Music for the Lute London Oxford UP 1966
King William Joseph The Englsh Anthem from the Early Tudor Period through the Restora t ion Era PhD dissertation Boston University 1 962 Ann Arbor Mich University Microfilms I~ternational 1982
La Fontaine Henry Cart The Kings Musick New York Oa Capo Press 1973
Lewis c s English Literature in the 16th Century excluding Drama 11 in Oxford History of English Literature p 266 Edited by F P Wilson and B Dobree Oxford Clarendon Press 1954 reprinted 1962
r1ason Dorothy E Husic in Elizabethan England Washington Folger Shakespeare Library booklet 1958
rtaynard Winifred Elizabethan Lyric Poetry and its Music Oxford Clarendon Press 1986
McGrady Richard J The English Solo Song from William Byrd to Henry Lawes 11 PhD dissertation University of Manchester 1963 This dissertation arrived to late to notate McGradys theories on Italian Monady and Jones
Meyer Ernst H Early English Chamber ~iusic ed Diane Poulton London Lawrence and Wishart Ltd 1946 Boston Marion Boyars Inc 1982
Mies Otto Heinrich PrussJan Castle
Elizabethan t1usic Prints in an East rrusica Disciplina III (1949) 171-172
Naylor Edward Noodall Shakespeare and Husic rev ed New York De Capo Press 1931 lew York Benjamin Dlom Inc 1969
Pagallelli Serpoundio Jusical Instruments from the Renaissance to the 19th Century trans Anthony Rhodes Milan Fratelli Fabbrl Editori 1966 7 London Hamlyn Publishing Group 197 0
Pattison K An Analysis of the Ayres of Robert Jones MFA thesis University of Georgia 1965 (Request for this thesis has been submitted through the inter-library loan service but has not arrived)
Phillipps G A Charles 1 11
-121-
11 Crown r1us ical Patronage from Elizabeth to Music and Letters 58 (Jan 1977) 29-42
Phillips Peter 11 Performance Practice in 16th Century English Choral Music~ Early Music 6 (april 1978) 195-199
Prior Roger Jewish Musicians at the Tudor Court The ~~sical Quarterly LXIX (Spring 1983) 253-265
Poulton Diane Graces of play in Renaissance Lute Music 11
Early Music (april 1975) 107-109
Reese Gustave Music in the Renaissance revised ed New York W w Norton and Co Inc 1959
RIS~t Einzeldrucke vor 1800 Karlheinz Schlogervolume III Basel Barenreiter Kassel 1974
RISM Recueil s Imprimis XVIe-XVIIe siecles l-1unchen G -Henle Verlag 1972
Robertson Dora H Sarum Close London Jonathan Capt 1938 Bath Firciurt Publishing Limited 1969
Seng Peter J The vocal songs in the Plays of Shakespeare a Critical History Cambridge Harvard UP 1967
Shakespeare William William Shakespeare The Complete Works Edited by Alfred Harbage Baltimore Pen~middotuin Books rev ed 1969
Smith Irwin Shakespeares Dlackfriars Playhouse Its History and Its Des~gn New York New York University Press 1964
Spink Ian English Song Dowland to Purcell New York Charles Scribnerbulls Sons 1974
Sternfeld F w Music in Shakespearean Tragedy London Routledge and Kegan Paul 1963 rev ed 1967
Stevens Denis Tudor Church t-1us ic Nev York Merlin Press 1955 bull
A History of Song New York W W Norton and Co Inc 1960~ First American Edition 1961
Stevens John Music and Poetry in the Early Tudor Court reprint ed Cambridge Cambridge University Press 1979
Traficante Frank Anthony 11 The Mansell Lyra Viol Tablature parts I and II PhD dissertation University of Pennsylvania 1965
-122-
Walker Earnest A History of Music in England New York Da Capo Press 1978
Wells Robin Headlam John Dowland and Elizabethan Melancholy Early Music 13 (Nov 1985) 514-528
Wickham Glynne Early English Stages 1300 to 1660 2 vols London Routledge and Kegan Paul New York Columbia UP 1972
Williams C F Abcty A short Historical Account of the Degrees in 1usic at Oxford and Cambridge Lonaon lovello Eivers and Co 189 3
Woodfill Walter L Musicians in English Society from Elizabeth to Charles I New York Da Capo Press 1969
-5-
The next two Joneses Richard and Robert have caused
the most confusion They were active during the same time
period and were associated with the same group the Children
of the Revels In addition both men were musicians both
were connected with a theatre troup manager named Robert
Browne and both men travelled to Germany It is a very
real possibility that these men were brothers possibly sons
of the first Richard Jones discussed It may not even be
far-fetched to suggest that all three were related to
the Robert Jones connected with the courts of Henry VII and
Henry VIII
Richard Jones was associated with the acting companies
of the Earl of Worcester in 1583 the Lord Admiral in 1589
1594-1596 and 1597-1602 and the Earl of Pembrokesbulls Hen in
1597 He was in Germany in 1592-1593 1615 1620 and 13
1622-1624 In 1623 he was a musician to the Duke of
Wolgest At this tioe he petitioned the Duke to be allowed
to return to England In 1624 Richard Jones again
petitioned the Duke this time to be taken back into service
as a musician In 1630 he is connected with John Jones a 14
dramatist
13 Chambers vol II p 324
14 Gerald Eades Bentley The Jacobean and Caroline Stage
Dramatic Companies and Players 5 vols reprint ed (Oxford Clarendon Press 1949) val I and II pp 135 485
-6-
Richard Jones entered four plays in the Stationers 15
Register between 1578 and 1594 In 1580 he was the
enterer of the song A newe northern Dittye of ye Ladye
Green Slevesu Jones was granted a license in 1584 to print
a book really a collection of ballads printed in broadsheet
form entitled Very Pleasant Sonets and Stories in Meter by
Clement Robinson Robinson was an Elizabethan poet fl 1566-16
1584 This was in response to a popular interest in signing
to the lute This Jones was not above using the name or initials
of well-known writers to enhance the sale of his verse books
At least three of these books A Smale Handful of Fragrant
Flowers (1575) Brittons Bowre of Delights (1591) and the
The Arbor of Amorous Deuises (1594 and 1597) used the initials
of Nicholas Breton much to Bretonbulls anger These books included
poems by Breton and others used without their consent Other
collections printed by Richard Jones are A Handfull of pleasant 17
delites and A gorgious Gallery
It was this Jones erstwhile actor and printer who was
granted the patent by which the Children of Whitefriars were
once QOre entitled to call themselbulles the Children of the
Queens Revels This patent dated January 4 1610 was
15 Chambers vel IV pp 382-383
16 The Cambridge Bibliography of English Literature
ed F w Bateson 5 vols (1940 Cambridge University Press 1969) p 646
17 Winifred Maynard Elizabethan Lyric Poetry and Its
Music (Oxford Clarendon Press 1986) pp 16 14 48-50
-7-
given by James I It reads in part
Know ye that wee haue appoynted and authorised Robert Daborn Phillipp Rosseter Iohn Tarbuck Richard ones and Robert Browne from tyme to tyme to provide keep and bring vpp a convenient nomber of children and them to practice and exercise in the quality of playing by the name of Children of the Revells to the Queene within the white fryers l8
It is this patent which seems to be the source for
confusing Robert Jones and Richard Jones Several
authorities claim that the Elizabethan COQposer Robert Jones
was involved with the Children of the Revels of the Queene 19
in 1610 However he is not mentioned in their
history until five years later One historian even claims
that Robert Jones is the founder and manager in 1610 of the 20
Children of the Revels to the Queen within White Fryars
18 Chambers vol II p 56 Chambers and Bentley
Jacobean Stage discuss the various associations of Richard Jones and Robert Browne in greater detail than is within the scope of this thesis
19 Edmund H Fellowes The English t-1adrigalist 2nd ed
vol 35 A (London Stainer and Bell 1960) p 4 and Heseltine Prefaces p 171 It is interesting to note that both these works were originally published in 1923 and neither lists sources Chambers also originally published in 1923 clearly states his sources for these patents the original cocuments
20 Morrison Comegys Boyd Elizabethan Music and Musical
Criticism 2nd ed (Westport Greenwood Press Publishers 1973) p 199 Boyd has all references to Robert Jones under one index heading although be discusses the work of the Tudor composer as well as that of the Elizabethan composer No source books on Elizabethan or Jacobean Theatre are included in his bibliographies
-3-
Robert Jonesbull connection with the Children of the
Revels is clearly stated in a patent granted by James I on
June 3 1615 It gave authority for the erection of a new
theatre for the continued training of the Children of the
Revels This theatre would replace the expireci lease on
another house used by Rossiter
And whereas the said Phillipp Roset~r together with Phillipp Kingman Robert Iones and Ralphe Reeve to continue the said service for the keeping and bringing vppe of the children for the solace and pleasure of our said most deere wife bullbullbull by the name of children of the Revelles to the Queene have lately taken in lease and farme divers buildings Cellars sollers chambers and yardes for the building of a Playhouse therevpon bullbullbull All which premisses are scituate and being within the Precinct of the Blacke ffryers neere Puddlewharfe in the Suburbs of London called by the name of lady Saunders house or otherwise Porters hall and now in the occupation of the said Robert Jones Nowe knowe yee that wee of our especial grace bullbullbull doe give and graunte lycense and authoritie vnto the said Phillipp Rosseter Phillipp Kingman Robert ones and Ralphe Reeve at their proper costs and char~~~ to erect build and sett vppe in and vppon the said premisses bullbullbull one conve ient Playhouse for the said ctildren of the Revelles 21
It is interesting to note that Robert Jones is mentioned
three times in this patent
This patent and its various details are confirmed in
other sources of the period The Privy Council was
21 Chambers vol II p 473
-9-
approached by the inhabitants of the Blackfriars area They
maintained that another theatre in Puddle Wharfe would be
too close to the church of St Anne and that it would
disturb the congregation during services Because of a technical
flaw the work that was begun on the building was ordered
stopped in September of the same year (1615) Plays were
performed there as late as January 1617 The last mention of 22
Robert Jones in this instance was the Kings patent
Robert Jones had other connections with the theatre
although he is not called an actor In 1602 he was in
Germany at Frankfort where he was named as a fellow of
Robert Browne Browne was something of a theatre impresario
who specialized in bringing English actors to the continent
and was also included in the patent of 1610 with Richard 23
Jones This year was the start of a three year
publishing hiatus by Robert Jones Appendix One includes
the titles and dates of Jones work An interesting fact
which may or may not be connected with Jonesbull time in
Germany is that his third book Ultimum Vale is one of eight
22 Chambers val II pp 472-473 61 val IV pp 343-345
23 Chambers val II pp 273-282 p 56
-10-
Elizabethan Music books which used to be in the library of 24
the East-Prussian Castle of Schlobitten
This Robert Jones then is the Jones who is the subject of
this paper He was active in the latter years of
Elizabethbulls reign and the early years of the reign of James I
He may or may not have been an actor but he was
associated with actors and the Chilciren of the Revells He
was stable enough to own a house and to enter into a risky
theatre venture
24 Otto Heinrich Meis Elizabethan Music Prints in an
East-Prussian Castle Musica Disciplina III (1949) 171-172
CHAPTER II
EDUCATION A~ID SOCIETY
Robert Jones is known to have graduated from Oxford
University in 1597 It is also known that he was at St Edmund s 1
Hall and was for sixteen years a student His date of death
is unknown although a valid theory has been put forward for 2
his approximate year of birth to have been 1574 This would
have made him only twenty-three when he graduated slightly
younger than n1ost of his contemporaries A comparison may be
rMde by using Appendix Two an outline of works contained in
Christ Church rlusic Mss 56-60 Composers who graduated from
Oxford University are identified as well
Music both sacred and secular was an integral part of
university life Until the Reformation it was customary to
have Masses sung for the souls of the kings and founders of
the various colleges ~ The playing of secular music and
instruments had become so distracting that it was forbidden
at bullbullunseasonable times 11 unless after meals and there was a 3
fire in the fireplace of the hall or communal erea
1 c F Abdy Williams A Short Historical Account of the
Degrees in fiusic at Oxford and Cambridge (London 1893) p75
2 Hese1tine Prefaces p 99 Heseltine combines the fact of
Jonesbull years as a student and Jonesbull admission of practicing music since he practiced speaking to estimate the date of 1574
3 Nan Cooke Carpenter Music in the Medieval and Renaissance
Universities (1958 New York Da Capo Press 1972] p 169 81
-11-
-12-
Since the singing of Masses was required by statute some
means had to be provided for the training of choristers Many
colleges maintained choir schools These younger members of
the college community actually owed their positions at Oxford
to their musical talent and duties In 1547 the Act of
Dissolution under Edward VI closed many church schools but
not the collegiate foundations in the universities the
choirs of St George and Chapel at Windsor and the cathedral 4
schools
The young choristers were taught plainsong and pricksong
and when their voices changed they were preferred for vacancies
in the universitys scholarship lists Among these colleges
were the Schola flusicae of Queens New College Corpus Christi
College Cardinal College (later Henry VIII and nm1 Christ
Church) St Johns College and Magdalen College The statutes
of Magdalen College also provided for places for thirty indigent 5
student-- iemyes) to study plainsong
In the preface addressed to the reader in his First Booke
of Songes or Ayers Jones states that ever since he practiced 6
speaking he practiced singing By his own words it is likely
4 carpenter pp 167 88 388
5 Carpenter pp 267-171
6 F w Sternfield general editor English Lute Songs 1597-
1632 a Collections of Facsimile Reprints (Manston The Scholar Press Ltd 1971) 26 Robert Jones The First Boo~e of Songes or Ayers 1600 David Greer ed
-13-
that Jones was trained in one of these choir schools anG it is
not inconveivable that he was a recipient of a scholarship to the
university of Oxford Indeed Jones was probably at school at
Oxford rather than London and may even have been one of the
demyes of Magdalen College This is especially likely in view of
the fact that Jones had no steady patronage each of his song
books was dedicated to a different person and he was not 7
connected as household musician in the same way that John Wilbe B
and John Ward were involved at Hengrave Hall and with Sir Henry
Fanshawe
The power for presing choristers into service started in
1420 and this practice continued through Elizabeth bull s reign Im-
pressment of exceptional singers men and boys from all over 9
England into service in the Royal Chapel was commonplace
7 Sir w H Hadow English Music (London Longmans Green and
Co 1931) p 65
8 John Aplin Sir Henry Fanshawe and Two Sets of Early
Seventeenth Century Part-Books at Christ Church Oxford Music and Letters 57 (January 1976) 14
9 Carpenter p 341 Foster Watson The English Grammar
Schools to 1660 Their Curriculum and Practice Cambridge University Press 1908 Encyclopedia Britannica Library Resources Inc LEL 10880) pp 155 212 217 Watson mentions several grammar schools in London which incorporated music into their programs at this time They include the Merchant Taylors School St Paul School Thames School and Christ Church Hosshypital It was necessary to know the catechism in English or Latin read perfectly and write co~petently before acceptance at these schools Hulcaster headmaster at Nerchant Taylors claimed that extra subjects like music were studied privately by gentlemens children and that nusic itself was a part of the math curriculum
