Chapter X: Appendix

1. Example of Descant [_Lucrece_, 1134] from Morley, 1597 (see Introduction, p. 6 and p. 24).

[Music]

If the lower part was added _extempore_, it was called Descant, but if written down as here, it was called Prick-song, because 'pricked' down. The Plain-song is perhaps more often found in a lower part, the Descant being higher. From the position of the added part, the above example is called 'bass' descant.

2. Divisions on a Ground Bass for viol-da-gamba, by Christopher Sympson, 1665, see p. 28. _Rom._ III, v, 25.

[Music]

The 'Ground' itself is in large notes, the necessary chords (which were _never_ written down) are indicated in small notes. This the Organist or Harpsichordist plays again and again, as often as necessary.

Here is a Division for the Viol, such as the player would produce _extempore_, with the above Ground before him.

Division No. 1.

[Music]

Division No. 3 (more elaborate).

[Music]

3. Example of Sol-Fa, 16th and 17th centuries, see p. 35. _Lear_ I, ii, 137.

[Music: Fa sol la fa sol la MI fa fa sol la fa sol la MI fa etc.]

The augmented fourths formed by the notes fa and mi, marked with x, are the _mi contra fa_, which _diabolus est_, or 'is the _divider_,' see p. 36.

Solmisation of the six notes of the Hexachord, 11th century, see p. 37. _Shrew_ III, i, 72.

[Music: (Natural Hexachord) Ut Re Mi Fa Sol La

(Hard Hexachord) Ut Re Mi Fa Sol La]

The six notes from F, with B _flat_, were called the 'Soft' Hexachord.

4. Lesson for the Lute, by Thomas Mace, b. 1613, from Musick's Monument, 1676, see p. 55. _Shrew_ III, i, 58.

[Music: "My Mistress."]

_Cf._ p. 30, on 'Broken' music.

5. Tune of Light o' Love, original words not known, but date before 1570, p. 70. _Much Ado_ V, iv, 41, etc.

[Music]

6. Parson Hugh's song, 'To Shallow Rivers,' tune anonymous, date probably 16th century, p. 71. _Merry Wives_ III, i, 18.

[Music:

To shallow rivers to whose falls
Melodious birds sing madrigals;
There will we make our beds of roses,
And a thousand fragrant posies.
When as I sat in Babylon,
And a thousand vagram posies.]

7. 'Come Live with Me,' tune printed 1612, but probably much older. See p. 71. Marlowe's 'Passionate Pilgrim,' XX., or _Merry Wives_ III, i, 18.

[Music:

Come live with me, and be my love,
And we will all the pleasures prove,
That hills and valleys, dales and fields,
And all the craggy mountain yields.]

8. Peg-a-Ramsey, p. 71. _Tw. Nt._ II, iii, 76.

[Music: Sir Toby]

9. 'Three Merry Men be We,' p. 71. _Tw. Nt._ II, iii, 76. Words from Peele's 'Old Wives Tale,' 1595, where it is sung. Music from J. Playford, 1650 _circ._, but may be older.

[Music: Sir Toby

Three merry men, and three merry men, and three merry men be we,
I in the wood and thou on the ground,
And Jack sleeps in the tree.]

10. 'There Dwelt a Man in Babylon,' p. 71. _Tw. Nt._ II, iii, 80. Music anon., but most probably later than Shakespeare's time.

[Music: Sir Toby

_slow_

Til-ly val-ley, Lady!

_lively_

There dwelt a man in Bab-y-lon, in Bab-y-lon, in Bab-y-lon,
There dwelt a man in Bab-y-lon,
Lady! Lady! Lady!]

Here is one verse of the 'Ballad of Constant Susanna,' to which Toby refers.

'There dwelt a man in Babylon
Of reputation great by fame;
He took to wife a faire woman,
Susanna she was callde by name.
A woman faire and vertuous,
Lady, lady!
Why should we not of her learn thus
To live godly?'

11. 'Farewell, Dear Heart,' p. 72. _Tw. Nt._ II, iii, 102.