-14-
It is doubtful that Robert Jones was impressed into such service
He was both eloquent and voluble in the prefaces to his song
books and would certainly have alluded to this aspect of his
life had it been part of his own experiences
The awarding of baccalaureate and doctorate degrees in
music at Oxford was a tradition dating from the early fifteenth
century Music had been established as a separate faculty the
only liberal art so distinguished In fact the English
universities were the only ones to confer degrees in music
There is no indication that a prior arts degree was required for
the Bachelor of Music as was often the case in other fields
Many of England s most talented musicians became bachelors or 10
doctors of music at Oxford Appendix Three is a partial
listing of these musicians drawn fron information in Carpenters
and ~lilliams bull studies Furthermore the University of Oxford
was after the University of Paris the inspiration for more 11
treatises on music than any other medieval university
Appendix Four is a compilation of these treatises taken from the
work by Carpenter
The dichotomy of music that is musica practica versus
musica speculativa was reflected in the requirements placed
upon the degree seeker at Oxford It was as necessary to study
polyphonic music as to study theory Music classified within the
mathematics traditions and the text of Boethius De institutione
10 Carpenter pp 159 89 336 160
11 Carventer p 82
-15-
musica was required by statute since 1431 In 1549 after
Edward VI visited Oxford the candidates for the bachelor of
music degree were to concentrate on the disciplines of the
quadrivium Sixteen terms (four years) were to be spent in
grammar rhetoric dialectic and arithmetic and 11 in musica
Boetium Admission to the bachelor of music granted the right 12
to lecture in any of the music books of Boethius
Each student at Oxford was instructed by his own tutor until
he had obtained his first degree This meant that the musical
careers of some students were actually shaped by the methods of
their tutors Attendance was required at public lectures Aside
from the usual difficulties with student participation and indif-
ference or inability of some faculty these lectures were to be
given in Latin Dr John Bull not being proficient in Latin
was granted permission to read his lectures in English in 1597
Jones of course should have attended these lectures since John
Bull was incorporated as a Doctor of Music from Cambridge in
1592
In order to obtain a degree it was necessary to compose a
Mass song or canticum bull bull bull to be performed before the university bullbullbull 14
on the day of the Cornitia 11 This was not meant to determine
eligibility for a degree rather it was meant to add to the
12 Carpenter pp 89 77 153 159
13 Carpenter pp 154-156 163-164
14 Williams p 21
-16-
solemnity of the occasion This rule specifying a piece of music
to be performed in the university churcl1 at Act time remained un-15
changed from 1516 until 1608 when a hymn only was required
However there was a dispensation from this rule A
candidate could apply for a degree pro circuitah He would
request the Vice-chancellor and proctors to summon a Congrega-
tion On the afternoon before the Congregation the student
preceded by one or both of the bedells of his faculty and accompanied by the person who was to present him in congregation bullbullbull attired in academic dress but bareheaded went round to the schools and also called on the Vice-chancellor and both proctorsl6
Tradition always was an important part of university life
Oxford in the early sixteenth century was no exception Fre-
quently these traditions became codified in statutes Gloves
were an expensive luxury and early in Oxford 1 s history it became
obligatory for the degree seeker to give a pair to the Bedells
and other officials No man could dress above his station and
students fined for wearing silk were required to wear gowns 17
with loose sleeves and square caps in public Following is a
list of graduation fees established by statute at Oxford in 1601
taken from Carpenter Appendix Five is a copy of the original
version According to the custom Jones would have had to pay
some if not all of these fees
15 Williams p 27
16 Carpenter p 165 citing Clark in Register II p 46
17 Williams p 59
-17-
TABLE ONE
Graduation fees at Oxford in 1601
The baccalaureate in music will disburse
First for the total for gifts 6 s For the service of the room For the clerk of the university For possessions For the chamber For the six year total [tuition] 2 s For services during the present year For the clock For the right of the university For the lesser porter of Arts
Total 13 s
IE he has been subsidized by the church 7 s or by patronage he will disburse for wine
If not arranged in advance [] he will pay for the table servants to the porters of his faculty for meals
The greatest expense on this list is for wine [)
a d 6 d
12 d 12 d
4 d
12 d 2 d 2 d 6 d
4 d
4 d
9 d
-18-
It is not indicated in the available sources whether Robert
Jones composed a piece for graduation or used the pro circuitubull
option However a good case can be made for the former there
is an anthem in Christ Church Imiddot1usic Mss 56-6 0 Singe joyfully
which was composed by Jones The words are from Psalm 81 and
are identical with those in an Elizabethan Bible printed in 18
1595 This is two years before Jones graduated from Oxford
Furthermore the Christ Church lbulllus ic t-lss was compiled 11 wi th
most of the material at hand gathering together works which may 19
already have existed in worn or loose copies It was planned
as a memorial to Prince Henry and most of the composers repre-
sented were court-based friends of the composer John Ward who
was in the service of Sir Henry Fanshawe These part-books were
compiled at Fanshawes request and completed by his son before 20
1620 The Oxford anthem Singe joyfully will be discussed
further in the chapter on sacred music
As can be seen music was an important and necessary
part of the education of a gentleman and it was a necessary
18 The kindness of Mr Richard Austin of St Luke bulls Shrine
Smithfield is gratefully appreciated He allowed access to the Bibles there which proved that Jones used the Elizabethan transshylation and not the King James version of Psalm 81
19 Aplin p18
20 Aplin p 14
-19-
21 accomplisr~ent of the perfect courtier Even Morley begins
his book with a description of the embarassment caused by a lack 22
of ffiUsical knrn~ledge Furthermore a degree in music was an
invaluable asset to obtaining a post in the Chapel Royal
Neither Elizabeth nor James I gave honors such as peerages or
knighthoods to musicians rather they used offices in the
Royal Household the Chapel Royal and the Kings Musick as reward 23
for services In 1605 Jones dedicated his Ultimum Vale to
Prince Henry ~hether this earned a reward for Jones is not
known However it is likely that the Mr Jones listed as a 24
Gentleman of the Kings Chappell in 1612 is Robert Jones
It is possible that this position and not great reknown earned
a place for Jones in the Fanshawe part-books
As a Gentleman of the Chappell Jones would be expected to
be quite proficient in reading music and well-versed in plainsong
and pricksong That he could COQpose apart from performing 25
would have been the highest recommendation of all It is note-
21 Carpenter p 343
22 Morley p 9-10
23 G A Philipps Crown Musical Patronage from Elizabeth I
to Charles I Music and Letters 58 (January 1977) 29
24 Henry Cart de Lafontaine The Kingbulls Musick (New York
Da Capo Press 1973) pSO
25 John Stevens Music and Poetry in the Early Tudor Court
(1961) Cambridge Caniliridge University Press 1979) p 309-317
-20-
worthy that although Jones was actively composing in the latter
years of Elizabethbulls reign he was not associated with her court
Like many others he sought patronage elsewhere as can be seen
from the dedications of his song books His appointment as a
Gentleman of the Chappell may indeed have been a result of his
having dedicated his third song book to Prince Henry elder son
of James I Jones published no work after 1610 two years before
his name appears as a Gentleman of the Chappell It is possible
that Jones again travelled to Germany with theatre impresario
Robert Browne or he may well have decided not actively to
compose as he had implied in the prefaces of his last three song
books Records in these areas are incomplete although further
connections with the theatre will be discussed in the following
chapter
CHAPTER III
WAITS V~SQUES AID THE THEATRE
The waits were orisinally watchers at the gates and were
probably descended from the watchmen and sentinels for camps 1
castles and other fortified places In fact wait is the Saxon
word for watcher Eventually they were employed by the cities to
keep watch and guard during the night and to call out the time
and weather Their main purposes were protection order and
safety within the cities To carry out these duties the waits
were furnished with musical instruments These were used to
sound alarms and call for help when needed and were probably an
early type of shawrn or a horn made of metal In 1296 a statute
was enacted in London which required the servants who closed the
gates at night to have waits at their own expense Eventually
the term wait came to mean the man the instrument and the music 2
played on the instrument
The connection between Robert Jones and tte waits only
beco~es clear when the development of the waits and their
1 Walter L Woodfill Musicians in English Society from
Elizabeth to Charles I (New York Da Capo Press 1969) p 33
2 Henry Alastair Ferguson Crewsdon camp The
1-Jorshipful Company of -iusicians ( 19 50 London Charles Knight and Co bull Ltd bull bull 1 9 7 1 ) pp bull 16 2 -16 4 bull
-21~
-22-
place in Elizabethan and Jacobean society is discussed It was
not long after the first statute concerning the waits was passed
that they came to be considered musicians They are included
called by the nanle of wayghte and other variant spellings
among the musicians of Edward III (1327-1377 and are named in
records from Henry VI through Charles I From watchmen with
musical instruments to capable musicians is a logical development
of talent and time For a watchman with musical ability there
was time to acquire skill and thus gain employment publicly or 3
privately as a musician when not on duty
Many of the principal cities in England employed waits In
London the nunilier of groups varied from six to nine and the
number of masters and apprentices in each group was strictly con-
trolled Their places were so coveted that musicians good or
bad bargainea fought or sued for any vacancies Often a place
would pass fron1 father to son Their privileges included
monetary compensations and gifts distinctive livery status in
the city as freemen in the Company of ~usicians without charge
and the right to keep two apprentices at a time Their services
publicly and privately were much in demand by the lord mayor the
sheriffs and aldermen and the playhouses They were required
to meet regularly for rehearsals and only the 11 ancientist
3 Crewsdon pp 165-167
-23-
4 that is the eloest of their society could dispose order and
direct their music
Until 1525 the wait pipe (horn) and shawm were the only
instruments used by the waits The sackbut was added in 1526
In 1561 instrumentation was expanded with the addition of
viols and recorders and cornetts were added in 1568 and 1576
respectively In 1597 the curtal a bassoon-like instrument was
added Records indicate that portable organs keyboards and
harps were hired for special occasions In some waits the lute 5
and singing were included as early as 1555 The waits
provided the music for visiting dignitaries parades and court
masques and dancing The First Book of Consort Lessons by Thomas
Morley was meant as a guide for the groups of instruments used by 6
the waits Their music consisted of traditional wait tunes
(simple airs meant originally for wait pipes and shawms played
with cold fingers) music which may have existed only in
manuscript form written expressly for use in a masque or pageant
and music apt for viols or voyces u including madrigals
Ultimum Vale of Robert Jones contains music for colibination of 7
lute voices and viols Figures 1-20 are facsimiles of tbe
4 Woodfill pp 37-44
5 Woodfill pp 34-36
6 Wood f i 11 p bull 4 5
7 Woodfill pp 44-52 Waits and their history are more
fully discussed by both Woodfill and Crewseon A very brief outline only has been possible in this paper
-24-
title pages dedications and prefaces and tables of contents of
the song bool s of Robert Jones from Greer
Ultimum Vale is probably the book included by Gordon Doad in 8
his list of music for viols This song book is also the source
for ten of eleven songs by Jones included in the Giles Earles 9
book It is this custom of performing vocal and instrumental
music only instrumentally that forms part of the basis for early
chan~er music in England It was advocated by Thomas Morley in
his book and used not only by Jones but also by Sir William 10
Leighton in Teares or Lamentaciones of a Sorrowful Soule
It is possible that this evolutionary process in performance
practices and adaptations of popular pieces for other instruments
may be the basis for the idea that Jones composed for the
virginals Certainly no music specifically for the virginals or
instruments other than lutes has been found to have been
composed by him
When playing for the masques the waits probably performed
in a room or chamber near the pageant rather than on the street
or porch where the masque was being presented Robert Jones bull
8 Dodd p 263
9 Jergens p f 13V-f22V
10 Ernst H Meyer Early Englisn Chamber ~1usic ed Diana
Poulton (1946 Boston Marion Boyers 1982) p 135 149
-25-
11 naroe is not in the lists of appointments to the London Waits
But Jones did have so~e of his music included ill masques Everie
vloman in her Humor a masque by Maclin published in 16 09
includes two songs from The First Booke of songes or Ayres The
title My mistris was not used in notes for the masque rather
lines from the song were used thus hindering our identification
of Jones as its author Figures 21 and 22 are facsimiles of this
song This same song was used in Loves Charity by Shirley in 12
1631 and The Dutch Courtesan by John Marston The latter was
presented at Blackfriars in 1603 performed by the 11 Children of 13
her Maiesties Revels Christ Church Ms 439 which contains
four songs from The Second Boeke of Songs or Ayres is said to be 14
a compilation of songs used in masques
The dates of the songs discussed indicate that Jones was a
source for music used in masques rather than a co~poser of music
for masques This is admittedly a subtle difference but it is
a critical one since Jones is not credited with supplying tPis
music in tle published sources of the time such as the plays
themselves
11 Woodfill p 48 and Appendix A
12 John P Cutts Everie ~loman in her Humor Renaissance
News 18 (Autumn 1965) 210-212
13 Chambers vol III p 431
14 Cut t s p 212 bull
-26-
Songs used in masques were declamatory in vocal style with
rare word-repetitions except towards the end of a song The
lute accompaniment tended to be chordal with an harmonically
15 statis bass The aforementioned 11Ny mistriS 11 (see Figures
21 and 22) very clearly demonstrates this principle The masque
an offshoot of the main dramatic movement was musically con-16
nected with the great nass of songs with lute accompaniment
Robert Jones was a natural choice for the masque authors His
melodies tend to be rhythmically simple and singable By his ow~
admission in the preface to his First Booke of Songes or Ayres
Jones main concern was fitting the note to the word (See Fig-
ure 3)
Shakespeare also liked to use contemporary songs in his
works for the theatre and in the music of Jones Shakespeare
found songs to express the moods of his characters Perhaps the
best known instance of this reliance upon Jones is in the comedy
Twelfth Night The song 11 Farewell dear love bullbull is number twelve
in The First Booke of songes or Ayers
15 Ian Spink English Song Dowland to Purcell (New York
Charles Scribners Sons 1974) p ~0-41
16 Ernest Walker A His tory of Music in England (rJew York
Da Capo Press) p 153
-27-
In Twelfth Night II iii Sir Toby Belch and the clown
Peste sing a version of this song that telescopes the first and 17
second verses Malvolio warns Sir Toby and Feste that
Olivia will bid farewell to Sir Toby unless he reforms It is at
this point that these two characters alternate singing lines of 18
the song This song was set in 1600 and the date of Twelfth
Night is 1601 The obvious conclusion is that Farewell dear
heart was a popular favorite and would have been recognized no
matter how much it was condensed Another testimony to its
popularity is that the tune appears as a hymn setting in a Dutch
psalter The Dutch version is Heilgierig mensch and the 19
psalter was published at Amsterdam in 1713 That Jones himself
favored this song is shown by the fact that in his fourth book
nine years later Jones sets Farewell fond youth Its meter
is identical and its melody is similar to that of 11 Farewell dear 20
heart Farewell dear heart may be seen in Figures 23-26
and bullFarewell fond youth in Figures 27-28
17 John Stafford Smith Musica Antigua (London 1812) p 10
204
18 Peter J Seng The Vocal Songs in the Plays of
Shakespeare A Critical History (Cambridgemiddot Harvard University Press 1967) p106
19 William Shakespeare The Complete Works ed Alfred
Harbage (Baltimore Penguin Books 1969) pp 316-317
20 Edward Woodall Naylor Shakespeare and Music rev ed
(New York Da Capo Press and Benjamin Blom Inc 1969) p70
-28-
Shakespeare also turned to Jones for parts of the mad songs
for Ophelia in Hamlet IV V Although it is not a proven
fact the setting of In Sherwood liude stout Robin Hood see
Figures 29-30 from A Musicall Dreame bears close resemblance to 22
the words sung by Ophelia That it probably is this song is
due more to the nature of the scene and the impropriety of the
words words which would never have been sung by a sane Ophelia
and to the popularity of Jonesbull work rather than contemporary 21
documentation Frequently Shakespeare had his
characters sing snatches of songs or refrains and further
attributions to Jones are possible but not provable without a
shred of documentation Nor in general are Elizabethan
composers who often set the same words identifiable unless the
tune had been transcribed or the composer named in the
manuscript
21 Heseltine Prefaces p 168
22 F w Sternfield Music in Shakespearean Tragedy
rev ed (London Routledge and Kegan Paul 1967) p 57-58 71
CHAPTER IV
THE SECULAR t-1USIC
The secular works of Robert Jones consist of five books of
lute songs or ayres and one book of madrigals One or two copies
of each song book have all survived in excellent condition with
minor problems such as missing title pages The madrigals 1
however exist only in an incomplete state Possibly this is
due to the difference in publishing techniques of the two types
of song The song books include all voice parts printed on
opposite pages in such a way that tt-e performers can stand around
a table and use the same book The madrigals on the other hand
were printed in separate part books with the result that the
loss of one part book took away from the whole
Lute songs increased in popularity and availability
when the printer Peter Short acquired a font of lute tablature
This acquisition in 1597 greatly facilitated the publishing of 2
lute music William Barley had published a book The New
1 Fellowes Madrigalists p iv In the preface
Dr Fellowes describes in depth the location of various part bookst and which madrigals are complete because they were found in alternate sources
2 Spink p 15
-29-
-30-
Book of Tabliture in 1596 which contained the first solo song
with lute accompaniment published in England In the four years
between the publication of this book and the First Boeke of Songs
or Ayres by Robert Jones in 1600 books by Dowland Morley 3
Cavendish and Farnaby in this style were printed Peter
Short by the essence of Thomas Morley was the printer of the
first two song books of Jones and the first book of Dowland It
may thus only have been for practical reasons that the title
pages are virtually the same
Lute and vocal music were easily printed For the lute
tablature letters not notes were placed on a six line staff
Vocal music used about a dozen signs for clefs tempos and
accidentals and thirty individual signs for notes apportioned on
a staff of five lines each with a note on one of the lines or 4
spaces Obviously it is this setting of each individual note
with its staff which gives the music its slightly wavy
appearance
Each of Jones five song books includes twenty-one songs
although contemporaneous song books usually vary in the number of
songs Whether this really has any special significance for
Jones is impossible to know For all his loquacity he did not
3 Phillip Hes~ltine The English Ayre (1926 Westport The
Greenwood Press Publishers 1970) p 138
4 Boyd p 178 Keyboard music was not published until 1611
and tben it was engraved This was because of the difficulty of dividing the staff to print cords of two or more notes
-31-
refer to this in his prefaces All five prefaces are illustrated
as follows The First Booke of songes or Ayresw Figures 1-4
The Second Boeke of Songes or Ayres Figures 5-B Ultimun
Vale Figures 9-12 A Musicale Dreame Figures 13-16 and
A Musebulls Gardin for Delights Figures 17-20 However that it
was important to him could explain why he chose to include two
Italian songs in A Husicall Dreame They are for solo voice with
lute or bass viol accompaniment (or both) and come at the end of
a book of songs for three and four voices
The idea of performing vocal music instrumentally has
already been discussed with the performance practices of the
waits Another common practice of lute playing was to use
alternate tunings of the lute The more usual tuning is gd A 5
F C G Plternate tunings included the sixth or bass string
tunec to F not G or the tunings called the 11 leero fashion 6
These were d a f a F c This method was used by Jones in 7
The Second Book of Songs and A~res published in 1601 The
words 11 Set out to the Lute the base Viall the playne way or the
5 Edmund H Fellowes The English t-ladrigal Composers 2nd ed
(1921 London Oxford University Press 1967) pp 304-5
6 Veronika Gutmann Instrument oder Dininutionspraxis
Archiv fuer Husicwissenschaft 35 (November 1978) 189
7 Frank Anthony Traficante The Hansell Lyra Viol Tablature
Parts I and II diss University of Philadelphia 1965 pp 188-189
-32-
Base by tableture after the leero [lyra] fashion appear on the 8
title page There often was a seventh string added below the
bass string tunec to D To avoid confusion this note was not
annotated on the staff instead ledger lines were added to 9
indicate its implementation This may not have been a popular
practice Jones used it sparingly in Ultimum Vale his third
book However all songs but one in A Musical Dreame call for
the extra string That Jones was criticized for use of this
extra string in Ult1rnuro Vale can be inferred from the preface to
A Musicall Dreame This preface is not addressed to the reader
but rather to all Musicall Murmurers
Understand me thou vnskilfull descanter deriue from that Note of Plaine Song charitable numbers and thou shalt find harsh voices are often a Note aboue Ela reduced by truer iudgement which I bereaue thee of nowing thy Rules are as our new come Lutes being of many strings not easily used vnlesse in aduenture till practice put forward into deseruing Diuision
From this preface it appears that Jones was something of an
innovator often embracing ideas before their full acceptance
Jones also may have ornamented or used graces in his work
However we cannot know this because the art of ornamentation was
a live tradition passed from one player to another The second
reason is that printers of the time did not have the necessary
8 The title page of this book is misleading The correct
title appears to be The First and Second Boeke of Songs and Ayres It is usually referred to as The Second Boeke of Songs and Ayres See Figure 5
9 Fellowes Madrigal Composers p 304-305
-33-
10 signs for ornaments or graces in lute playing
The following chart of lute tablature is adapted from
Fellowes The strongs are labeled treble small mean great
mean countertenor tenor and bass All but the treble string 11
were doubled
Treble ( g I ) a b c d e f g h Small r-Iean (d ) a b c d e f g h Great Mean (A) a b c d e f g h Counter-tenor (F) a b c d e f g h Tenor (C) a b c d e f g h Bass (G) a b c d e f g h
The fingerboard of the lute has ivory frets When stopped
each fret raises the tone of a strong by a half step The small
letters bullbullabullbull bullbullbbullbull 11 C 11 and so forth indicate behind which fret the
fingers are placed to produce the desired tones The letter a
indicates an open string that is one which is not fretted or
stopped b shows to stop the string behind the first fret It
raises the string by a sernitone Each letter represents the
next semitone to be produced on a string
These signs irdicate the duration of the note 1 ~ ~ f ~ ~) and stand for semibreve minim crotchet quaver and semi-
quaver respectively The last sign used gives the duration of
10 Diana Poulton Graces of Playing Renaissance Lute Music
Early Music (April 1975) 108
11 Fellowes Madrigal Composers pp 304-305
-34-
following beats Dots of augmentation with their accepted mean-
ing are used when needed Barring follows the rhythm of the 12
music or the words and is not always indicated It must be
remembered that Jones did not always use this tuning for the lute
rather he indicated it by specific performing instructions on his
title pages
Lute songs have roots in the freemens songs Freemen bulls
could be a corruption of the Anglo-Saxon work 11 freibull meaning 13 14
fesitval or of the term three mens songs In either case
they were lively cheerful songs with the tune in the uppermost
voice the tenor They were the basis for the simple part songs
which were so popular in mid-sixteenth century England These
songs then evolved into the Elizabethan consort songs and finally 15
the lute songs
Lute songs ordinarily were published with only a word or two
of the first line printed in beneath the score The singer
12 Fellowes Madrigal Composers p 306
13 Smith p 10
14 Walker p 45 The book published by Wynken de Warde in
the early sixteenth century which contains the work of the first Robert Jones also includes freemenbulls songs~
15 Spink p 16
-35-
16 either knew the rest of the words by heart or vocalized 11
Jones however is one of the few composers whose words are
carefully and consistently placed beneath the notes in his song
books This note-to-the-word placing allowed him more control of 17
the rhythm in strophic settings of different stanzas of poetry
The lyrics of English lute songs and ayres consisted mostly
of typically short verses The sources for many of the lute
songs and ayres were the ~any Miscellanies published during
Elizabethbulls reign ~ong these The Phoenix llest and Englands
Helicon were the most popular However the collections of
Richard Jones were also used by some composers Richard Jones bull
not properly detailing the authorship of the poems in his
collections is the primary source of confusion in identifying the
authors of the poems set by composers Another problem in the
use of MiscellanieE is the resultant multiple settings of 18
favorite poetry Robert Jones set many poems of Francis
Davison Sir Philip Sidney and Thomas Campion What initially 19
may appear to be plagiarism is really an accepted practice
16 W a 1 ke r p bull 4 6 bull
17 Winifred Maynard Elizabethan Lyric Poetry in Its Music
(Oxford Clarendon Press 1986) p 71
18 Maynard pp 54-55
19 Heseltine pp 130-131
-36-
The main differences between lute songs and ayres tended to
be those of length and rhythm Ayres generally had simpler
settings were more strophic and shorter and usually were better 20
sung as a solo song with lute acconpanirnent The ayre is
normally considered a short lute song with the accompaniment
providing the clue to the difference~ Performances could vary
according to the abilities of the performers and the instru-
mentation they used Frequently this lead to harmonic 21
discrepancies in the vocal and instrumental part-settings
This perhaps is the basis for one claim which has been made
that Jones did not write these parts for what are really solo 22
songs in his last two books
The English Madrigal developed as a result of the
publication in 1588 by Nicholas Yonge of a collection of works
by Italian and Italianized Netherlands composers This book
Musica Transalpina contained fifty-five of the best Italian
madrigals translated into English and proved to be very po~ular
20 Maynard p 55
21 Walker pp 80-81
22 Edmund H Fellowes The text of the song books of Robert
Jones Music and Letters 8 (January 1927) 25-37
-37-
In 1598 ~iichael Cavendish wrote a madrigal with the nLong live
fair Oriana refrain This may have been based on a madrigal
published in Il Trionfo di Dori It was this refrain which may
have been the impetus for The Triumphs of Oriana published by
Thomas Harley in 1601 The Triumphs of Oriana contains twenty-
five madrigals by nearly all the most distinguished English 23
composers of the time 11 Robert Jones contributed Fair Oriana
seerring to wink at folly 11 to this collection
The First Set of Madrigals was published by Jones in 1607
Its being called the First Set is no proof that Jones intended to
publish more sets Rather this avpears to be a publishing
convention of the time Where this set is unique is its
containing madrigals of 3 4 5 6 7 and 8 parts tvhereas
most madrigal sets were in groups of one or two different numbers
of voices this book has six different voice groupings These
combinations alone would give rise to the idea that although
Jones experimented with the madrigal form he either was not
comfortable with it or was not proficient enough with it for
his own standards On the title page~ Jones claims that the
collection is for Viols and Voices or for voices alone~ or as
you please 11 Several of the texts included in this transcribed
edition are poews by Francis Davison and two are by Campion
23 Walker p 78
-38-
The English madrigal was something of a compromise in form
It combined the contrapuntal secular music of the Italian style 24
and the harmonies of such songs as the frottola It typically
was a single stanza of seven to eleven lines in length A line
maybe made up of seven or eleven syllables with short and long
lines in any order The rhymes were mostly feminine and in
random order For this the Italian verse setting was standard 25
but short verse ottara rima or sestina were also used
Perhaps the one concept about the secular work of Robert
Jones that should not be overlooked is that he intended his music
for pleasure He had no rigid rules about performance practices
and he was willing to experiment with new techniques He was not
tied to rules of harmony and counterpoint and he seems to have
been partial to the sounds of open fifths and false relations
He was clever and innovative in his use of rhythm and rests
formed an integral part of his control of rhythm It was an
unhappy man who composed the song Goe to bed sweet muze This
was in Ultimum Vale the book that Jones intended to be his last
He seems to be saying goodbye to his love of music and composi-
tion rather than to an unfaithful lover That music in his muse
can be found in his explanations for publishing again in the
prefaces to A Musical Dreame and A Muses Gardin for Delights
24 Walker p 77
25 Maynard p 55
CHAPTER V
THE SACRED NUSIC
In a fashion typical of the Elizabethan era one music
publication could contain ayres madrigals or religious motets