[Music:

Toby

Farewell dear heart, since I must needs be gone,

Clown

His eyes do shew his days are almost done.

Toby

But I will never, never, never die!

Clown

Oh there, Sir Toby, there, oh there you lie.]

This can hardly be the original tune to "Corydon's Farewell to Phillis," from parts of the first and second verses of which the above words are quoted. See Percy's "Reliques," Vol. I.

12. Here are two relics of music for the Clown in _Tw. Nt._ IV, ii, probably of the same period as the above.

[Music: Clown

Hey, Robin, jolly Robin,
Tell me how thy lady does,
Hey, Robin, jolly Robin, tell me how thy lady does.
I'm gone, Sir, and anon, Sir,
I'll be with you again, Sir.]

For the rest of the words of 'A Robyn, Jolly Robyn,' see Percy's Reliques, Vol. I. p. 148.

13. 'Whoop, do me no harm, good man,' p. 72. _Winter's Tale_ IV, iii, 198. The rest of the words unknown, but several ballads printed in latter part of 16th century go to this tune--

[Music: Autolycus [Whoop, do me no harm, good man.]]

14. Stephano's 'scurvey tunes,' _Tempest_ II, ii, 41, see p. 73. "As sung by Mr Bannister" [1667].

[Music: Stephano

I shall no more to sea, to sea,
Here shall I die a-shore.
The master, the swabber, the bosun, and I,
The gunner, and his mate,
Lov'd Mall, Meg, Marian, and Margery,
But none of us car'd for Kate;
For she had a tongue with a tang,
Then to sea, boys, and let her go hang,
Then to sea, boys, and let her go hang.]

15. 'Jog On,' p. 72, _Winter's Tale_ IV, ii, 125. Two more stanzas were first printed 1661, see Chappell, Vol. I. 160. The tune is from the Fitzwilliam Virginal Book (Queen Elizabeth's Virginal Book), where it has the name

_Hanskin._

[Music: Autolycus

Jog on, jog on, the foot-path way,
And merrily hent the stile-a:
A merry heart goes all the day,
Your sad tires in a mile-a.]

16. 'The Hunt is up,' see p. 73, and _Rom. and Jul._ III, v, 34. The tune is at least as old as 1537, when John Hogon was proceeded against for singing it with certain political words.

[Music:

The hunt is up, the hunt is up, and it is well-nigh day;
And Harry our king is gone hunt-ing to bring his deer to bay.]

Grove [see under Ballad] gives quite another tune, to which 'Chevy Chase' also was sung.

The tune here printed was also sung (1584) to 'O sweete Olyver, leave me not behind the,' but altered to four in a bar. See _As You_ III, iii, 95, where a verse is given which will easily fit to the music.

17. 'Heart's Ease,' p. 73. _Rom._ IV, v, 100. Words not known. Tune before 1560.

[Music]

18. 'Where Griping Grief,' p. 73, _Rom._ IV, v, 125, by Rich. Edwards, poet and composer, 1577.

[Music:

Where griping grief the hart would wound, and dol-ful domps the
mind op-presse,
There Musick with her sil-ver sound is wont with spede to give
re-dresse;
Of troubled minds, for e-ve-ry sore,
Swete Mus-ick hath a salve in store.]

19. 'Green Sleeves,' see p. 74, and _Wiv._ II, i, 60, etc. The tune is probably of Henry VIII.'s time.

[Music:

Alas, my love you do me wrong to cast me off dis-courteously,
And I have lov-ed you so long, de-lighting in your company,
Greensleeves was all my joy, Greensleeves was my delight,
Greensleeves was my heart of gold, and who but my Lady Greensleeves.]

20. 'Carman's Whistle,' p. 76, _H. 4. B._ III, ii, 320. Tune as given by Byrd, who wrote variations on it before 1591.

[Music]

21. 'Fortune my Foe,' p. 76, _Merry Wiv._ III, iii, 62. This old tune is, at latest, of Elizabeth's day, and most likely much older. The words here set are given in Burney, and the harmony is by Byrd, who wrote variations on it for Queen Elizabeth's Virginal Book.