The Teares or Lamentaciones of a Sorrowfull Soule by 1
Sir William Leighton is one such book It contains eighteen
consort songs twelve songs for four voices and ten songs for
five voices The contributors of songs for this book include
Byrd Milton Bull Ferrabosco Jones Peerson Thopul
Coperario Dowland Ford Gibbons Giles Hooper Johnson
Kindersley Lupo Pilkington Ward Weelkes and vlilbye As can
be seen Jones is numbered among the finest composers of the era
Sir William Leighton was born into an influential family
He had social economic and educational advantages However
because of carelessness and misfortune in his finances he was
imprisoned In 1613 Leighton published a book of his own
poetry The Teares or Lamentaciones of a Sorrowfull Soule This
was followed the next year by a book with the same title cf
musical settings of these poems composed by himself and twenty
composers The purpose of these books was to show Leightons
1 Walker p 81 The consort in this case refers to the
accompaniment of the cantus voice with the treble viol and lute tablature The altus was accompanied by the flute and had tablature for cittern The tenor voice included tablature for the bandora and the bassus was paired with bass viol tablature This was in reality the broken consort
-39-
-40-
repentance But the laudatory verses composed by his friends
and included in the introduction of the book seem to negate
this These poems use word-plays and puns on Leightons name and
deal with his unjust imprisonment
The works in this book are on sacred themes and could be
considered appropriate for use in church However that Leighton
intended for then1 to be domestic fare is seen in the style of
printing used that is on a double folio in the same form as
that used for lute songs and in the performance practices he 2
recommended
Jones set three poems for this work The first two anthems
are included in the poems published as The Teares or
Lamentaciones of a Sorrowful Soule The third piece by Jones is 3
set to words not included in the 1613 edition and the poetry
differs in form from that of the others The words of the first
two anthems consist of six eight syllable lines rhyming ABABCC
The third anthem is a simple quatrain with an ABAB rhyme scheme
The first two anthems closely resemble the favorite form set from
The Phoenix Nest the difference being that the lines in the
2 Leighton p x
3 Leighton p xxv
-41-
4 miscellany are ten syllables long The poetry from these
anthems is included in Appendix Six
Robert Jones composed a fourth sacred work This piece
Sing Joyfully which will be referred to as the Oxford Anthem 5
is included in the Christ Church Mus Mss 56-60 The source
for this manuscript has already been discussed in Chapter II No
modern transcription exists for this anthem and may be attributed
to the fact that the bass part is missing and this anthem is one
of a few anthems in the Christ Church Mss not found in other
sources
The possibility that the Oxford anthem was the piece that
Jones composed to meet degree requirements at Oxford has been
presented in Chapter II To substantiate this claim further the
words of Psalm 81 from the Book of Common Prayer printed in 1619
and from The Bible of 1595 are included here This will
facilitate comparison with the Oxford Anthem facsimile from
Christ Church and its transcription and recreated Bass part
4 Edward Doughtie Lyrics from English Airs 1596-1622
(Cambridge Howard University Press 1970) p 25
5 This manuscript has not been recorded in RISM
-42-
6 The Book of Common Prayer 1619
Sing we merrily unto God our strength Make a cheerful noise unto the god of Jacob
Take the psalme bring hither the tabret The merrie harp with the lute
Blow up the trumpet in the new moon Even in the time appointed And on our solemne feast day
7 The Bible 1595
Sing joyfully unto God our strength Sing loud unto the God of Jaakob
Take the song and bring forth the timbrel The pleasant harpe with the viole
Blow the trumpet in the new moone Even in the time appointed At our feast day
6 The Book of Common Prayer and Administration of the
Sacraments and other Rites and Ceremonies of the Church of England with the Psalter or Psalmes of David Printed by Thomas and John Buch Printers to the University of Cambridge 1619
7 The Bible That is the Holy Scripture contained in the
Old and Newe Testament London Deputies of Christopher Barker printers to the Queenes most excellent Maiestie 1595
-43-
The bass was reconstructed after a study was made of the
style used by Jones in his two madrigals for five voices and the
one anthem for five voices in Leightonbulls work The madrigals
were used for this comparison because of the similarity of style
with the anthem
In general Jones uses the bass as a platform for the other
voices Large skips are used sparingly and the relationships of
thirds and sixths with the tenor voice is usually maintained
The frequent use of whole notes and rests and the rare use of
dotted rhythms and eighth notes emphasizes the stable voice
leading Jones rarely initiates word painting or new rhythmic
patterns in the bass However the bass is used to start an
upward scalar pattern carried through by the other voices in turn
It is hoped that the reconstructed bass for the Oxford
Anthem is in keeping with Jonesbull methods The transcription
would not have been possible without Dr Clyde Brockett It is
possible to include the anthem because of the assistance of Mr
H J R Wing of Christ Church Oxford
44
Cantus middot
( -11 ((
) L ~L I
middotmiddot~middot 0
I I
45
Cantus
------------------------------ ====~====================~ I
I ~
j-- ---====-=--=--=--=---=----=---=--=----~~----------===shy
l I
r
l t
I
~-
t ~
middot r I
(1 c I ( middoto
A ~ -1 bull T I bull 1-Jtc v I
bull
~iof~ictf ----middot-
t~L f ef a attf j az ~ E I cfft ~ fiipound wuamp J1 -------- --4----bull- - -- --
iS
l ----=-----------
47
I middot--- - -- - -- I
j It~middot~ ~~I ~CJ m bKpound fy nt-l a~ PJtttfd (Ul A ~
t Ybull T 0 A I I I
~ -t-I I I - bull I I l bull I I I bull bull J I 1 bull I I I
A - bull ~ I
1
-~-- -- ---middot-------------+
-------middot---middot~---------
1----- --------~---
48
middot- middot---- -- ------middot --~___middot---~- ~--middotmiddot ~
49
Contra tenor
middot -bullmiddota --~ilirtttwbullnbullmiddot d_rl_ mr
I ~
i-----------------------_)_
F------ --
______ _
-------middot--middot-----middot -~-- ----- middot-middot-middotmiddot --~----middot- ------- ------shy+----- ------------ -----r=-~----_____middot ~~~---~--~- ~~~-~~-~-----_ --I
I
(I
bull
middot~
I ii l
l
l Imiddot
-I
(
50
Tenor
------
fwaft qtmiddoto( tft~ tfttttt~l hF Ibull bull ~ l~~r---~-~- ~ - =13
t)tl) tfc G11 pound th (b ir th~ tf~~ v
~-f~~-~3 -----+ ~ ------middot =-==~-~-fi I 1Ppoundf ft t1 c If r 11 a h -middot qCo ~~ l-K~-
I I I
bull
51
Tenor
l ~
~ ~r--=t-~ ~ J middot~middot bull I I
13fon ~ lppt ~fie bmpt~H1 tfv1VC btpound lLi hum( Efl J A t I o bull
H-1----r~ni----=ll bull1 -----i - r~ n middot bull -~ t i ~ -J j) I l 1 bull 1 bull l
~ bull bull T _ obull bull -x I n _PI I I I T I I amp bull T 1 1 middot y tl- 1 L~t--I ----J-middot-middotmiddotmiddot1_--1-- _-~--~~--Jmiddot middotL__-1L --1-- -
- I 1 I _ 1___1 - -4-1-J - +--+1--ll- J ) 0 I 1 I I I I -~-- ----- ~ A bull bull I (I V =-
---- - --------- middot------
I he Oxford Anthem 52 Robert Jones
5 J J J ) J f r middot r I
Sing joy ful ly un to the Lord our I 1) I Js - I 0 I ) ) ]I ) 11 J bull v- l l
Sing JOY ful ly un I to the Lord Si ngl I I - _ f r
1 r t7 t r t l middot~ I I I ~ _l I I
I l I
Sing joy ful ly un to the Lord our i strength
1 6J
J I
i - ( J amp J
-plusmn=-
I Sing joy ful ly
-c un to the
r r2 c= f r F ( f z 0 r I l ~ 1
Sing joy ful - ly un to the Lord our
10 j J r
I I I l r I I 1 I f I
0 0 tJ bull middot I ~ I I I t _a l r
II I I strength Sing joy - ful -t ly un - to the ~middot Lord our I I I i
I
_I 1 I I I I l I
I ) I 0 I ~I I j l Ll I I
$ j I lfO J I - -~~ L7 t I -v - _
~ joy - ful - l y un - to the Lord our I I
~ ) _ IQoll I ~ 1 y middott I -
I I j I l r I I I -r r 1
I Sing joy - ful - ly un - 1o the I Lord our
I I I I I 1
0 0 I ~ Q - -~
- I - -~ - lord our l strength Sinmiddot] _
I I 1 - I I ) i j J middot __ ___ -- t -
strength Sing loud un-to the
I r I J () h fl e J j (~ I I II r- j 0 I v 0 i r c
53
I i
I - I - I - I r r r ( J I _J_ I 11 _l [
~ I I I
I
~
I strength Sing 1oud un-to the I
I I I I r r r J y r J - 1 v I I 1 l -l - I - -
I str ~ength Sing 1 oud un-to the j god of I la -
t I I J J l J r
11 - f~ t v I I I L y
r l I
I
strength Sing 1 oud un to the god of j I
I
- ~ ~
r r 1 r r t Igt I
J r I I I r - I
I - loud un to the god of I Jq -
I
v I () p 0 I I _ I ~
I I
god of Ja cob Ja
5
god of Ja cob
cob Sing I lou un to t e j I I
] l ~ ~ i
r - I r r r I v I I (7 I v I I I i
I t
Ja cob Sing loud to thf god of I~
- un I l
~ bull
I I L A 1 I I f- I 1 _J _I L l_ l I t I I ~ t r __ __
-fi I l I I
cob Sing loud un to the god
0 eO 0 __ =J
of j Ja cob i middot
----------~--------------------------~1---o----------~l ~ gt~ f middot
cob Sing
20
- I r j I 11
C I r
I
loud Sing un ~ - r 0
I
god of Ja
r 1 I t7 J _J
~
Ja cob -
1 -I J p 0
Ja cob
r c r f
(l
loud un to the god
I l I JI I
-1
0 l-
cob the god - y 0
I I I
the god
0
I
cob f
~ I I 1 I I J
I ~ t I J middot 0 t--1 J I
t to the g od
c9
god of
r I
to
-I
fvO
Ja
I I
l
Sing l
~~
of
I r I I
the
I
I -
---L--1 I
I J ~
54
y
god
L-
cob
I J
cob
_j
I 0
I amp
Ja
25
l 1
--of
- a I
of
Ja
0
i
I of l Ja
I 1
~ t 1 _ Q _ ~ middot
of
Ja
Ja
I I -J I I
- 0
of Ja -I -middot I
J l _ I I
rl 0 0 - -
I of Ja middot-
I j j I _ J I
~
~ (_ I ~
loud un
ampI _
j9
cob the
r
J I I -1 --11 2_ ~~~~
I
Ja - middotcob
i-1 I -f-1
I bulli cob
I
I
- j - w cob j
i l i
J I ------ I t-1 I I - I cob
cob
1n I
I I I J (7
c_ -
-Take I the
- bull- I I r 7 A_ f I r
0 I ---
j
Take the harp t the I
J ~middot
I bull I f~ [ I [ I
J -Take the harp the
1 1 -I I I _
( y
~
Take the
p f bull
Take the
35
f J J I
I 15 Z
) lt I
brell I
tym tym
I 0
CJ ) J forth the tym- 1 bre 11
I I l _ I I I 1 j I
omiddot i I I
harp and ~ bring forth the I I I
1 r
I I + and bring I
~)
r t harp and bring
55
_ -
harp
j fr
r - ti (J J ____ r
-
f ) I
v J
harp the
a
(2
harp the
f
brell
1__ J
and
0 I tl
-
)
harp
~
harp
I J
harp
harp
~ the
r bring
r [I
I I y
rJ I
11
and I bring
f I
and I
f
I ~
I
t take
___
I
I
r ta ke
J 1
tym bull
( r forth the
- _ --- r
tym - brell I j J
I I I J I r I i
_) middot forth the tym - bre 11 the
( t
f I r r-I I z
forth the tym brell the
I 1 1
amp
forth the
1 A ~
bring
I A
7
the
t )
the
I
~ I ~
I I
l
56
40 I I I I I
I t I 0 I _i I I i ~ ~ --middot
li 11 11 I -
- brell and bring forth the I tym - bre 11 tym - brel 1
I ~ - I 1 () 0 1 I r 1 - --- i
I
tym brell and brin9 forth the I - I
_ 17 - i 77 j
- r - T T _ I I J ~ I I I I
I I 1 ( bre 11 ) the tym - brell I the
i I I II
u I pound I A J ~ -1
I -
~
tym - brel l and bring I forth the tym -I
J amp Fyen tji
F l
tym brell tym brell
I I -- I I j I
I l
-J ~ I ~ ~
J
harp and the sweet the ~ I plea sant
middot - --f ) I i I e 61 0 J ( z
bull
tym - brell the tym brell ~ the ft ~middot c t r 19 ufJ f ( c t I
pleasant harp and the vi 0 ll the pleasant harp
j ) j middot99 J GJ or gt _ -5
brell bring forth the tym brel1 th ~e
9 l f~ ( __ r I ~~
-- -
Bring forth the tym brell
57
45 J
I I I [ f I C) A A I A I j l - -
-
~~ ( _
vi - I 011 t sweet vi - oll the I I
I -- 1 - l l 1 (7 I I I J 0 A I J bull
$ r - I brell I
themiddot 1 pleasant harp and the sweet i I
- p I I
r I I lt I_ c I I I r
I I and the vi - I 011
l vi - 011 I
I I I 0 I I
r I -J y v - I I I ~
p~~~~~nt harp and the sweet vi - 011
I
_ v - 0 I I r t I I II 1 I J I I
the plea sant harp and the sweet vi - oll
50 1 I I I I j tl I l bull I
I J L t- 0 J I
-
I ~
J I
pleasant harp and the sweet vi I ollll the I
~ -- _f I A middot bull 0 J i r 1 l I I
vi I oll the plea - sant p
r I i T 0 - 0 I I
I f I I - ------I I I I j
i
the ple~sant harp ~nd the vi - -
I
--- I _l I I I --1 0 I r l
C-
vmiddoti I - 011 the ~
pl ~ea sant harp - C) r 1-
~ r I I )
r ( I l r
I I t
and the sweet vi - all sweet vi ol1
58
I I I I L_ I J _l J f J
I I I
~ r
pleasant harp bull and the --_
t I I I -_j
harp and the sweet -l I
f middotv A I I I I
011 t the I plea - sant I I
I I
I I I i I J t7 Lc -I
and the sweet I
vi I -i - I -
- J
I c- -
oll and l i I
1 I J J J_ v A
I I
oll the I pleasant harp j _ k
-r= 0 I
t I
t
sweet I vi I I _I I
11 i I I I I I I 11 _j ~ C I J _lj bull
harp and th~e I J I ~
sweet vi - 011
J ~
t
the pleasant harp flnd
55 r J1
1 _r _I_
swe ~et vi - I I
- ~ I I A ~middot _t2_ I
I
vi oll I -
t I _l l
fL
harp and
t
al l
-
j_
A I I
th~ swee~ I
j_ 1 L1_
J _L _r I
I I
and the sweet l A
~
i t l I I
I
011
- I
r r the
the sweet vi
0
-0
vi 0
~
the
I t
the
-
60
0bull
vi
0
vi
-
J
pleasant
-
l I I
J bull
pleasant
-
-
amp l
I
l the
I
I
harp I
----1
59
I I
_ middot-I
- I - - __
I ---- oll I I
~~ - f r I f I J e_ I I _
011 I the plea sant harp and
0 - 11
r - - 1 v I I r l I I --~
J _L I l I
pleasant harp and th ~e sweet I vi --j 011 t I
I _I_ ) - I
_I r D I J I 0 I I
I and the sweet vi -- 011 and l the
J ~
-- -=- 7 r I
I T T r l I I 7 l I
pleasant harp and the sweet
65
- - r I
I I J I I J
I ~J ~ v I bull J cent ~
--
the pleasant harp and the sweet - _ r r ~if L) I I tJ - - I I l I I 0 -1 F _l T 0 j I J l I - -- the ~weet
vi - 0 ll t and the sweet vi -ll n middotmiddot-
I I ~middot r I - - t - f7 I I I l _ (7
j j --w
sweet vi - 011 sweet - vi -
I I I I T T - t i -- A t7 r 1 T 7 T i ~ i
_l J
I I I I
I sweet vi - 011 fhe I pleasant harp and the sweet j I I
u I l I J -1 1 0 I )
f I
vi 011 and the sweet
ou
70
-- - I I I I J
~ I I j ~ (1 77 -~
vi - oll the pleasant harp
I I - j I I I A I 410 7
-- L
- oll the plea - sant t --1
I L I I J 0
I I I I ~ ~ t r _fl_ 0 0 _ II I I
1 I - oll~ the pleasant harp and the swmiddoteet
~ I ~ ~
y JoiO c I- I l I r
I I
vi
I 011 sweet v+ 0 ll - -L
- l I I 0 J --- t 0
I
vi oll the sweet
75 I I
I I T J j I A ~
~
I - _() ] middot -- -- -- bull l I and the sweet vi - 0 ll
_l I 1 77 0 0 0 -I - 0 I y l ---- t ------ I I I
harp and the sweet I vi - 011 bull I I
0 0 C)
poundJ I - t (7
I middot-I
vi - oll sweet vi - 011
I I
~---0 J 1 I t J -middot
I _ _ bull I I 17 ~
I - -
I
f t he sweet vi - - 011 bull
- I CJ I
C if- I I
I I 0 T _ I I l I
vi oll vi
~ bull Scr-ibe error shc~AIJ b~
61
80 111
I I j t - - I - J I I y ( j r 1 bull
amplow the I
up I trum - pet I
~ - - j j I r A j J I t - 1
Blow up the trum - pet oiL - r
p r r Igt t r r r f- I I t J I I i middotp I I
I I J I I
Blow the I
i trum up trum - pet Blow up the l - pet
I I I middotr I
f r l J ~I I r- r _r j A I I I _
I i I I r I
Blow ~p the trum - pet Blow up the I trum - pet _ I bull_ _
0 ~ I I l I I I I I I
I
I I l I
Blow up the trum - middot pe~ the trum - pet
85
f 1 - I I I ~ I I I r ( J-middot I I r J J -1
I r l bull
I
trum pet the I trum pet the trum p ~et - -A - I p - - I t
~middot J I r _1 L I t
I I ~ I
the trum - p ~et 1 the I trum - pett
- i I i ~ _
-l f r r ll _r_ [ middotp t
t I I J l t I I I I l
~ I bull I bullmiddot
Blow the Bl~ ow the r bull
trum pet up trum - pet up -t I
- I t l j_ L _L A I
r r J r J I A J f ~
l I I - I bull I
bull I I
Blow up the trum pet Blm_r up the trum pet I - -I
tt) 7 - 0 _ I 0 i I I -I 7 I I I I I I l I
--J I I _J
Blow up the trum pet the trum pet
0pound
_I I I I - I I J I I I 0 -II I L J I J - j
- Jf o I J 0
ln] the new moont evn i n the time ap -
- -- I
- I t l v t -1 I I_ I l I J ~() -in the new moon the new
I I
~
[ 11 -~ - 0 J - I
I ~ l I I 1 I I
I
in the new moon in I
I I I I - I I j J l J _0 r r J p
I
gt in
I the in the new moon~ new
1 _ - r- r r r - I
I I J I I ~
1
in the new moon
A ~ I I I
r
r f cl - A I _f I I I I I
- _ 0
l I gt _ _ I
I poin - ted at our feast day at
-middot - _
-moon
I l I
_ I I J r ~middot I I J j - t 0 A A
I - r-- ~ ~
the new I moon evbulln [in) the time ap-
J I ~ 7 j I I I ~
r r T I I _I I
1 _ J J t J l - j ~
I I pol nted I sol moon I evn in the time ap at our - emn -
I I + -( _-f- i- ___ - ~middot
_ T I I I J 1 t l r 0 ~-
r I I 1 bull - I I r I I j_ I I I
r
evbulln at the time ap- poin- ted- at our feast day at
93 [ot] Ct =at II otl~ va middot
95 I I [ I l
17
J I
__ J r rJO
r---
our feast
- - I I
v_ ev 1n
0 f6 r I J l - -J I l I I I_ l J
pointed at ou~ast
1 L _ II I y _ r Cl
I r - I
feast day at our I I J
bull _) 0 [j A I _ I - t I
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our feast
- - I I
C
evn I
- ~-
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J l I 1
our
u
day
I [ I
J _
in the ~
r I I I
poin - ted
roo -= ~5
q~
I
I r r feast dayt -oGr
- _ I
- _ I
evn I 1
I I I ~
r l l I I
~me~--I ~nted a_p_ I
J I I I I
at our fea~t day
c t ) o t h u o s [1 h) = a~ tr~J))~ribed from
altmne ~cill-ed o~~ ti
- _ _
day 1 I -I I I I
I I J r I I -J I J
in the time ap - poin-ted at
pound)- bull -J _ I j
day our I feast
- l 1 l I
~t _--tf 0 II ~ ( I
I
feast day~ ev 1 n
__ _ r I ~ r I I J
I I 1 -
day the time ap-
100 -Imiddot 6_ __ J J J I I I I J I r t _1 ) - I bull -
in the time ap- pointed at
0 _
feast day
- 0 _
r I _
bull I 1
bull jrlJ the time ap
I
~-
r T o I I I I l A _ J
a or feast day our - o---- r l - f I I I
i
1 _l 1 _ I
at our feast day
Ct VOIC~
b4
105
r r f 6J dmiddot 0 I~ j A our feast day our feast day evn I
- - ~
J I
-
l evn in the time ap- pointed at __
A 0 ~ )
y 0 J I I
poin - ted at our sol - emn
- -0 dl ~ ~- - A middotmiddotmiddotmiddot-
feast day i at our feast at L
LJ
I
- 0 - - _A
v
our feast day sol emn
l -1 I- _pound_
I -_
in the time t
ap- pointed at our feast day evn l
_ 0 1 J l ~
-- - ~ J I 1 1 - I
our feast day evn in the time ap- pointed
0 ~ _ middot- A
feast day evn
- - -d A (
at ourmiddot -f- at our ~ ~ -- 0 - ( I I
feast day evn in the time ap- poin - ted feast
I
110
J omiddot u --1 -I
lt---
in the time ap -I
poin - ted at our
0 - ---1- -I-- I
at our feast day 0middot
I - --
l
(i nJ the time ap- pointed_ at feast day
I our
l Omiddot (_) y l
I feast day
0 ap- poin - ted at o~r I
~ 7 ~bull
I v
day at our feast day in the time
115 I I -middot
I-
-- 0 bull ~ -
middotfeast day evn I in the time ap- poin ted -
I I - - 11 (7 ~ 0 -at our feast day
bull 1- t -
- A ~
I evbull n [in) the time ap-
-middot y
I
~--c CJ
feast day evn in the time pointed at
r 7- ---ap-
J ~
y -ap- pointed at our sol emn feast
iblihing Mil 414 A bullbullbullbullbull
120 -
~ y r tFU
L j _L_ y -
at our feast day at our
- - - _ (7 _ - __ -
at our feast ~ L)
a_ 1 _L r I y r1
pointed at our
feast day middotI evn UnJ th time ap -
0 1 - --I -
A middotbull -
our feast day evn r 0 0 I -- Q_
-
day our feast day feast day evn
11 - -_y 11
_V -J
- __l -
feast day at our - 1 I _L_
_Ql_ A (7 I r-i 0
daymiddot ap - poin - ted at our 0
v I y ---d I
poi n - ted at our feast day at our
____
I I - -1 v J 1
FJ Cl bO L
I I ( t-I in the time pointed at ap - our
_)_ 1 ~ ~
Ll f
_r I
in the time ap - poin -ted at our
11ishing MP 454 A bullbullbullbullbull
67
A ~ ~
Ai 0 -- C-
-feast day
I
c- _- I - -
feast day
I I --
- _ _
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I
I
feast I
day
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feast I
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feast day
130 f A -J I 0 A
-7 bull - -
A - men ~
~ v j middotmiddot r I I I _ l _
A - - - - - - _ -- -- -
- j -A men
_t - - -1
0 --
I - - - - -A
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A I ~
A
i
I -I I t- 7 -t I -~
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- A men I M - I
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A - - - ~ - men
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mmiddoten A I I I
--- 1 I I I J
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135 l
I I I I _I -1 I ~~I I I 1 0 -l - I I I J rj~
- _
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I 11 - ~ - I t _ r p
r I J I I v I l J I
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~ J I I I
I l I J I A _ - L7 JJ J ~
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- - - - - --
I I I J y __ I T r I I
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men A
lblishint MP 414 A bull
I I
I --- -~
- - tf a ~ - - _ - -- - men
0 ___
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I - men
- i _
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--
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men
tblishin9 MP 414 A 7
----
l I
72 ___________ ____ Ff gure 1
I I I
middot-
i
l I I r I 1 I
I r
IH pound
FIRST BOOK E I I ofSo11ge or q_fyftlJ of iRetiiu~
rourf parn ilh TJ 1
binsr~l tb( lbullU
paru togethcror ~lther of middot dle1Jlfhur2llynliay be toils it _ l 11l~U~~~r
to dte Lutebull Orpbad~l
or Viol de gllllbo Compoftdby Robct~ ltJ~Xto
f
----
1
l
I ~
1
I I
73
Figure 2
TO THE HO middotNORABJJE Ai~O VETt T OVS GENTLEMAN SIR ROBERT SlDNEY KNlCH -c
Gouernour nder her Mai~fi~e of the tOne f VltlbitJ1
and the CaAJe of the Jldlraquotftns In the low C oumnes and of tJtjorll ojtltf411Jt AJtntLrrpuh thtJbullrr-ifonthenmiddot
In plilctdMTftU D b~ifi~jiUitt
~~~ii~5fil Our great loue and famor Honorable Syreuer rhanifellcd toal OrthyScier ces hath ltnbdened me to offer vppe t
y~ut ~ordfiups Shrnc thefe the vr I wortht~middot labours of my uulicall trau~~middot And though in refpect or their Veake nes they ln~y perhaps leenu vntin1ely
bull=-o=====~ broughtfor[hand theremiddotbre the vnlikelrshyerlo pr~fpermiddot yet doubt I rt~t butj~ renderd by you they fl1all happclbulle find gentle cherdh~ng w h tel~ n1ar be a mea ne to make them more tlronger or elfe mtfcarrytog to etcour~ge my en~ ~ deuours to beget a better for as no arts vinclf at fever errors than muficke fo none greater enimies to thcirDvoe profeffion then Mu 1cians whowhdn in their-own ~tlguaritietheycon demne euery mans ~rkes raquo as fome wate ~duty they are cbe caufe dm an istbcmiddotldfcentc~emcJ ian~ they thuitfelues feEuted as fclfc-com e1enders tnd men man fan[aLlicll Vhcrfore if chis one cen~uringinfirm itie were remoued thefe nty ayres (free l dare fay from groffe crraurs) wauldfitde euery where mort gratious entcrtainement bull Butfince euei thofe who are betlfecneirtthis art cannacvaunt themfelueJ free from fuch de tra~ours~ ~ lhe~ leffc rega ~d irbting_fo w~ accompanie Howfaeu~r tfheretn I may gatne yout Honor~goodallOwance fuaU thinke I haae attained co the better en de of my labours (vbicb with my fdfeandthebell of my Ctruite) rcfies eaer more at your Lordihips in1ploimenc
Your LorJjh1ps lmotetl in ~tO dutifiiJfirmce
aobett lonebull
----
middotmiddot
74
Figure 3
ro THpound READER
~ gtltmiddot bull bullbull bull bull bull middot~ EntlettztnJfincem1dtireu)ourtllrtsfoulde middot ~~-- ~imiddots benlindijferentiudgtrfclllnot thin41t nt
-~~i ~ ~rflary to filalt nv trautil or nu hringing -vp ~ tbull middot 01 argtttJmts to plr[Jllade you that f haue a ~Ofd
~ op11110n of 111) feft~ only tht~ much lwzl~tJte 1n~ ~ I ot ihatJmttypretttnttherifhudgnlentsoJ[uch
bull _~~~ ~ t- ) u now n1c not E11er jinre I praflftJ fe4-- middot bull ~ kng I hat~e praRifid inging lbullauin hail not
itr qualitie tobitJder mefro1nmiddot the pifefimiddotI(TIOTPfedgt o(th~]aculu I rtue ~~~n incortngtil kr tbl lParranmiddott oj Jiucts good iugmentr that my
pt~ints herein foal 11tihe eafl proct~re_gooJii~ng if riot delight ~hich Jttfor ntineownetJtitl muflueeder Jeare 111 much 111 defi~e ~efpmiddotecialy
lien I conidtr tb Nptnes ofthu induflriousagtlhtrtillaU mtn tndeshyrwurto nol~t all Ninges I ronfefo I 1as not --nTiiUing to emhract the conctitr of fuch ge1tlemen uraquorere ear til to h11 ue me AfpbullreU thtfo ~~~ tits for them ~hihthough they intendet or their pmiddot_iuate rmeation 11eUcr meaning thfJhoultcomeintothe~tght~tre 1elf(I1Jten~ )pon inshytrtiiJ ~o ma~ thtoncouragementr of tq1s ~ jrfl di~tr~tllre 1Pkere11p~ PO f lilas ~lmrfl ~~to m4~e tnJ flfaJ ftiJt~ne lJJtbtU~OTJ pr~-shymtn~ thAt if lY ctfimiddotnnrfoilttltn( ~ M_~HJI ~~H fllghl P_eakt for theme~ts ~boTPfoeiltr 1~plt4ftth tbtm middottodlaquonunl bl~tt of thest ihen oftbeft1 0 f purp_ofo ( M -ltfiOiddfiemt)tom~t4 mehJ1eut I hm do (omething 1111 onb hope i1 thai fo~ing ntither J cold AJres A nor fheir idedties ( u thgDi[ntedtl hau t cAUthtin) hAue hithn-to Jeene foc~ttd in Ut tdrtJ of rnanie thg maierh~nttlflil)dt f~Kh enshytertllinmentJ llJ conmonlit nn~e1 aoth in tht bullorJ ~thith if I J he fo
middot ~appie~(o he11re lTtiUnoefaie my next jh11H Itt ampttirr1hut I ~a promift tO tfl~middotIJfOft f4intmiddotsroJmJ lliOt fOintsof mfiampJtwbich noJJt coufJ not JohectJuft YlitJtffcllrerPu (ofttlht (Jf~mtk~Jor~ ~~~~hen muflhe-ullJe~ connntDith e11ch IIJantlll))foU cenfurtU IjhJbe giAJ of fomt mtns vndeftrueJ fouourl
-J
--
IJ
Figure 4
~~ ~ A Table of aU the Songs contained in thir7JooJc ~~~Ul
middotImiddot AWordans LookecS middot Fertd Wlnto~ youdu ~~= Sheewhorematd)Jet1ebcaury f+- ~ Qncre did I laue ~~~ L~d ~r~Atongdcfuc l Ltc dOwne poorc bean J ~ bull n Wl I _ ~ -b _nere rngrrnguare
1 - i1 Hcroatenotchougb ~ z- middot ~ Wbcnleucandumo bull ~~ Swee(te come awa t bull -a Wmiddotomenmiddotbullhataicrtbey
EarcweHdccrc louc ~ middot gt ~ ~ 0 my paorc eiu r~ ~ a If fathers knew
bull ~e i Life is a PoeampJ phablo ~~~ Sweere Pbilomdl fi ~- ~ 9 That heart 1 ~
1 VVbit ifl feckc MymiRris
middot~ M ~ Petplcxed _ 1 ~ Can lllodca pbine dctir
I
middot 11 - 1 ~ ~ middotr_ ~ r fl~ - I
l j It I I
~ ~
-I i I
lj middot J ~t ir- I
bull Ill - -middotmiddot - B
L lL m IUL v VL vu VUL IX X XL xn
xm X1Dl-xv XVI xvn
I t
I r-middot
r --- ~ I r- ~ J
I
Figure 5
--------------~- ____ __ t
lf~ flfl TJE
B 0 0 K E 0 F S 0 N G S AND AYRES
Set out to the Lute lhe bafe Violl the pr-ynt Wdl etr tbr 84ft by
tablcturc afitr lhc lctlo ~114
CftftJJ Kobert Iones bull ~middotihl~ by Pr flaquo Afbs by bullbe
~Jm ~f11HtfNI Al~rl)l J tbull6t Cold bulll bullhe Inner l(mplc
u bullr bull 1-ot
_ +- - middot tmiddot bull
~
II
Figure 6
------middot--~ middot-------
T 0 T I-1 E It l G I-I T V E R T V 0 V S A~ D V oR T II Y K ~I G H T S 1 R
H F N It Y L f 0 N i D -middotrmiddot t ~ ~ ---middot~middot 0 R T H) Sir mJ my_ Honourablc fiicnd I giue you thi~ ~~ ~~~1 bull CIJIIJl pr~u~ gtou hnng at vp bccaufc I ttm o1 ~orc mn ami t ~ middot ~ _ can nor maanrunc bull t 1t bulluy ~ulfcc muchaducrfi u~ ~~~ my nam c
middot middot your For~u~c mnc aJ~cr llJS rtJrrcs 1_nd make h1m hJppac bull f ~ I fhopghllllbtherbe ahmiddot oe l ulltec~Uhoun Orpbanrlorpm rc
mens CbddrlfJ -are Orplano borne and more to be piuiCd d~cn they liJJt hJ11c changed thcidltl cr) lor their ltuJ ~ fud1 mlc bullai(e themfduc~hl due time we h0111C oo wJ ic to l lciglncnour being bm by lbulllothcr pomiddotNcr As Gcntlcwo- mtn pecce lhcmfdbullcs with Tij es and Co ronctsto t p flC trt mor~ per fcmablc ~nd t~ll o UltJfi woaJdc VntO OUl )ulctlCS if wew11 not De (corned iardwarfcs) rhccroYlC of Acnllc pC1fons mgtre cmincnt and hi~h Our (Lnurcs ~rc nor fct aboue d3nshygcr i WCcJuJowc hdor CUCflC footetO trcadc vpOtr OUt place IS he cround there icnodnng balc-~trwsandycr dcuil~ion _m pun n lower if wee h~uenotgood ~(reds Th~ y wiH fin_J _me~nc~ lfl digg c and In v s down~ irnu the cllth ~ nd burie yenS
bcfotc ourume Th1s 1s the nufc of pttroua~ct nnd thli ts rho p(rlecutton o( ahem tlpt wouldingroffc ~11 Gloric imo the~r owne hmds But t~cdJt UJl~ o~ rhtfe mcn they bite the truhe~ thcmfdues 01ould fee de vpon Vcrtuc would llrlng fonh mmie h1idrtfl but 1hey hold them an the wombe that lhcy due not come hut As the coshyucrolls maf~~ fi~gcth aU the hind about h1m wath fi3tuus 6ncsand b~nds i1 nd othc r (uch Iike~iumiddot 1 warre (o doth the ambitious intrap the Jinle pori ion of ante commenshydations cha m~ ic fie II bcfidcdilm And like the mercalcff- Souldicn lhe Cafilcs they cmnot t~ kc they blow vp They uc a~ f(nring of cucr ie CmUlrcJun~flc of crcdifbull ~s iflt were I aide vp in oonnnon-bmke and the more were giuco a wile the IelTe would ~orne to tl1cic nbullarcs Theya1 c mafcra~lc men) _f roill onlf br~md (htm wi1h this m rk~ and let dttmgoe Thty were Eaglci tftheyd1d not rJtch Hycsas lheY ate thcy-bullro grculhings)muchldfcthcnnoamphing For my parc)l willnotcorucoa wiJhchcm ( aeiire JlO appf~u(c or commcndadons lei ch~m haue the flmc of Ecchocs and (oundf and let me be a Bird in your C~ge fin~ to Y fclfc ~nd yo-1 Tl)is is uiy coment and this is my llmbition~ if 1 haucthis Jfiile nm in mtcxpclhton il more for rour akcth~t is my ashbntagct andl will owe you duciie for it in the m~anc time lrcfL
fl 0 Jt I ll T 1 0 H R ~
A 2
10
Figure 7
f
TO THE READER
rSI~~---11~~~ E AD E R 1 btt11t atrl moruuuttiWtJ to At~ IIgtJ oujlU rtPhul~r J b411t 6o1ft WU r no td~n( tlull
--=middot ~m~laquoh ft~inen~ rltoife thrt e~tU th4t jwiUf-1 fortify j - ~ry inrtnl toJll~rJdbtt lllll JJ 1tt btctufo
z kow tlwcwot r middot41d I IU jtlllrl ftDf gr~flJ(t D
comftlirltfto Wilrrant J tnJtutJMrs lll-bullfl o~U met~ ~ J bull JqJ it 110 fJ1J1111t tJ ()~~ Vfri~btrztQt ~~~ thttiJJkJt 1 ~~
J tntlfflt IUJtl~ AUfljt my Jrlfrof~lliJtnltt yluggbullJ ~~a~ ~~~~ iby fat~olll ~ whrrtin l t~sft rt~tiJti tJ itftritk rkJt ~D11bull
II~~~~~-~~ llllldllllorlt 1 then PJ my ownt bullfi 1 to frt 9 l4hD~ifl ~Ill (o Jbulllr The llNIIb b lllthlugh l wbull nbulll fo nilt
Jllltll J rptnpofol l~rt cA7rn t~Jt J J4n1Jt~t jl11d c tbrbbull~r~ of t~rirt~~min~tion Ttt Jwould bt ~it~J( if 1t ~IJtbi) thfl~tlt J1nJI7 tpptabat~tm mtJbtgtlltll1t mcouragtmtntto foutJJm t1Jan4rfoltJumfltt JrtlltfJJJJ rlmu t4ttJ hertJttr bull Jftb( Dtt~itr aiftk dJrlmiddot 1
1ll mjiullt- th~tt lJU fo e~DlJ til flbfffll 1J_
pri~su rt~nttnrntu(JilltrJ Gnt(tmt~ith~ut tbti~tonj~IUJ lhh ( lmiddotbPfl J nor 4middot gbullmJltbdr tltls RPtrtm if t~oN ftrJJ afllltiJmg to rnrtttfllltbmiddotrlq Jefiri rblt~k m~ jtlr th] rtltre ~uwr mr~nt tiNt~ J (nmiddotow nDJ l11w 11 ttiiIbullrt~ttmt Q(lr~IJt bullMtillllb~n~l tkrt p~NJ btn~ GtJ~thmbulln ( btn H 1tJ4j ~middot1 fo mfcb pbullrnufor fo hulltMJ) tbl wbullD n ~911middot cl11~1ht c~n 4~ ItA k bull~ loiftr bi Imiddot~~~middot 1l~~JtMjrlrJIJ g_olll bullJtiK tlritil bullfhu tNnmng JifJbulltlltmtbulltJJ tblttll) bt(t11TiflfllJ ~~JUJhlllfJ nolliIYIIJ hu tiJN)t rl1tfo Jrtlo dtjilehim Cif ht-6middott nt~~zruiiPbullP bulllirbnmiddotz ii) tb41hfmaj(J 4ctrp1tbt N6inrri DnDfiiiJ Nt1111t M 11 f~cirnl Tiflsmonit th~t J ttm wat bAiflrJ oinflrt~DJ~Il Jflhtrtifl Iter 1 iraquo94fftt~r rt~hbullffibullNJ7rll ~ ~ J~fiijitJIIjon ~so~middotrbrr~fl tb~l1fDMJj~inc in formt llltil tbtY ktofMttlhm~ Jytbur gmzt411Jtjl~ ~INtrltlbltlg J IJ n1t j11 rnbullch 41 tltfirtthtm o 6elftbulltbull ltARJf11ould hfrrbl teacluhmr At lr~tp bow tbl) IJII~ bt ttmt je F r 1hl 1Jc)Dl 1 will foit 1n1J t hHJ mMch tbtrt blllh not bttnl u~tPttt of tbil fojhitm wampicblf tha jh11l1 pron~gturt to bt blWirtbmiddottb btAtHitJ rtfl fJfifjitJ) if tlbJtit~tor Pbullrewell~
Leaftanie ntan fi1ouldfeen1e to acctlfc tneoflingularitit for expref~ fing thetimeo( myfong~s by prlcke fong Neres neuer b~reto fore vfemiddotd Ihaueforhis ~euer innruction hcr~un~o indeuoored to fatiffie him
amp t r f A Scmlbrcofe Minnum~ ChrocberQampIItr
-----
~ qA~ ~- ~ 1b [G~ ir~1
~~J ~ v 1
~ ~~ c a
c ~ ~79 - =-m
IC~~
~ p _l
9t ~ ~
ll4 ~ l
-- 79
Figure 8
-
A Table of all the Songs contain~d in thitltBook
I loue wing middotd my hopes I I Jly louc bound m~ with ~ kiffe
1 I f bull 0 how my thoughts doe be~ t me II [ Ore ames ~nd I magi Oitiom V Nfcc thought thi~other night V l IVho fo is tidmiddot= 1 II fie fie V Ill e~~utic (bndc further I X Now what is loUI X loues God it a boy X I Ouerthcfebrookcs X I ( Whither 1Unnc1h my fw cct hart X II I Once did lloue X II I 1 F1ire womtn X V D~mtic d~rling
X V l My Jouc is neither yoong nor otd X VI I Loue is a b~blo X V I I I A rife XIX Did cuerman
middot XX To lighandtohefad X X I Come fa tro-w con1e
0
I l Jl
iir 01 11 -~
~~~ ~~ ~
t~ ~1
~P J
~~8 L e
( _] middot~- - ~
v lft -amp A
l -
I
~u
Figure 9
-----------------------------~
VLTMfiM fl IILE virh a triplicity ofMuficke
W HEREOF lbt firfl p~trt ir (or t~t Llltt J tbt Voyc~ and the Vbullolc Deg1mbo The Jcflt lbt Lbulltt tfH Yllt 2J IMrt
p1ne1 to fine The third part is foe twoTtcbl~t to 1fint ~it hc 10
lbtAr n- rhll 1~ bullr t-
bull bf ~ Compofed byR obull bull T lo bullbullmiddot
fl fr1fbull1JibullJ~ ~ 4111 Priorcd It london br r~ i JIIiWd
~re robcfoJd l)yS pfn (lw J bt sJ-laquo
ttfiN C01bull1 I 6 G l bull
81
Figure 10
r~IW~- ~~~middot middot~- middot ~middot bull bull
TO THE GREAT lOY AND HOPpound OF PCZ(ESB~Tuf ~Jgt rUTUfF