[Music:

Ye noble minds, and famous martiall wights,
That in de-fence of native country fights,
Give eare to me, that ten yeeres fought for Rome,
Yet reapt disgrace at my returning home.]

The above words are the first verse of 'Titus Andronicus's Complaint,' which Burney says was originally written to this tune. The ballad is given in full in Percy's Reliques, Vol. I. p. 180.

22. Ophelia's Songs, p. 76, _Hamlet_ IV, v.

[Music: I.

(_a_) How should I your true love know from a-noth-er one?
By his cockle hat and staff,
And his san-dal shoon.

(_b_) He is dead and gone lady,
He is dead and gone;
At his head a grass green turf,
At his heels a stone.

(_c_) White his shroud as the mountain snow,
Larded with sweet flowers;
Which bewept to the grave did go,
With true love showers.]

This is certainly old, early 16th century. The tune has a striking likeness to 'Walsingham,' which is the first piece in the Fitzwilliam Virginal Book. See Percy's Reliques, Vol. II. p. 75. But the date of the next is not so certain, though probably it is of Shakespeare's time.

[Music: II.

(_a_) Good morrow, 'tis St Valentine's day
All in the morn betime,
And I a maid at your window
To be your Valen-tine.

(_b_) For bonny sweet Robin is all my joy.]

The next two are of the same period as I.

[Music: III.

They bore him bare-faste on the bier;
And in his grave rain'd many a tear.]

[Music: IV.

(_a_) And will he not come a-gain?
And will he not come a-gain?
No, no, he is dead,
Go to thy death bed;
He never will come a-gain.

(_b_) His beard as white as snow,
All flax-en was his poll;
He's gone, he's gone,
And we cast away moan;
God ha' mer-cy on his soul!]

L. 184, 'Bonny sweet Robin.' With the exception of this _one line_, and _the title_, 'My Robin is to the greenwood gone,' nothing remains of this song, but the following tune, which is of some date before 1597.

[Music: V.

My Robin is to the greenwood gone.
For bonny sweet Robin is all my joy.]

23. Catches, of 16th century, prob. long anterior to Shakespeare.

I. 'Hold thy peace,' see p. 77, _Tw. Nt._ II, iii. For _three_ voices, Sir Toby, Sir Andrew, and Feste the clown, who begins the catch. The second man follows when the first has arrived at [segno symbol]. For the explanation see p. 90.

[Music:

Hold thy peace, and I prithee hold thy peace,
[segno symbol] Thou knave,
Hold thy peace thou knave,
Thou knave.]

'Thou knave' will be heard _nine_ times for every once the whole tune is sung by one of the voices.

II. 'Jack boy, ho boy, news,' see p. 92, and _Shrew_ IV, i, 42. This is very old, prob. quite early 16th century (see Introduction).

For _four_ voices. The second man comes in at [segno symbol], as before.

[Music:

Jack, boy, ho! boy, news;
[segno symbol] The cat is in the well,
Let us ring now for her knell,
Ding, dong, ding, dong, bell.]

24. Threeman songs (corrupted into 'Freeman,' see p. 83). These were entirely different from Catches. A Threeman song is merely (as a rule) a song with _three parts_,--_e.g._, two trebles and a tenor, etc. _Winter's Tale_ IV, ii, 41, and IV, iii, 285-327.

Here is a Threeman song, published in 1609, but probably much older than that.

[Music:

V.1. Wee be souldiers three,
Pardonez moy je vous en prie:
Late-ly come forth of the low coun-try,
With nev-er a penny of mony.

V.2. Here good fellow, I drinke to thee,
Pardonez moy je vous en prie:
To all good fel-lowes wher-ever they be,
With nev-er a penny of mony.]

There are two more verses of the same sort.

25. 'Canst thou not hit it,' _L.L.L._ IV, i, 125. No more words known, except this one verse.

The tune is mentioned as a dance in an Elizabethan play, and is alluded to in an old ballad 'Arthur a Bradley.'

[Music:

Thou can'st not hit it, hit it, hit it,
Thou can'st not hit it, my good man,
An' I cannot, cannot, cannot,
An' I cannot, an-o-ther can.]

26. Dances. [Also see Note on Arbeau's Orchésographie.]

(_a._) Pavan and Galliard, 'St Thomas Wake,' by Dr Bull, from Parthenia, printed 1611. (Bull was born 1563.) See p. 114.

Pavan [if played quick became Passamezzo. _Tw._ V, i, 200].

[Music]

Galliard St Thomas Wake, the _same music_ but in triple time. _Tw._ I, viii, 127, _H. 5._ I, ii, 252.

[Music: Galliard, or Cinquepace.]

(_b._) 1. Part of a 'Passamezzo,' date 1581. (See Note on Arbeau's Orchésographie.) _Tw._ V, i, 200. See p. 135.

[Music: Passe mezzo, or Measure (_As You_ V, iv, 178, etc.)]

(_b._) 2. The first 'strain' of a German Pavan for the Lute, dating 1562.

[Music]

(_c._) An English 'Haye,' or 'Raye,' or 'Round,' date 1678. See p. 131, _L.L.L._ V, i, 148.

For a French 'Haye,' see Note on Arbeau's Orchésographie. Tune only given [see Stainer and Barrett's Dict. of Musical Terms].

[Music]

It will be noticed that the steps of the Haye, as given in 'Orchésographie,' can be adapted to this tune. The dotted minim value of this corresponds with the semibreve value of the other.

(_d._) 1. The King's Hunting Jigg, by Dr Bull (1563-1628). See p. 117. _Hamlet_ II, ii, 504, etc.

[Music]

(_d._) 2. The Cobbler's Jig. 1622. See p. 125.

[Music]

(_e._) 1. An English Morris, 1650, see p. 132. _All's Well_ II, ii, 20, etc.

[Music]

(_e._) 2. Italian Moresca, by Claudio Monteverde, from his opera 'Orfeo,' 1608. This at all events must have had a different step to the Morisque of Arbeau. (See Note on the 'Orchésographie.')

This dance is certainly in triple rhythm, so the common-time sign probably indicates it should be played fast enough to give the effect of two beats to the bar.

[Music]

(_f._) Part of 'My Ladye Carey's Dumpe,' _circa_ 1600. See p. 127. _Two Gent._ III, ii, 83, etc.

[Music]

Then return to [repeat symbol]. This is about _one third_ of it. The last strain of all is the first here printed, but in _four_ parts, and with extraordinary harmony, the E's being carefully marked [natural symbol].

_N.B._--For Cinquepace, Canaries, Brawl, Lavolt, Courante, Haye, Morisque, _see the Note on_ 'Orchésographie.'

27. Musical Stage Directions. See p. 165, and ff.

(_a._) Flourish, believed to be of Charles II.'s time. See p. 167.

[Music: Eight Trumpets.]

(_b._) The Ancient English Drum March, revived in 1610. See p. 172. _H. 6. A._ III, iii, 30.

[Music: THE VOLUNTARY.]

[Music: THE MARCH.]

(_c._) Military March of the French 'Gardes de la Marine,' written by Lully, 1670. For _Hautboys_ in four parts. See p. 172. Cf. _H. 6. A._ III, iii, 33.

[Music: Batterie de Tambour.]

[Music: Air des Hautbois.]

(_d._) A 'sonnerie' of French Cavalry, 1636 (Louis XIII.). See p. 178. I connect this with 'sennet.'

[Music: Boute-selle (_i.e._, 'to horse').]

(_e._) Tucket, p. 180. _H. 5._ IV, ii, 35.

[Music: 1. An Italian Tucket, date 1638.]

[Music: 2. French Tucket, 1643.]

(_f._) 1. Old French hunting fanfare. Perhaps may be connected with 'Horns wind a Peal.' _Titus_ II, ii, 10. See p. 183.

[Music: _Four_ Horns.]

(_f._) 2. The imitation (by violins) of a hunting call in Purcell's 'Dido and Æneas,' 1675. See p. 183.