Times H E N R ~ E P ri nee of lf a cr Duke Cl~r41wt1 ElJieoflhc CIJjtJirfbullibulltifttfchtjltr Knight ~fthdiDIN ribkoJenf
dl G4rUr Hcyu App rant 10 tht Rcllmcs of Elrjuntl Scotbnd France and JrdoJnd
Ojl Exrelknt Prince T Jr flrengtb of our d rt (] houJ aythrrPuaf(ncsgt) cannot endure tbc force of Soueraigne
erltlCpoundOf1tcncarcitwemay tU ncarc u to you your poundarcJ TPillyet_ be arc to deale wuhfottndes tbougb nor to
dwcU there yet to pajfe by tbcm1nd by teJiJ to learn to tune Jenjcs lJ a nper a~c c-A lmo all attr k[JlPicdge ir drallme through the ftnfirtbey arc the Saulctntclligencfrf -wbcrciy (he paffith into tbc -world a11J theTPorld into bcrttnd tJntangl ali ~(than )there is none fo learned__ a1 the tare~ none hatbobtainedfa cxccllrnt tJJJ ufrtJjodelicate1[a ablrufe fo p_irituaJ thAt itCIJtChftb rup TPifde fo undet in tbe Jitt and brin~~J tk Under tJ goucrtJC1fttnt ntJt to he expreffi1gtbut donegt and done by no sQll buf it otPn~ Thereu Mufic-k in all thinretbttt ettery tnan cannotfinde i t Ot4t)
iltampAJJjeofbilo~neurri11ghee MJlft baue 4 harmo1J_J in hiinftl[e)hat hold goe-about it and then bt u in~ good way 111 be that ht~th a gwti ~artJ in d
oudfot1llardtUJ to our focultit [ onceitc u but aTPtll tundejat~ry done in tinu ~ pLsce ~~~ ex(ellezt fintencril hut a TPell lHn~e rea(vn Dell nit ltgethtr P ollte or the fubt efl therof a [omit 1on IJ1ellltbu6utll lite I tuul middot e
Song T~htr~-allr41ltl Joettgrec ana lnccte together~ith foil C011ftneanti lJartiJOnJ one Jertung otherand cuery ont rhemfeltlet in tht Jam~ lAbour ButnolP] intrudeintoJOilr llrtin whicb 411 pnry(anJ ftc hoper)thal q oJ ~iff giucyou a oJy aru profpetOI~S k_JoIIJfedge anJ t)en aJ orhtr eJ rtCS foal profPpoundrnder it Our gracious S tll7aigt7(Tour H~h11ei dear FatJcr) hath ar11trd atul conortedjomc great prOfifiolH areaJy~ fi~eh1ittleoneJ dJ this )oo e for itgtand heg il cfw OJ4 your p ri nccb nature promi[eth it J hich m4 es nv boJJnet bopefor p4r on ltJucbfiifc tne(mojl exctllcnt Pr1nce) )ourProte8ion Ph(f1flt)on41lowJall Qtbtrs rPill conrmtnd theircenfitrer n A it fobulluoflrlikjngthst ot~~rraquoJift1Pold Jifpift me bull EN en your n meJ the forefrTJntu ll charmifor ~~talttiOHl trmgtu ThAI praJtng thatyour Htghnt IIJ aDtaet h~ttte dtJ tttre t~be te alir bulllltuJijingulj1J ~tht _fo14tuJ of lTlCth l necl tftJOUr Higbnes feet
Your Highnes in all hom blc tl~~tJt AIIJ cruice
RoaampampT
lo N s
82
Figure 11
- ~ H c ldndc A pplauf~ vherevith I hau~ been~ revardcd in n1y former A yrcs hr fuch Gcndemen as can iudg~
~~~mJ Imiddotb middot Y the e bull are~ an not other 1n~ns Echo~s hath nov du s ~ middot durd t1me gmcn n1e heart fron1 then to hope for the
like in tbcfe V hich l hauc corn ofed cuen to hew n1y
graticude rovarcles them I lulO eucry Father is paniall ouer the i ue ofhis body)and hauing his iudge1nentcorrupced by Insaffecti- onis VOn[ rofpe~J e bis Chtldrens prayfesaccordingto hisovn de fires rather the i1 I he ir de f~r ts 1 t tna y bcJ h aue thuS oucrlookcd this iffue ofn~~ br3iue whereforel wiU onely comm~nd my pur_pofceto ntakc tlus lail my bdt expcchng to reade the rruchof my fdfe out of thy reporc AnJ becaufe ant notignorancenough)to b ~egroffely taxed by any of our cunningJvlaiJlers nor bigge enouamph to beflar te~ed or c n u yed 1 hope I 01a1J not be driuen toe nq utre out my en~ 1 middotes) co heare of n1y fa~cs nor to befpeake mylriendes~uour F or ho1rvloeuer l an1 fe t in an vndetfortune thac hath need ofampicndlhip y~cit n1y Vorl e~cannot 1ufiifie n1erny wordes Htalluotl bad rather dye a be g r 1tbcn Jiue a boaler what skilltimeand mycontinuall
radifehath biucnme)hcre I gladly impantocuery wel wiUert lat gr(tuntcs me buc acc~tanae for my paines And fa I comn1it my icfe to thy cenfuse1 F arevcJI middot
7ohertloner
( middot
83
Figure 12
A TABLE CONT AI-ning all the Songs in rhis
BooK E
1 ooenotO do not prize thy be11utie 2 middot 73ea utic fote bathing h y a j pri ng ~ CjoctobedfrJJcct6lvluzcgttak thyrcjl 4Shalil loaktampoenogriifc 5 ~Pbar1jJ fpcd1t1hert 1 leafl cxpeEled 6 Slpeetcijyoulik and lotte 1ne fliJ 7 SetifetrothledrhoughtJtofgh 8 Scinrhia~cene ojSeas and Lands 9 rB la111enot tn) chee 1 I l o There is a qardci1 in hc1 forc 11 S1reete Loue my oney Trcafr4re u ~hinkft thou 1_ate to put me doUJne I) Jfhen willtltfounraineojmy tea res bedrye J+ F lye ji-o11J tbe TParld 11 Happy he botofrraquo etebomc retirdc
-Thcfc following are for z Tr~blcs
l61Jiftlaine thntjoll amph Jilfne 7 middot o) et)erchangeandjjttre not
I8SirctiuftJijJAineh 1~to ri t
19 cuftler ry hands lo vh ue lgrt~ceintreatetl ~o Oft haut fmJe the cartfe to ftn e ll J(o hAuefleamd-mithmuch4doot~tfpjl
B
84
Figure 13
ORTHE FOVRTHBOOmiddotICEOF A Y R E s
The Firlt partisfor tbe Lute poundVO Voyce s and the Viole de G ambo The Second part it for tbe ~amptte ebe Viole and joure V oices to Sing The 7 bird paramp
is for one Voycealon~ ono ~he Lumiddote the llafTe Violeot to bach if you pleaf~ VYIrrtoj~ tAlo ut ltzlitn AJrtt middot
CompufcJ by R o bull l ~ T 1 a bull s
2f trfont (intIJ J1fJJmiddotil4 iMMJifl
L o P n w lrnplintedbyloHN WI~ D T andaretobcColdcbv StCO-rt w TElSO lol inPowlcs
ChMhmiddot]tlfd)bulltlhl SlJt j lit Cfll~middot l o 9bull gt
-----
I
--- 85
Figure 14
1
- ~~
TOTHERIGHT YV 0 RmiddotS HIP F V L L AN D VV 0 R--
thy Gcndcn1nn Sir I o H N ~ E v r N T u o u r pound Knigbc pcrptlll3ll liafpinrffe and [or~tcrlt
~~)1-lpound--- -- fmiddotts not vnkncvne =nco your wcl deft ruing fdfe 0 R igh~ V Vorfhipfull that not long fince 1 cooke n-1y
V~tiltttm )a[t vith a refoluing in my ldft lHter co
put llfh aoy VOdc~sof che f1mC Natllre and Fan ion VJlereupon) betooke n1e co the eafe of n1y PJIIov
middot where SompUI -auing taken poffehionofmyeyesand u 1orphttlf the charge of my feofes it happenrd
~~~~Mmiddot~~~bull rnee to fall into aM uftcal dreame wherein Jbulldl middot nc~d - to haue many opinions and extrauagant hun1ors Lf
di uers Natures and Condttionsfome of rnodet mt rth fame of a marc llS Louc ~nd orne of mofi diuine contemplacion all (hefe I hope 1 fl1all not gue any dtilafie to the eareror d nde to the mind eyther in their words or in their r~~ ueraUfoundsalchough it is not nec~ffarie co relate or diuulge all Drean1es or PhanrafiesthatOpinioo hegcrsin lleepcor happeneth to the n1indes apparbull[i onAnd continuing long in chis my dreaming humber I btgan to avake anJ vp n my eyes v ndofin~ l bethought n1 y fclte being full a Vak~d aJu itlng n my n1ind Vhom~ to dec1 and chute as a Patrone for the lan1~ l Vas eafily in -ued to n11J~e choice of yqur V orO~ip a3 one to V hom~ I necelfarily ou ht
both lou~ and duety l nJ howfocuer l m1ght feare that you Vil not adamp0
ledge it yec in thlt Nature ha th inricheJ you Yith more chen ord1nlrie know le oe in th ~ Art~ be~inga Vi ntsofthat Lo~t~ Vbich you haue ahvaycsl ffor
ded to Mufick gtI en1boldened my fel fe the rather ro pre(ent it vntu ycu Accept itthen(good Sir) as a T oken of vnfained Loueand a e be
worthily Jue ynto middotyou for your many fauours done to him [hat is
uft)middotour lforhiju conJmaund
----
86
figure 15
Thi~ Greetin ~middot bullbull
~~~~ HoulPhofo dare itcbeJ ltJith the VJrietie of opinion h~aring thinr oraquome otlJdtJf tJc ecchqc nuerbcrtJ~ ing otfJeTJ fubflt~nCC and lmprofit4hfr ~n it
middot jtlfefhclpt s to tbe IVorld comfJrtaJie liJc though to thy orvne ~Je bttle middot~~~~pleajurcLJ retjon of)lnch-umiddotirbl~ctn[ure I fpc zlte tot bee m ujirall Mo tuusthotljimiddotcm ruboft Jucctie IUimhcrr ~1 J rajiy pafeJJ drop1 foil in tbc jhonre Dt4l
)ithlrjfiprofiufcomprutmiddotthcetothqhlt nuy Jr4l tbatjlitr int0 11UJUCJCf and ltJill twt tbcncertJithout much troubli) or tbuu rn t JJ Jfper[el iulgemeiltgt not oneamp art afo jeniru tofecing kJonde~~c hut moj fo ttlty f ct o d jcruing i~Jdamptflr]fL~~gtg 1110zte r ctU of the 111oilpurt Bilfoaud Jmoothiu~ tbt~ plztncl Citttl ~ rvben on ely thine on~ne opt 11iltJ1J it more nJrinc~lcd and more vitiotH mit ~( then grcjJcr10Yle lo tbJt 11 a brujh 111
jcFlcdlPilhfithgttbott ralbcrjomiddotlcfl theti iiMI( pebullje( 41VWl) I ha~1e jlooJ atthi11c e lho1PJ andh~arJ tbcl prop~Jtne cur a 1 dlfit c1 bcfl J(ryu and 1tJith thy lntu~zde ref 1b Jot f~rde~J rfl gnoh iy l4J1l ltJJilre~ ~nil f f~ renot g~eaty_tJat tboul~iltlay to raquo1J ciJatg t 1 111 lD vtfu111C )Oll11 ~Cttrrag1tRf 6ecaufe fft011tied a r ~nuch but 1md~rflauJ me tbou-ns ~VIitll dojcanterdtriur Ji o 11 tba t JCrue fPlaineSong charit4bletJtlm hers)and tbotl (hale fnd harb Joicr I ttr~ ojtrtl t1 J0te ahoue pound redr1c el hJ tn~er
izulgtment n bicb 1 htrc4Uc tht of tJmiddotorPinrl by RJtler are as orr nelll cmne Lutf be~ -_ ing ofrJany ftri~I(CfIJOt((ffamp tJjJJlmlcflr ~~~ ~dllefittlreti1 praf1i(tput fon~4rd it1to
dcjerurng Dst4ijtaiJ rr hH nIJ aduerJI ure I r nomiddot rtccd but drtanze) and utJat art tlrcamei poundut aiJie fCtjcfi iotJgtandjcttrall ayrc s 6reathll)~ Jarmonio111 llilijperitJgt tbongh to thee difcordlmiddotet toolbcrs indffirent 1rvill not ttY cxcellel~(~ becHfe it is 4J
othen otflce 110ttni1u 6ru let tbcm6~ as thtY arto~lmiddotcn propuu tul my p~inct _(rt forth j ar pleafurcgt uot for pw1HJIc~l poJou Jiucfl itntrginatioiJIJO but aJ a fhorPrcjt~llitiJ i1 ~urcdfuil ft~fouJ~ 7 jJtUr m fmiddotlje atlrajlaJJd wrl(ay fo et4er bY au otbmiddotrj lPhofe IJ bourfhJI vfJ(t Alujt~udl uuulu~ztt -~ Jbe rmeiy rPiug fJ IrJe courage being tl1e mofl pltttfo~~ 1luice ~(11~ 1) nmiddothotjnmiddoteet~rc J t t11chcr h 1m to hcaiHIJ itfelf~ Jt ir Jjara if a thi r pztt1cs rcpt ntgood romm~ndJti~Jniand it lf t~ttr Ulrtlll out of 11 Flint itJ the toll ith l hou ntHer rl ink (I u ell of di1J 1 Jn ~rlJ bull(rt in tb) fjto v nri(Jifi1 encr aJ l lJ Tt~tor jranJ tbr I ~ Jllol middotrc fotdtlneuct Jnn rbcc 1~1~ it~ irune be 4J thott art a h1mp of Jc(onnity lllbm I Jjhonbrcldt i11 tbe Ufvdr ampi diAI~ir~e nd 6rontht forth b1 b~n~iulr l1emiddot g~r ~ t htftt r1 11idn fc to ~til t i nc m n rt f
j i umiddotme lc u todrplrt Jmiddotor ifnd J1Ntbout it J $111 gonec rtltfic o~ til)middot crnfitrillifi arf jJ~IIy p( ~(n 1dcd thuu ca1Jjl110t thiole tlrlnd tcrefurc art crufl tiJ thy [raJie 11 IHr pound0 1e btu (rttclltJntl being 6on1c wit b rce tb irJ tly bc11dbit eucryeuronJC D47111ele t jJ tbir orwbat rijeboncfl iudujlry~nxcr th) ~111 egosip trJo
fucwdl1f thou wilt in ~in~llclfeot hoi~ tlly fClfltfitgtm1inthcr cupmg
87
Figure 16
lee Caldi fopitmiddoti Samor nfltJ c t~t du119Uc
B
lO
l~
------
88
Figure 17
Or [he tift Bookeof Ayres onelyfor rhe Lure che Bafc vyoll J and the Voyce
[ompofedb) RoBs R T IoN E s
QEe profontjingula mdta ibullmant __ _ ___________________ __ middot~-middot -middot middot--- -
L 0 N DC
rrintcd hy tlbullc Afigur~ ol ~~
Jij0ilfm lJdr ley t 6 1 o
I 89
I Figure 18
TO THE TRVE HONOVRABLE AND ESTEEM ED VVOR THIE THE
1 f q H T If 0 7 S H I P F V L L r If E LAVY vv R 0 T ll
~~~~~~On Honoured Lady my ddcfl anJ firft iiTuc hautngthr(ud fo ~middotdl vnder the protec1ion of your Right Honourable Facher blame not this my yonshygell and h1tl Babe if it dcfiroul1y fecke ampnctit~ric
~ with your fdfe as being a mopound1 vonhy branch frotn fo Noble and renov1ned a flocke It is here uarie tc I
a - your whole houfc noton ly to be trudy Honoura7 bl~ i o your feluesh ut to be the fa u ou rers and fu rd1ercrs of all hone 0 and crtuous end~uourpound in others And [hJt n1akes n1e fo farr~ daringas ro prefunle to offer rhis o~dicadon to your fJire acceptlOCP- AnJ hovfoe uermy defeCts therein may happily (or rather v1happtl y) be n1any ~t an1 I moficonfiJent(and tl1atgrow~s fion1 tbe worthinefleofyourowne nature) that your 1-Ionourable minde middotviii he plea fed (fince it cg s c fc lfc moll humbly in your annes) to giue it villin~ eqtcnain~ment and to countenance it Vith the fairc Liuca ie of your nobl~ Name It may bee flighted in ref peel of its ovne valev bur your f1uourable acceptance
wil~ bot~ grace it andmy fdfe a~ a poore Table hung vp euen tn Pnnces G lJoncs ndt for lhe VVoo ~hut for the Ptdurc
And fo (Noble ~ad y) not d~ring to bee ir~Ious of your rlonourable entercaine
menc I rcll
-I our LaJyjhip Jellcted in all dutit
I
RonERT I o Npounds
-----
~
90
Figure 19
~ )~To the friendly Cenfurcrs
- Eart jriend1 for fi I ~sJIyou ~(you pltbulltJ(e to acctpt my 7ood lllttJning i prefented yot l~fl rraquouh a Vreame i1j
middot wbich 1 doubt not ttt Ottr jJJta(ies htJue receuud fame rcafota6e contentment and now f JO~t pleaje to lee 1l9afd ortt of that VreiJJne f jhaU for your rerre JIJOIJ 1nd rcfi pound(bing guide you to tbe_1v( v s ~ s G A u ~
~=-o~-o~~ o EN Pberrytu (halljindj~cbVttrittiemiddot of Jelighn tiJt quc-ihunltfeJmiddoton n ill wilitt~Jjcnd fome time in the vien
t rrtof 1 n )Ot~r 1jentr411Ce into -which Cjardtmiddotn) yotl jhJIJ mtett ~ith Lout 1 CJr r and li6tl6ht bHt L4Jur frt foortb at lt~rge i11 biJ colourrby JFay ofdecypht t in6 bim in hit 11 ~1turt_~ ln the midfl ofzt yat4 fbaU find Lcmt rciefleJ) vpon t~rLnfu~cie 1nd b1rd mtajuteoj-ingrt~titude T ruching them that ar~lourrt gtI cr1 tumiddot tl1em to tltiro1~ne Ctl~(ure in Lout I defcripttou eJrul nowfor tht end it tf )liJn~ble UJ anorbcr ~ tur)for tbedcligbt oftht ettrf tnjamptUJjit opbull~1io1 14111
nM ft lrogant loco 1mf1Jd mi1te onme gitt neither yet fo Jegtnerate IU to be-g )Uto tdl(rartvn fftbejt d hgbtroFloftl(rt) or)4r(tico[PruittY ruaymJ
)1 ~1~Yt J -t rle _rjtng WJOffr_(ut i 1 jla1 bl gitJd Othel TPije J raquoiiJ )O)) nelIICr to J~middot t_fot~gtPluu orgraft and my ittbourJ butcrflrtb jh111l rtaft to trou61e)middot~ott
iJ Jt41)middotilln retlr lniflil r ~-tren ot will f1etunty ourctnforesl and dcfi~ your malice if you drJfe iht 1 a111 rifolute 1
ijyou11[e me r~ith rtjfe(l 1 bidJou mojl bearti_v
R I
--I
91
Figure 20
THE ry A11 L E
~Ouelouc=
middot~ tpound1 Soft Cupid fofi middot~ Alec 1 the fiUy 6th begu1c 1middotmiddote lounuhtcs ~~noake o =okin~ hy ti~( Riocr ride 1 n nnot (n 1fc but liuc 1 (mile loy in lhy Imiddotmiddot ( S
How rn~uy New yccrcs luuc grow ~n nldc There vvas lt~~ ll lcptCoJrd bull hn d~d litH The Sea h~h 1nany tbo~L~nd llnd Omiddotlmiddote dimiddotJ tnt thoHgh 5-both cLbc bullnd Sow l ~m b t~rrt ftom piuyh g th rc h 1 2] lately in a d1 came There wu 2 wil y a ddt My f~thtt fampinc would hluc me uke Mv loue harh hcr trot L ue bctro11d All roy fenC~e thy tweeuncfl~ g2incd T middot t~ CC de1fe A fpc wnh dyna voice Ddwld her I d ct like wire~ ofemn Gold 1lhouwb d1lt 1iogs ufmy ddirc h( dipt _l~ht 1 rcdccun cnln cu on witu mtnc ryet
middot
92
I Figure 21
Robert Iones bull XIX CANTVS
-~----- middot_ - ---------~- htl_ _+--=--= =- middot __ - -middot ---=---- - middot- --- -==== ramp-1==+~- - middot -~------- middot-- ---- ---___-
kt her goc
rtmiddot-w
bull And 0019 lbc rwofa dit but hu Nzyny)l moRneoctdlyou An yri I will ltis fo ( 1
A5 tlaquobelt tahha ~hen loucn IIKGC
5trt ~oma~oo tk ~ ~ Tatdl you mateilis necdldft~ I nnnt md c u hew by middotthe 1ooe And tbcnlQll chis wu ooJ~
93
Figure 22 ------~--- ---
bullsAtlV
llil 11 ~ middotl llh1J 11111 lllll t ~ I l ~ ~ I II II II I ttJ S amp I a HIH lf lll It g I J ~ I L~ Ill~ lt lll
vi i i II t middot1 ~ ~ I I II I ll
r
I l I I
l I bull
l 0 middot bl
1J 1 bull i ] _ Q
middot a middotmiddott kl U I I I I
_____~_=~=-~JIlW~ wrong bdccue htr not it wu not fo I dJd but lilfc her I did b~ Lilfc bcr aac~
-__1---------- -middot- ------middotjmiddot------ ------------- - --- -~-- middotbull - ___~__-- ~
~ ~__ - ~--- middot --~--~
----- -------------middot--------------------===-================-=-=~--middot---------
4
Figure 23
Rob~ rt lonts Xlr CANTVS
~ F 1 r ~ l ~ - ~ ~ - P r lt1 J c r bull ~ ~ r t r- r n t b c- - c
- middot (~-middot~ ~ ( - ~)7-47-~- ~ ~ amp --_-_ ---_- ~sectC-~---_---~- -(--~- --~-- -- -~ -_- - _ E - -- middot- --- --~ -L-~L-middot = middot ( -- --~middot-- f -=---~~ -77-_-C_ - t _ c ( t2 - -= ---~---- -- middot-----------
middot~ middot
n_ tt=l= -iIt~_plusmnt_~~poundltr=t=~~~=middotumiddot==---= -_ ~t=-==t=-=xtptl--~=t---=-t-x~-E~=-------
go there be many mo I fcltC nor why then let her goe 1 care DO[
---middot-------
l
Far--cwt UfJrewdllincc d1ls 1 finde it llllt 1 will not fpCod more nme in wooing you