[Music]

INDEX.

ACCURATE knowledge of Shakespeare, 2, 3.

Actors preceded by drums, 163;
by trumpets, 164, 167, 168.

_Actor's Remonstrance_, The, 19.

Aguecheek, Sir Andrew, a musician, 29.

'Alas, my love,' 194.

Alarum, 165, 166.

_All's Well_, 120, 133, 163, 205.

Alman, a dance, 115, 170.

Amateurs, 17th cent., 13, 14, 47.

'And will he not come again,' 77, 197.

Anthems, practised by Falstaff, 85.

'Anthoinette,' galliard tune, 143.

_Antony and Cleopatra_, 152, 159, 162, 166, 175.

Arbeau, see 'Orchésographie.'

Arch-Lute, 56, and frontispiece.

Arena, Anthoine, 139.

_As you like it_, 72, 73, 77, 93, 94, 126, 155, 157, 193, 203.

Autolycus's songs, 72, 191, 192.

'Ayres' for lute, 55, 187.

BACON, _Masque and Triumph_, 31.

Bacon, _Sylva Sylvarum_, 31.
on the Recorder, 31, 50.

Bagpipe, 78, 81, 96, 98, 102.

Ballads, 20, 70 ff, 86, 97, 98, 200.

Ballad of Constant Susanna, 189.

Ballete, combined dance and song, 113.

Ball-room etiquette (1588), 138, 139, 140, 144.

Bannister, Mr, 191.

Bandore, sort of lute, 170.

'Banket,' 16th cent., 5.

Barber's shop, music in, 7, 18, 19.

Bars, invention of, 34.

Base (bass), quibbles on, 27, 60.

Bass descant, 185.

Basse dance, 137-141.

Beaumont, Gray's Inn Masque, 36, 171.

Beaumont and Fletcher, _Coxcomb_, 16.

Beaumont and Fletcher, _Valentinian_, 171.

Beak-flute, 50, 52.

'Bear his part', 16, 22, 79, 80.
Play his part, 12.
Sing his part, 14.

'Bene's,' the three, 8.

Bergamasca, 114.

Blacke Saunctus, 10.

Boleyn, Anne, 10.

_Bonduca_, catch in, 17.

'Bonny sweet Robin,' 77, 196, 197, 198.

'Boute-selle', 210.

Bow, viol, 48, and frontispiece.

Branle, Le, dance step, 139.

Bransle, dance (brawl), 115, 147-148 (tune and steps), 149.

Brant, 'Ship of Fools,' 96.

Brawl, dance, 115, 118, 119, (derivation), 123, 208.

Breast, _i.e._ voice, 88.

Bridge, Dr J.F., Shakespeare Songs, 87, 93, 171.

Broken music, 30-32, 103, 104, 125, 187.

Broken time, 32, 33.

Bull, Dr John, 54, 114, 117, 124, 125, 136, 201, 205.

Burden, 22, 23, 24, 26, 69, 78, 82.

Burden, 'Light o' love' without a, 24, 26, 71.

Burney, 36, 195, 196.

Bussing base, 16, 24.

'But shall I go mourn,' 72.

Byrd, William, 54, 76, 124, 171, 195.

'By a bank,' 26.

CANARY, dance, 118, 119, 120, 146 (tune and steps), 208.

Canaries, see Canary.

Cannon, on stage, 165, 168.

Canon, 10, 20.

'Canst thou not hit it,' 200.

Caper, to, in a galliard, 121, 124, 138, 143.

Carey's Dump, My Lady, 128, 207.

'Carman's whistle,' 76, 195.

Catch, 16, 17, 18, 20, 65, 69, 77, 87, 88, 89, 90, 91, 92, 198, 199.

Caulfield, Collection of Shakespeare music, 77.

Censorinus, on music of Spheres, 153, 154.

Cerreto, Scipione, see Lute, 55.

Chamber music, 12-14, 15, 47.

Chappell, 9, 31, 36, 74, 111, 192.

Charles I., 11, 12.
music in time of, 2.

Chaucer, 65, 129.

_Chelys Minuritionum_, 29, 30.

'Chest' of viols, 45-49.

Chorus, or dance, of heavenly bodies, 154-6.

Christopher Sympson, see Sympson.

Cinquepace, 121, 122, 142 (tune and steps), 202, 208.

Cittern, in barber's shop, 18, 19, 170.

Cittern, carved head of, 19.

Clavichord, 67, 68.

Clergy and Music, 8, 9, 13, 15.

'Cliff' (clef), 40.

Cobbler's Jig, The, 118, 125, 205.

Comedies, Music in the, 4, 169.

'Come live with me,' 188.

Compendium, Sympson's, 116, 117.

Compositions by Henry VIII., 9.

_Comus_, Milton's, 171.

'Conceits,' 101.

Concolinel, 70.

Concord, 27, 32.

Congee, or Congedium, 139.

Consorts, 'broken' and 'whole,' 31, 48, 55, 125.

Consort, of viols, 31, 98, 117.

Coperario (J. Cooper), 12, 36, 47, 171.

Coranto, dance, 115, 116, 118, 121, 122 (derivation), 123, 124, 126, 136, 149-150 (tune and steps).

_Coriolanus_, 166, 167, 176.

Cornet, 170, 179, 180, and x.

Cornet playing, 17th cent., 179.

Cornyshe, W., 66.

Corydon's Farewell to Phillis, 190.

Cotgrave, on 'freeman's songs,' 83.

'Counter,' to, 66, 68, 97, 98.

Country Dance, 115, 116, 122, 123, 126.

Courante, 208.

Curranta (courante, coranto), 7.

Cushion dance, 118, 126.

Cymbals, 176.

_Cymbeline_, 73, 100, 109, 110.

_Damon and Pithias_, 16.

Dances, 16th cent., 137-151.

Dance music, 139, 144, 145, 200, 201 ff.

Dances in Shakespeare, 113 ff.

Dances, sung, 113, 115, 118, 119, 145.

Dancing, time of Elizabeth, James I. and Charles I., 118.

Dances of 16th cent., origin of Sonata form, 113.

Dancing Schools, English, 136.

Dancing, to tabor and pipe, 78, 120, and frontispiece.

Davenant, _The Wits_, 17.

Davies, Sir John, on dances, 123, 124.

_Declaration of Egregious Impostures_, 17.

Dekker, _Satiromastix_, 164.

Delaborde, 119.

Descant, 6, 8, 22, 23, 25, 27, 29, 41, 42, 67, 68, 185.

Descanters, contention of, 6.

Descant on a "ground," 29, 30.

_Deuteromelia_, Ravencroft's, 83.

'Diabolus est,' 37, 186.

Diapason, 22, 23, 153, 154.

Diminution, see Division.

Dinner party, 16th cent., 5.

Dinner, music during, at taverns, 20,
after supper, 105.

Dirge, 109, 110, 111.

Discord, 'restless,' 22, 23,
'harsh,' 28.

Division, 28-30, 35, 36, 57, 185, 186.

Division, quibbles on, 28, 35, 36, 186.

Division viol, 29, 30.

Doquet, see Tucket.

Drayton, _Battle of Agincourt_, 16.

Drone, 23.

Drum, in dancing, 139, 145.
and fife, 160-162.
military, 162, 163, 172-175.

Drums, in theatre band, 176.

Drum March, 172-175, 208.

Dulcimer, 176, 177.

Dump, dance, 22, 23, 59, 61, 98, 127, 128 (derivation), 130, 170, 207.
quibble on, 22, 130.

Dupla, 33, 34.

EAR, musical, 32, 100.

Edward VI., 10.

Edwards, Richard, 73, 128, 169, 193.

Elizabeth, Queen, 10, 11, 15, 53.

Elizabethan public-house song, 17, 20.

Elizabethan times, music in, 2, 4-8, 16, 113, 114 (dances) ff.

Erasmus, 9.

'Evening music,' 99, 101.

'Excursions,' 165.

FALSTAFF and his crew, musicians, 41-43, 76, 85.