nul I iH cce d w htre lfl mivfindhctthcrc S1=-ll l bid hct goc Vh1~ and rll Jocf
Sh~lbid her go and fparc not tll oo oo no I date noc
J Ten Lhoufand imes f1rcwcll yet fl2y I hilt Swca kilfe me onceJ t t ltdfcs limcbcguic 1
l h~ue no pow ~r lo mouc
How oow 1lt2m 1 io laue W ilr d10u nec middotbe gone Go then all is one
Viit thou need be goncoh hi~ thee Nay 01y ~nd doc no lnoampe dcwcmec
Once moce flrewcll t ~lorn rodcrrwrct Bids oamp adcw to her due holdcs Ill bm
But fcdh~ r mnR kgtof~
7hy loucwbi h ldid chufc Go rhy waies for 111t_ smiddotncc irmay nOt k
Gothywaiesfor mehucwhithcr Go oh burwhcrcl may come lhitber
r Wh~cCh~D I doe~ my laue is novvdqnr d Shccinsramiddot~ -a -c iscrucUhart d
Shcc would nor be intrc-attd Wirh pnicrs oft ~~ -J neccomc no more Shall I die ther(forc
H tb~e come no mor what c~rc II Faithlctbcr go or c-owe oa
(
95
Figure 24
---middot -- _____-- ~ -- ~
I
- --__ -----~ -------__- ~-~~ _ _ ____ ___-__ -
- middot --~~--~ ______ ------------111middotmiddot-middot ~-_--------middot ----middot---___- ___ __ _______ _ ____ ~------~--~-- ~__~___ __ _
------ -~ _~-----~- -~-middot----------------
96
Figure 25
204 SONG
CoMIOS-U uv middotnoLn nT Jor-o Js
~ - I middot middotluoted by ShakbullHiU~are - ~~~~ homiddotm tht 1 Hnukpul1lliOI
middot~ h-51 Jggff==r middot r~ Fate- ~ wtdl (l~arl loe since thou wilt needs he gem~
-=-t middot g-one
luC 111inn~ thnn wile IHls lu ()UC
J J loftgt since thou rilt nteds middot lumiddot
1 Jp4 J =-amp=imiddot------middot -r~--t-11---+-middot r=~-r=----middotJ__tJJ middot Jnine ttcs tloe tth~w my life i almost done
--
fl-=t~ -
IPg I WlH y middot t
~fLSI==r=f=lplusmna min~ eie doe _ 11hew
r nbully middot lite middot is almost douc yetmiddot J wilt
rplusmnHmiddot ~ ~ff my lilc iJ ycmiddott I will
Imiddot r--d E4 m y life ia almost yet 1 will
( -~
~__~middot--==--==t~- ~~plusmn 1
ne Vtr die HO lni1J t I ran tpit 1lumiddotnmiddot l)l- trHlll)
~- Jl==q=T-=_==~-middot- ~T~ - 11~~----e= - =r=-=ct ~middot - r--==EF~----=I-~-===+=FL0 - middotFJ==Z=c~~middotmiddotmiddot- - -
n-=- wer dit~ lon~ as I taU 51lio tlu-nmiddot ltl ny nm
~MIEF F i t~sect E tr l I c=middotreg~-~~~~-D bull v~r dit bulln oug a~ CiR hllie thn c 1-tmiddot uuuy inu
a~ t==t~~ r _ q~~~-=-~ ~= lllt - tr tlic ~ ~0 long lUI I I can illh t1wr htmiddot Utmy UIU
97
Figure 26
LO)
J t W=- --~4-~ middot thoughtlmt 5heeclre gomiddot -there he rnan u1u I If~ -1110
I I b P c ~ -B - j- -k=tJ4--t==fi=4D_ I ~middotrt thouKb that Hbec llo e Jeo fhuc be nuny mo not
not 1 _why tlnm let laer gne 1
Eamp--e - ~ - 1 r
1
uot ~middotby th~n let her gne I
1 F~nbullwell fflttbullwl1 sintmiddot tlll i I rt11ltltt li truemiddot I will 110t 11p~ml rn~bulln~ time iu wouing- )Oil~
Unt I lt~ ill fttbull(bullk tmiddotl~ wlwnbull If I m~y fhnt l1r hlaquo~tt
Shall 1 hid hlr gnf hat litnl if I de~
Sha)) 1 bid lwr gne and middotpar~
0 no no tut no 1 dare nut not
l i
Ten thnmbulland bullimt-11 lart-wllII)Lbullt 11taymiddot Jwh ile Swevt kisse me onctlfmiddotWNt kis~d t ime b(J~middotuile
l hamiddote uo flPWer to mmmiddottbull lluw uow arn I iu I on Vilt tbon n~tgtd8 be gonemiddot
Go then) all i~ onbull Wilt thnn umiddotN)~ btgt gontbulloh hie the4l Ny ~tay oUHt lintbull 11U lnonbull thmiddotuhbull lll~middotmiddotmiddot
J L IJ_ -
0
cnr-r lOt
-~ 1-e lg
care not J
JJi I 11laquo1 ) ~ar-e not -
0 IIi
ca re nut
4- middot bull ~ Onc-e more fu~wbullmiddotll~ l 5ee )Qth to dlaquo part j middot
1
llid R ull bulldew ifl lwr that l1ohtfbullbull my b umiddoth Butmiddot ~~ting I nnut )O()In~
_Thy love whkh I did chuite
Go thy wRie Jbr me _ Shlfe itnu1y not he ~ middot
(4) Uy WHit~ for me~ lu1t whithfr~ bull 0 J - f
Go oh hut wlu~re 1 mRy come th~~lur
f bull bull lmiddot I It tihaH I doer my lo~ it now middot-middot~middotpart~middotd ~ Sheto is ttll fnirr asmiddot6hee ls cruel1 harted
Slu~middot would nnt h~ intr~ated
With pra irra oft repeated ~ _ ~ If slw~ f()rne nq more middot middot ~ ~
Shnll I middot11~ thtoreforf I
lrsh6e come no mor~ batwh9t cbullr middote I~~ -1 FHifh)rt htr gnor lomfor tarry
98
Figure 27
CANT VS vI I I rCDERT loNE~
== ttf=y-=-t-===~=~~plusmni+==---=middoti--=rr~ -t=-r~==t-=t= W sect~~= - =i middot =clt=cL =~-t=- -middotr ----=i_ --~ ~-- - -middot-- middot-- --middot--- ----middot-----l- --middot----middot- ---middot middot--- -middotmiddotmiddot-
Clut no I phinrly Cu how chou wouldftbinclc~ucauurc l ~a~ t c11rll not to gofatbullu a
1 r 1 l 1 l r l lmiddot r ~ r i r --- ~---n_plusmn ______ ~ ---J middot- ~ s L -d--r--gtlt---- J LL---- J ___ c_ -------j- ~-n1l ~1~( _ _ il_il_ t_ ~----nt_L- -----_[c______ -+~~ 1--L- p ___ -L- -~--Lpound ____ _ ~-____ j__ __ + ------ l -middot~-- ~~- l --1 __ j_ ______ (__ l ~10_ -~---- -- i - -- - - middot - middot -- - ----- - ___ _ I _ __ --middot ~-~ ----- - 4l_ __ ampJLt __ --------~----P-1---~middot 3 __ c__l_J _ _r__-ltJ ___ _ _ _____ L ------
- n
--~- -~--+--middot-1--~ 1 middotmiddot---middot--middot~---- middotmiddotmiddot- -----~~-middott- =--~--- ~~ - middot~---iL-i- -~-- -- -t- r middot-~- middot -l middotjmiddot -bullmiddot I- middot -t ~--~---- -t-~~-tmiddotmiddotH- - middot -----t-~T middot ---- -l -- ~ middot-07- middot- -middot-middot bull ~-Lmiddot- J bull---- ~--- middot-t- - -- - --f -middot-- - -fi-l-L- -+- --[middotmiddot -middot-~ middot--middot--middot--1 --middot-- - -- - bull - -f- ~- --I=_ --middotmiddot---- _I __ __ _ --~- middot- _ _ - _ ______ __L _-t _ middot~_- --_middot--r~ -~~~ Q-- -
fuct 1 wlscnrfiO Jic fi~ nofwtctt lhy amp 1 w 11i leU thee why noafuc 1 wu ace urn JJol bullto goc oat bull
t f t 1 ~ lmiddot t r 1 1 t i ----middot-l~a--__ _ __ St_tLi-3---- --~(~ l-~---1~-d- a aL _ __ _ ______ Jtl a_JAi~-11---~-middot(_---+7Jk~-- - [ A--- -----__ lgt __ ~-1 ----lmiddot l _ ____ i-----middotmiddot-----~--L-----6~ - -
S-( _ 1-h_kJ--middot ----middot ~- L-----Llt-S-L----L__L ------- _______ J_ ______ ---Aplusmn- ---__ _1 ____ -middot---bull ~ ---~-~---1 ~-----L---- 3- ~_t_~- - ____ [ _ __ ~-~- -A - --J
----middot-1---r--t---------t-t-middot-----1---middot ------11-I-t=-~ middot ----L-- - -middot -plusmn --- r-middot-~--- ------middot middot --~middot--- 1--~-middot _-middot- --- ~---------===middot ~-middot-b-1_ --middot- - --- - ----- -~---f- ---fmiddot~-- L- bull - ----- --- middot--- -1-- - ----- --~middot-------~- ---- -1middot-middot1middot-middot--t- --J- -middot- -- - -middot--middot----~-----shy--- middot----~-~ ---- - --middot------------- --~ -~middot ------~- ----------middot
firnrurc I wu l lturfi 0 fie fie oegt rwct lll) uu J will tell thee why no
t I t l t lmiddot~ 1 l -L--~- - - middot-tmiddot J _______ ncU ~A ---S-A-------tl- -11- middot~-- - - --------middotbull-- middotbull----t_ _ _~_ 1 ---middot-~ - ll -o-A--AJl ___ ------middot- t------k- Jt-- -~~ ~--middot- - - - -- -middot- -r~-~ 4- ------llmiddot - middot -
-_~------ _ --~-~---t- -~-----J-- -- A- ------~ _ ----- - bull 1 --middot- -L--middot -- ------------ ~- - c --~--------~----- --------middot ---______ z_j_ _______ __ ___~~ ~-L-------a-e middot- ----middot --
J Oncr m()tdrewdllincc fiJI l 1ord lh_ lpcak
1 uJ bull 1rl bu1 (mlIJrcwcll ubull larHIWout lbullrcalt( Bbull middott bullbullo middot ltn( 1 Joe linJ 1hy loumiddot~ 1lltkt 1he -middotioampl
Wl11 1 l olo-u I Tl llcl-1 cro die
Whlll foolc- lnll u aor Y t fq 1 at l (oulc J ~~lfc nor
)
Wocnne ai~Gc h) diJ lllt[ b_im soc~ 1 hdc be the ~middotutccs of uilc fiym nbull
Now tbu hec o dfproucluchow uullhc cuct loucroe Nay bu t n he gCncbull
lhcn I am bullndunc Nay lnn i1l1c ~oneO hodliD
fl(c-uy hing lU ~CCVD oJcihua
vi gt VI V)
lt a
99
Figure 28
1 tn 1 I I I II
ll 1 I l middotI I I ll l l l tl I I i Imiddot i I i II I 1111 ll I l n I It i i Ill l I d l t I I I ~
f Hif tt I I ~~ I if t
1+1 ~ a j
thll
ALl V S
I Tl Ill i II L I I I II I I
II II I I rL ll1 I t I I
l i I I I I I I I
Iii 1middot I t
IHL IIIli
I I II 1 II l I II 111 I I I I I bull I I I I I
I bull I I ll 1 I I J
L t I llmiddot II ~ I ~ middott
I I ~~ ~ 1
I 1 t I 1
111
t 1middot II I bull
I tJ It I q I I
~~ I I I I
r
I z-1 __ 1 __ =t=-~-----1- - middot -~--~- ~ -f=middot -t=--~--~- middot~-- -===-middot~~-1 N~tsect t-~--_ _ c ~middot _--- __ _ ~-- c -=-b-- _ ~ ~ =-=-=--Xl =plusmn=
- b--- ~--_ __ -- -----middot-middot --middot--- - ~ ___ - ------------~-
nl rJ iiOr-T 1 -
ArCwtll fond )OUt h iflhcu hbulldR llOt bccnc blinCl aut cf Dline emiddotcbull thcu mi~tu n ll)Ut read my mintl ~~ J411
t==+=i =middot -=+-middot---poundmiddot _Emiddot -~ i=j ~ -ti~- -Qt=~ middot=i==- -tl-~- --~ - -~shy~t ~-i ~----+=middot = --~~ - -= bull ~ _ +=a~C -c + -~-=-middot ~ ------ -----~ --- --- --middot -~ - ----------laquo= ---- --~- middot-~ middot--
but now I plaincly fcc how thou wouldll fainc luuc mc(orc lPII~S Uturflnot hJ I)OCIC firtlft~re lu atcurflO hamp
-=t~-----------r+--tmiddot --1-1-l middot 1middotmiddot-r~--- -- middot middotmiddot- --- ~------ - )middot~-----~----- at-middot_t-~--1= 11_ ~tc=l=~ Ei middotmiddot-r- --tI +middotl =0Etmiddot plusmn middot i irlttmiddot ~ - ~-~ middot ~ --plusmnt-~ - - ----middotmiddot-middot---middot--- -middot- -middot _[ - ---- middot- middot---J -- - 1--l-- - -- - - - - -- -~---middot------middot--- - ----middot-- ---- middot---middot---middot+middot--- -~-r-4- -- --middotmiddot fic6cao fwect Aay ~nd I will cell thee why t~ofurc I w~~ accudl not JO goc at firfll(urc 1 wu accudl ~0 fie no f wcct
100
Figure 29
I
CANTVS
lt ll-rllt 1r1t 1 lmiddottl 1 1 - t4---6 A-A~ d~Apound~-fi------ ~ middot ---~
bullmiddot te_- ~I i~~I~- ___ --=~rmiddot --t=Z=j- = --Lt-- -- - middot--- --middotmiddot -- -----middot - - A-- middot - -- _ _~__ __ J ___ _ J_ - - --- - -----~ n a- L r amp_-4--- - -A I - -
~ - - -bull -middot_[- _ - - - - middot - -middotmiddot - - - lt- ~ Ll bull middot- -- ---_ middot- --- ---l~-middotmiddot -~ middot -~gmiddotr ~iiftmiddot- middot--~11--j~-middot _t~middot ~-- plusmn~~ - _-- -- ~- _ J middotmiddot~ - middot J J -- - J~ ~ - bull - ~ -- - ----= ----middot~ --- ------middot -------- J __ ___ --f ___ ~ -~----- -----middot bull middot- - - middot--middot- -bull- middot --- -- middotmiddotbull--- -1-- - middot- - -- I - bull bull --~-
I
bull A Mble d~middot ~fc wH ~ obin Jhlod - V(c l ~t be cbullJultl J ccc 1uc Jumj
yet r- ~r r middot~middotin hh br ltlt H lmiddotllOJ
C u iJ~~I hbulll hrlll bcruuc h middotlll to gr u rn ductelbulltl-hidkn wJltr ~kinmiddot
then lnauty doft lylo~l~ddn womcnt C )CI
Htf i lly jobJh
4
J An Our-b lr as 1his Rollin I lood
H1i l-1fc free and vnruly Yu [O fitc M~bullri~n boull d h~nood
Atul louu debt payed hu duel y Who111 cur be of Ctnc lmllaiyen could nor hold ia
Louc t~ri th obe)middottd~s mJ a winLt could wiltnc Heyiolly Roh
NoW~ w(nd wt l1olll r ilou1 Robi ro HooJ Lc~uc wuhc woodl bchsnd vt
_our fl ho n1 muU nor be w~lhfiood but ~~nr whelt u fi lld ll
1 h t Ill hclIbull11J h)WUC 1 bullud fo ltltd h( I otm( w r icentW~HJdbull 1 1ootlollnwcd r
lhr ullzllt~~J
v~
gt Vl V)
lt
Jlftl
litH ~~rm ~ middot II
I Imiddot~
I
II tt-1 )~
101
Figure 30
I
102
Figure 31
CANTVS bull III
W=tRW=~~~~==--=-------=--=--=--== 0 lollc is but 3 bhu~1-fwtetmiddott I en r r middot r r
~tP ltm~~-~t----~-
Mu1enorvpon hCI fmili ng lookcs Thinke thtr they ~re bttt baitcd hooka
Audu fncy Loudufranzy~
middot e( not J toy Then breed chtc foch annoy1
bur kaue to coke vpponfuch fond booka
)
L(Jtnt ro fotgct fu ch idle royn Finer for youtbcs md youd1full boya
L~ o~ one fwccte frnilc Thy rrue loue igtegllile ~flOibulltiownc
r c-ur uft theedowne- Jlopund jllmiddot to bed iathcf~ioy~
I
bull
103
Figure 32
BASSVS
---------middot--- ----- ------- ---- -- ---------- ---- -~ ------------- - ----------- _ ___ - ~ _____-------~~~------------ - ----- - - ---
- -- -- --~-- - ___ __
CJ
I
-70-
If other sacred music by Robert Jones exists 1 it has not
come to light The Reformation did much to improve English
Church music However the combined effects of Civil war
supremacy of Puritanism suppressed church services disbanded
choirs and the destruction of organs and libraries by the B
soldiers of the Commonwealth resulted in irretrievable loss
The hatred of the Puritans for the English Church and its music
was so strong they seemed to consider it their duty to root out 9
and destroy every office-book they could find lmiddotluch music has
also been lost because of errors and omissions on the part of
scribes the use of old manuscripts as waste paper and in the
binding of new books and in the practice of sending manuscripts 10
to continental bookbinders The fact that any sacred rausic by
Jones exists may possibly be attributed to its inclusion in two
sources meant for secular use
What happened to Robert Jones after the theatre difficulties
remains a mystery Loss of records because of fire or
carelessness only allows speculation in this area Since the
English style of string playing was in fashion in Germany France
8 ~Talker p 56
9 F~ Landon Hunphries The Evolution of Church Music (New
York J J Little and company 1896) p 94~
10 William Joseph King The English Anthem from the Early
Tu ~or Period t roug_ the Restor_fltj gn Era diss Boston University Graduate ~chool 1962 vol I and II (Ann Arbor university Microfilms International 1982) p 12
-71-
and Italy he may have returned to the continent It is equally
possible that he died in any of the plagues which forced the
theatres in London to close so often That his music still
exists to be enjoyed may be epitaph enough
104
Blank
Appendix One
Sources of the Husic of Robert Jones
BookSong
The First Booke of Songs or Ayres
The Pirst and Second Boeke of Songes and Ayres
Ultimum Vale
First Set of Madrigals (inc)
A Husicall Dreame
The Muses Garden for Delights
Hhat if I seeke for love of thee
There is a garden in her face
Doe not o doe not prize Beautie sate bathing 11 Goe to bed sweet museu Shall I locke to ease
griefe 11
11Jhat if I speed Cease troubled thoughts Scinthia queene of seas
and landn Thinkst thou Kate to
put rre down 11
nt1hen will the fountaine of my teares
F1ie flie flie from the world 1
Fy fy 11 (inc)
Date
1600
1601
1605
1607
1609
1610
1600
1605
1605 1605 1605
1605 1605 1605
1605
1605
1605
1605 1601
-105-
Source
British Igtluseum Folger Shakes~eare Library
British 111luseum Central Library
Hanchester
Royal College of Music
Private ownership Furst Alexander
British Nuseurn Royal Library
Brussels
San Marino British 1middotlus eurn Euing Library
Glasgow
San Harino
British Library Add Ms 15117
The First Book of Songes or Ayres
British Library Egerton ~s 2971
Ultimum Vale
British Library Add Ms 24665
Giles Earles his book taken from Ultimum Vale
u
II
fl
fl
n
The First and Second Boeke of Songes and Ayres
-106-
The love of change hath changed the world 11
What shall I render to the 1614 Lord bullbull
Let thy salvation be ~Y joy
Lament lament my soul cry 0 cry
n Sing j oyfull ybull
Arise my thoughts
11 Dreams and imaginations
uFie what a coyle Now what is love
no date
1601
1601
1601 1601
Folio ms in Folger Library
British Museum Royal App 63
The Tears or Lame tations o f a Sorrowful Soul
RISM attributes 4 songs to Jones
Christ Church Music Mss 56-60
Christ Church Husic ~1ss 439
The Second Book of Songes and Ayres
lt
-107-
APPE IDIX THO
Contributors to Manuscripts nu~beren 56 through 60 in Christ Church Oxford
SEC~~ number CC lmiddot1SS Voice 334 Hus 56 c 335 Mus 57 Q 336 Mus 58 Sx 337 Mus 59 Ct 338 Mus 60 T
Bassus lacking ca 1620
a alternate sources published b transcribed c Psalm 81 in two versions
Amner John~ 1579 1641 B r-1 Oxford 1613
Consider all ye passers by (b) 3349835803378633896 verse
I am for peace inc) (with different verse section) 33463356337~6 3386 verse
Bennet John flca 1600-ca 1615
Great God of Gods 0 God of Gods (a) 334 113 33595 33710133811 verse
To the almighty Trinity (ptll of 0 God of Gods)
Bull John ca 1562-16287 B H Oxford 1586
Almighty God who by the leading (ab) 334110 33592 33798338 108 verse
How joyful ana how glad (inc) a) 33448335483374833748 verse
Byrd William ca 1542-1623
Save me 0 God for thy name bull s sake (I) 33410 33510 33710 338 10 fS
Sing joyfully unto God our strength and Blow the trumpet parts I and II and Sing we merrily and Blow up the trumpet parts I and II not in this source from Christ Church (c)