'Fancies,' for viols, 47, 76, 101, 117.

'Farewell, dear heart,' 72, 89, 190.

'Farewell, master,' Caliban's Song, 73.

_Faustus_, Marlowe's, 178.

'Fayned' music, 67, 69, 97, 98.

'Fear no more the heat of the sun,' 73, 110.

Fellowships at Cambridge, musical qualification for, 8, 9.

Ferrabosco, 171.

Fiddle, 49, 124.

Fidler, 'common,' 'rascal,' 13, 59.

Fidlers, 7.

Fidles, 170, 171.

Fife, 160-162, 176.

Fingering, on lute, 58, 60,
on viol, 44, 101.

'Fish,' ballad of a, 72, 79.

Fitzwilliam Virginal Book (known as Qu. Elizabeth's) 11, 54, 123, 192, 195, 196.

Flageolet, see Recorder.

Flats, 27, 69.

'Flemish Drunkards,' 66, 199.

Florio, on threemen's songs, 83.

Flourish, 165, 167-8, 178, 179 (of cornets), 208.

'Flout 'em and scout 'em,' 77, 78, 91.

Flute, 31, 96, 98, 145, 169, 170, 171, 176.

'Fools had ne'er less grace,' 72.

'Fortune my Foe,' 76, 195.

Freemen, see Threemen.

French dancing, 136-151.

'French fiddles,' 49.

French march, 209.

Frescobaldi, 123.

Fret, quibbles on, 51, 58.

Frets, 19, 25, 45, 46, 56, 58.

GALLIARD, 114 (follows Pavan), 115, 116 (derivation), 121, 122, 123, 124, 126, 134, 138 (par terre), 142 (tune and steps), 148, 170, 201, 202.

Gallimaufry, 80, 84.

_Gammer Gurton's Needle_, comedy, 170.

Gam-ut, 39, 40, 60.

Gaufurius, 34.

Gentlemen and music, 5-8, 10, 12, 13-15, 20, 29, 47, 49, 50, 97, 98, 101.

'Get you hence,' 72.

Gibbons, Orlando, 54, 108, 124.

Giraldus Cambrensis, 83.

Gnorimus, master, 5, 6.

'Good morrow, 'tis St Valentine's day,' 77, 196.

Goodnights (dirges), 76, 109, 110.

Gosson, _Schoole of Abuse_, 20.

Gout, morisque bad for the, 151.

Gower, 65.

Grand Bal, Le, 144.

'Green Sleeves,' 74, 75, 194.

'Gregory Walker,' 7.

Ground Bass, 29, 30, 185.

Grove's Dictionary of Music, 113, 145, 192.

Guido d'Arezzo, 37.

_Hamlet_, 50-52, 76, 77, 125, 167, 172, 196-198, 205.

Hanskin, 192.

'Harmonious Blacksmith,' 28.

Harp, 65, 96, 98.

Harp, Irish, 31.

Harpsichord, 29, 30, 176, 185.

Harpsicon, 13.

Harsnet, on catches, 17.

Harrington, Sir John, 8, 10.

Hautboys, stage direction, 169, 175, 176, 209.

Hautboys, 144, 145, 159, 171, 176, 177, 209.

Hautboy, case of a treble, 76, 177.

Hay, dance, 131, 150 (tune and steps), 204, 205, 208.

'Heart's Ease,' 73, 129, 193.

'He is dead and gone,' 196.

Henry, Prince, brother of Charles I., 8, 173.

_Henry IV., Part I_, 81, 172, 182.

_Henry IV., Part II_, 70, 76, 105, 107, 109, 117, 177, 195.

_Henry V._, 31, 32, 41, 63, 114, 123, 129, 133, 136, 165, 166, 167, 172, 178, 180, 181, 182, 202, 210.

_Henry VI., Part I_, 56, 165, 166, 172, 182, 183, 208, 209.

_Henry VI., Part II_, 166, 172, 182.

_Henry VI., Part III_, 175, 182, 183.

Henry VII., Singing in time of, 65-69.