-108-
Corkine William1 fl 1610
Praise the Lord 0 my soul (inc) 33441 335413374133841 f5
Cranford William fl early 17th c
My sinful soul (inc) 33413833512033616337126338136 verse
Daman (Damon) William ca 1540-1591
0 heavel]nly God (b) 33451335513375133851 f5
East Michael ca 1580-16481 B M Oxford 1606
Blow up the trumpet Sing we merrily (Pt II Take the psalm PT III Blov1 up the trumpet) (ab) 33420933520233698337196338214 verse
Take the Psalm
Ferrabosco Alfonso Sr~ 1543-1588
0 remember not our old sins (a) 33414133512333619337129338139 f6
Ford Thomas ca 1580-1648
Miserere my maker (inc) 334151v33513533631337141338151 f6
Gibbons Orlando 1583-1625 Phd Mus Oxford 1622
See the Word is incarnate (ab) 33495335773378333893 verse
Hooper Edmund ca 1553-1621
Hearken ye nations (a) 334211335204336100337198338216 verse
Jeffreys Matthew fl ca 1590 B M Oxford 1593
If the Lor~ himself (a) 33414833513033626337136338146 verse
-109-
Lord rernerr~er David (a) 334142 335124336120337130338140 f6
My love is crucified (inc) 334100335823378833898 fS
Out of the deep (a) 33414633512833624337134338144 verse
Sing we merr-il y (II) (a) 33414433512633622337132338142 verse
Jones Robert fl ca 1600 BM Oxford 1597
Sing joyfully unto the Lord (inc) 33412335123371233812 f5
Lupo Thomas fl 1593-1628 or fl 1605-c1660
For I knowledge my faults Have mercy upOii me (pt IIFor I nowledge my faults) (inc) (ab) 33418335183371833818 f5
Out of the deep (c) 33420335203372033820 pound5
Mundy John d 1630 B M Oxford 1586 Phd Mus Oxford 1624
0 give thanks unto the Lord for he is gracious (a) 33416335163371633816 fS
Mundy William ca 1529-ca 1591
0 Lord I bow the knees (a) 33490335723377833888 f5
Parsons Robert (I) d 1570
Deliver me from mine enemies (ab) 3348335833783388 f5
Peerson Martin ca 1572-1650 B M Oxford 1613
0 Lord in thee is all my trust (inc) 33488 335703377633886 verse
-110-
Philips Peter d ca 1635
Bow down thine ear unto my crying (a) Adapted from the motet Cantai mentre 334217 335210336106337202 338220 f6
Portman Richard~ d ca 1655
Rejoice in the Lord 0 ye righteous (I) (a)334226 verse
Ravenscroft Thomas ca 1590-ca 1633
0 let me hear thy loving kindness (a) 3343133531337 3133731 verse
0 woeful ruins (a) pt II and pt III Those sacred walls and 0 how these graceful piles not in 334-338 33440335403374033840 f5
Simmes William fl ca 1600
Awake (Away (a)) fond thoughts 33415733514233638337148338158 verse 6
Rise 0 my soul (pt II and pt III And thou my soul To theee o Jesu) (a) 3342833528 3372833828 verse And thou my soul To thee o Jesu
Stubbs Simon fl ca 1600
Father of love (a) 3348633568 33774 33884 f5
Tye Christopher ca 1500-ca 1573 Phd Mus Oxford from Cambridge 1545
Christ is risen Christ is rising again (pt II Christ is risen) (inc) 334225335218336114337212338230 f6
I lift my heart to thee (ab) 33492335743378033890 f5
-111-
Ward John fl early 17th c
Down caittiff wretch (a) (pt II Prayer is an enciless chain) 33424 amp 2633524 amp 2633724 amp 2633824 amp 26 verse
How long wilt thou forget me (a) 33422335223372233822 f5
Let God arise (a) 33411633598337104338114 verse
Praise the LordO my soul a Lord my God (a) 334219335212336108337206338224 verse
This is a joyful day (a) 33413333552336523375233852 verse
~~larwick (Warrick Warrocke) Thomas d 1660
0 God of my salvation (a 3349 335933793389 pound5
Weelkes Thornas1 -1623 B M Oxford 1602
Alleluia I heard a voice (ab) 33414335143371433814 pound5
Gloria in excelsis Deo Sing my soul to God (ab) 33415533514033636 337142338156 pound6
Hosanna to the Son of David (ab) 334214335207336103337201338219 f6
Lord to thee I make my moan (ab) 3341023358433790338100 pound5
0 Johnathan woe is me (ab) 334151v33513433630337140v338150 f6
0 my son Absolom (I) (ab) When David heard that Absolom (ab) (~t II 0 my son Absalor1) 33415033513233628337138338148 pound6
-112-
Wilkinson William Thomas
Hear my prayer 0 Lord and with thine ears (a) 3341043358633793338103 verse
Preserve me o Lord (a) 33443354 33743384 verse
Put me not to rebuke (a) 3341063358833794338107 verse
Compiled from
Nan Cooke Carpenter Music in the Medieval and Renaissance Universities
Ralph T Daniel and Peter Le Huray compilers The Source of English Church Music 1549-1660 part I and II
C F Abdy Williams A Short Historical Account of the Degrees in Music at Oxford and Cambridge
-113-
Appendix Three
Graduates of Oxford
Doctors
Robert Fairfax John Gwyneth John Merbecke John Shepeard Robert Stevenson Orlando Gibbons Nathaniel Giles John Hunday Christopher Tye John Bull
Date
1511 1531 1550 1594 1596 1622 1622 1624 1548 1592
Tye and Bull were incorporated as Doctors of Music from Cambridge
Bachelors
tathaniel Giles John Bull John t-1unday Thomas Morley John Dowland Giles Farnaby Edward Gibbons George Waterhouse Arthur Cocke Francis Pilkington Robert Jones Thomas leelkes Thomas Tomkins Richard Deering
1585 15B6 1586 1588 1588 1596 1592 1592 1593 1595 1597 1602 1607 1612
Author
Robert Grossteste
Robert Kilwardly
Roger Bacon
Bartholomaeus Anglicus
Walter Odington
Simon Tunstede
John Hanboys
John Hothby
William Bathe
John Case (attr)
William Barley
Thomas Morley
-114-
Ap~endix Four
Oxford Treatises
Date Title
ca 1175-1253 De artibus liberalibus
d 127 9
ca
ca
ca
1351
ca
1584
1600
1586 1588
1596
1597
1214
1230
1330
1450
94
De ortu et divisione philosophiae
Opus majus and opus tertium
De probrietatibus rerum
De speculatione musice
Quatuor principalia musicae
Surnma super musicam continuam et discretam
Regulae super proportionem De cantu figurate Regulae super contrapuncturn Caliopea legale
A Briefe Introduction to the True Arte of Music
A Briefe Introduction to the Skill of Song
The Praise of Musicke Apoligia musices tam vocalis quam instrumentalis et mixtae
The Pathway
A Plaine and Easie Introduction to fvlusicke
-115-
Appendix Five
Baccalaureus in musica solvet
Imprimis pro cumulatione presentatis Pro comrnuniis Pro scriba universitatis Pro circuita Pro camera Pro curnulatione sex annorum Pro anno instante Pro horolog-io Pro deric[t]o universitatis Pro inferiore bedello artiurn
Si beneficiatus vel patrimoniatus fuerit solvet pro vino
Si non praebat convivia solvet betiellis facultatis suae pro prandio
vj s
i j s
xiij s
vij s
viij d vj d
xij d xij d
iiij d
xij d ij d ij d vj d
iiij d
iiij d
ix d
116
Appendix Six
Words set by Jones for Leighton
Let thy salvation be my joy
Let thy salvation be my joy Confirm me with the spirit of grace Let sadness not my soul annoy For pensive thoughts too much take place 0 let my comfort still reside In Christ who for my sin hath died
In setting the third line Jones uses sixteenth notes on the word spirit 11 to compensate for the extra syllable
What shall I render to the Lord
What shall I render to the Lord For all his blessings poured on me My heart and soul with one accord Shall laud and praise thy majesty All praises do from thee desend Blest be thy name world without end
Lament my soul cry cry o cry
Lament my soul cry cry o cry Swe et Jesus pity pity me Help help help help for sin I die Sweet Christ come ease my misery
BIBLIOGRAPHY
Primary Sources
The Bible That is the Holy Scriptures contained in the Old and Newe Testament London Deputies of Chrlstopher Barker Printer to the Queenes most excellent Maiestie 1596
Book o f Common Prayer and Administration o f the Sacraments and Other Rites and Ceremonies of the Churchof England WiSh the Psalter or Psalms of David Printed by Thomas and John Buch Printers to University of Canbridge 1629
Fellowes Edmund H ed The English Madrigalists val 35A Revised edition edited by Thurston Dart London Stainer and Bell 1960 The First Set of Mad_ri a_l s 1607 by Robert Jones
The English Madri al School val 32 London-stainer and Bell 1923 The Triumphs of Oriana to 5 and 6 voices Compose - y D1vers several Authors published by Thomas Mor ley 1601
Jergens Elise Bickford English Song 1 600-1 67 5 Part I British Library Manuscri ts London
Pu middot- 1sh1ng Inc 1986
Leighton Sir William Th e Teares or Lamentaciones o f a Sor rowful Soule London W2 1arn Stansby 1614
The Teares or Lamentations of a ----Sorrowful Soul Transcr1bed and edited by Cecil Hill Vol ll Early English Church Music London Stainer and Bell 1970
Morley Thomas A Plaine and Easie Introdction to Practical Music Edited by R Alec Harmon New York WW Norton and Co 1952
Smith John Stafford Musica Antigua London Preston 1812
Sternfie1d FW gen ed English Lute Songs 1597-1632 A Co l lect~on o Fac s imiDelRepr ints
ress t Vol 7 edited by David Greer The First Boeke of Songes or Ayres 1600 by Robert Jones The Second Booke of Songs and Ayres 1601 by Rober ones t1mum Vale 1605 by Robert Jones A Musicall Dreame 1609 by Robert Jones The Muses Gardln for Delights 1610 by Robert Jones
-118-
Books and Articles
Abraham Gerald ed New Oxford History of Nusic vol IV uThe Age of Humanism 1540-1630 11 London Oxford UP 1968 3rd impression 1974
Adams Joseph Quincy 11 A New Song by Robert Jones bullbull Modern Language Quarterly I (March 1940) 45-48
Adler Kurt The Art of Accompanying and Coaching Minshyneapolis The University of Minnesota Press 1965
ArkmiddotJright GE P Catalogue of Music in the Library of Christ Church Oxford London Oxford UP 1915 ed 1971
Bateson fW ed The Cambridge Bibliography of English Litshyerature 4 vols Cambridge University Press 1969
Bentley Gerald Eades The Jacobean and Caroline Stage Dramat~c Companies and Players 5 vols Oxford Clarendon Press 1941 reprinted 1949 bull
The Profession of Player in Shakespearebulls Time 1590-1642 Princeton Princeton UP 1984
Blom Eric ed Groves Dictionary of Music and Musicians vol IV New York St Martins Press Inc 5th ed 19B4
Boyd rbulllorrison Comegys Elizabethan Music and Musical Criticism 2nd ed Westport Greenwood Press Publishers 1962 reprinted 1975
Brown David nJones Robert in The New Grove Dictionary of llusic and Husicians vol 9 p 703 Edited by Stanley Sadie 1980
Carpenter Nan Cooke Music in the Medieval and Renaissance Universities Norman Okla University of Oklaho~a Press 1958 reprint eo New York Da Capo Press 1972
Chambers E K The Elizabethan Stage Vol I-IV Oxford Clarendon Press 1923 ed 1961
Crewsdon Henry Alastair Ferguson TD MA comp The Worshipful Company of ~t-lusicians Loncion Constable and Co Ltd 1950 new ed London Charles Knight and Company Ltd 1971
Cutts John P 11 Everie Woman in her Humor Renaissance Nevs 18 (Autunm 1965) 209-213
-119-
Daniel Ralph T and LeHuray Peter compilers The Sources of English Church Music 1549-1660 Part I and II London Starier and Bell 1972
Dart Thurston t-1A The Interpretation of Music 4th ed London Hutchinson University Library 1960
Dodd Gordon 11 A Summary of Nusic for Viols Early flusic 6 (April 1970) 262-267
Doran T s A Dr Annals of the English Stage from Thomas Better ton to Edmund Keen Vol 1 New York bullJ J ~1 iadle ton Publishers 1865 republished St Clair Shores Mich Scholarly Press no date
Doughtie Edward ed Lyrics from English Airs 1596-1622 Cambridge Harvard University Press 1970
Einstein Alfred Essays on Music London Faber and Faber 1956 rev eng ed 1958
Feldman Martha 11 In Defense of Campion A New Look at His Aryres and Observations The Journal of Musicology v
(Spring 1987) 226
Fellowes Edmund Horace CH Mvo MA Mus D English Cathedral l~sic Edited by J A Westrup Westport Greenwood Press Publishers 1981
_________ The English Madrigal Composers 2nd edition London Oxford University Press 1921 1948 reprinted 1967
bull The Text of the Song Books of Robert Jones Music --------middot and Letters VIII (Jan 1927) 25-37
__________ Tudor Church Music Appendix ~lus D New York Brouclex Brothers reprint 1963
Greenberg Noah music ed Auoen ~middotlH and Kallman Chester text ed An Anthology of Elizabethan Lute Songs Mad rigals an Rounds Pew York ~middot1 w Norton amp Co Inc 19 55
Greer David What if a Daybull - an Examination of the Words and r~usicbullt husic and Letters 43 (Oct 1962) 304-319
Gutmann Veronika Instrument oder Diminutionspraxis 11 Archiv fuer Husikrvissenschaft 35 (1978) 187-190
Heseltine Philip and Warlock Peter The English Ayre London Oxford University Press 1926 reprinted Westport The Greenwood Press 1970
-120-
Hesel tine Philip 11 Robert Jones and His Prefaces The rmiddotusical T ime s bull ( Feb -t-1a r 19 2 3 ) 9 9 -1 0 0 16 8 -17 1 bull
Humphreys Rev F Landon ~lus Doc STD The Evolution of Church Music New York J J Little and Co 1896
Jeffrey Brian ed Elizabethan Popular Music for the Lute London Oxford UP 1966
King William Joseph The Englsh Anthem from the Early Tudor Period through the Restora t ion Era PhD dissertation Boston University 1 962 Ann Arbor Mich University Microfilms I~ternational 1982
La Fontaine Henry Cart The Kings Musick New York Oa Capo Press 1973
Lewis c s English Literature in the 16th Century excluding Drama 11 in Oxford History of English Literature p 266 Edited by F P Wilson and B Dobree Oxford Clarendon Press 1954 reprinted 1962
r1ason Dorothy E Husic in Elizabethan England Washington Folger Shakespeare Library booklet 1958
rtaynard Winifred Elizabethan Lyric Poetry and its Music Oxford Clarendon Press 1986
McGrady Richard J The English Solo Song from William Byrd to Henry Lawes 11 PhD dissertation University of Manchester 1963 This dissertation arrived to late to notate McGradys theories on Italian Monady and Jones
Meyer Ernst H Early English Chamber ~iusic ed Diane Poulton London Lawrence and Wishart Ltd 1946 Boston Marion Boyars Inc 1982
Mies Otto Heinrich PrussJan Castle
Elizabethan t1usic Prints in an East rrusica Disciplina III (1949) 171-172
Naylor Edward Noodall Shakespeare and Husic rev ed New York De Capo Press 1931 lew York Benjamin Dlom Inc 1969
Pagallelli Serpoundio Jusical Instruments from the Renaissance to the 19th Century trans Anthony Rhodes Milan Fratelli Fabbrl Editori 1966 7 London Hamlyn Publishing Group 197 0
Pattison K An Analysis of the Ayres of Robert Jones MFA thesis University of Georgia 1965 (Request for this thesis has been submitted through the inter-library loan service but has not arrived)
Phillipps G A Charles 1 11
-121-
11 Crown r1us ical Patronage from Elizabeth to Music and Letters 58 (Jan 1977) 29-42
Phillips Peter 11 Performance Practice in 16th Century English Choral Music~ Early Music 6 (april 1978) 195-199
Prior Roger Jewish Musicians at the Tudor Court The ~~sical Quarterly LXIX (Spring 1983) 253-265
Poulton Diane Graces of play in Renaissance Lute Music 11
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RIS~t Einzeldrucke vor 1800 Karlheinz Schlogervolume III Basel Barenreiter Kassel 1974
RISM Recueil s Imprimis XVIe-XVIIe siecles l-1unchen G -Henle Verlag 1972
Robertson Dora H Sarum Close London Jonathan Capt 1938 Bath Firciurt Publishing Limited 1969
Seng Peter J The vocal songs in the Plays of Shakespeare a Critical History Cambridge Harvard UP 1967
Shakespeare William William Shakespeare The Complete Works Edited by Alfred Harbage Baltimore Pen~middotuin Books rev ed 1969
Smith Irwin Shakespeares Dlackfriars Playhouse Its History and Its Des~gn New York New York University Press 1964
Spink Ian English Song Dowland to Purcell New York Charles Scribnerbulls Sons 1974
Sternfeld F w Music in Shakespearean Tragedy London Routledge and Kegan Paul 1963 rev ed 1967
Stevens Denis Tudor Church t-1us ic Nev York Merlin Press 1955 bull
A History of Song New York W W Norton and Co Inc 1960~ First American Edition 1961
Stevens John Music and Poetry in the Early Tudor Court reprint ed Cambridge Cambridge University Press 1979
Traficante Frank Anthony 11 The Mansell Lyra Viol Tablature parts I and II PhD dissertation University of Pennsylvania 1965
-122-
Walker Earnest A History of Music in England New York Da Capo Press 1978
Wells Robin Headlam John Dowland and Elizabethan Melancholy Early Music 13 (Nov 1985) 514-528
Wickham Glynne Early English Stages 1300 to 1660 2 vols London Routledge and Kegan Paul New York Columbia UP 1972
Williams C F Abcty A short Historical Account of the Degrees in 1usic at Oxford and Cambridge Lonaon lovello Eivers and Co 189 3
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