Henry VIII., a musician, 9, 10, 14, 26.

_Henry VIII._, 49, 73, 109, 110, 126, 139.

Herbert, George, 12.

Hexachord, 37, 187.

'Hey, Robin, jolly Robin,' 190.

Hilton, John, 77.

History of music in Shakespeare, 2, 3.

'Hold thy peace,' 77, 198.

Holofernes' head, 19.

Horn, 169.

Horns, stage direction, 182, 183, 211.

'How should I your true love know,' 77, 196.

Hugh, Parson, 187.

Hum, to, a burden, 22, 23, 24.

'Hundredth Psalm,' 75.

Hunsdean, Lord, 11.

'Hunt is up, The,' 73, 192.

Hunts-up, 73.

'I SHALL no more to sea,' 73, 191.

'I'm gone, Sir, and anon, Sir,' 190.

_Inglesant, John_, Mr Shorthouse's, 2, 29.

Instrumental Music, amongst lower classes, 18-20,
amongst higher classes, 9-15,
in barber's shop, 18, 19,
in taverns, 19, 20.

Instrumental music, descended from Vocal Dances, 113, 116, 117.

Instrumental music, England supreme in, 117.

_Introduction_, Morley's, 4-7, 8, 18, 23, 185.

Irish Harp, 31.

'It was a lover and his lass,' 93.

Ives, Simon, 171.

'JACK boy, ho boy,' 77, 92, 199.

Jacks, 54, 68.

James I., music in time of, 11.

Jaques, a hater of music, 93, 94.

Jenkins, John, 47, 72.

Jig, dance, 116-118, 121, 123, 124, 125.

Jig, The Cobbler's, 205.

Jigg, The King's Hunting, 205.

_Jocasta_, by Gascoyne, 170.

'Jog on,' 72, 192.

Johnson, Robt., 112, 171.

_John, King_, 95, 163, 182.

Jonson, _Alchemist_, _Silent Woman_, 18,
Masques by, 171.

_Julius Cæsar_, 108, 166.

Jusquin (Josquin des Prés, died 1521), 10.

KEN, Bishop, 13.

'King and the Beggar,' Ballad of the, 70.

King's Coll., Camb., Master of, in 1463, 9.

King's Hunting Jig, The, 117, 125, 205.

Kircher, 176.

'Knell,' Qu. Katherine's, 110-112.

'L'HOMME armé,' 85.

Lacy, Henry, _Jane Shore_, 171.

Lark, out of tune, 28.

Lavolt, 208.

Lavolta, dance, 115, 124, 136, 148, 149 (tune and steps).

Lawes, Henry, 171.

Lawes, William, 47, 171.

'Lawn, as white as,' 72.

_Lear_, 35, 36, 72, 181, 183, 186.

Le Roy, Adrian, see Lute, 55.

'Lesson,' _i.e._ a piece of music, 54, 60, 62, 76.

'Lesson' for the Lute, 187.

Lessons in music, 5, 6, 58-60, 62-64.

'Light o' love,' 24, 26, 70, 71, 187.

Locke, Matt., 31, 125.

Lollards, 86.

Love song, 55, 78, 81, 82, 88, 96.

'Love, love, nothing but love,' 72.

_Love's Labour's Lost_, 19, 70, 115, 118, 119, 131, 200, 204.

Lower classes, music amongst, 15-20.

_Lucrece_, 22-26, 127, 166, 185.

Lully, 119, 209.

Lute, 9, 10, 12, 30, 31, 55-61, 67, 68, 69, 73, 96, 98, 108, 109, 171.

Lute, objections to, in 17th cent., 56, 61.
Pavan for, 204.
tuning of, 55, 60, 61.

Lute-case, 41, 42, 129.

Lutenist, 13.

Lyly, on music at feasts, 20.

_Macbeth_, 166.

Mace, Thomas, 45, 46, 55, 56, 187

Mad Songs, 36.

Madness and Music, 32, 35, 64, 107.

March, military and national, 172-175, 208, 209.

Marlowe, 188.

Mary, Queen, 10.

Mascaradoes, music in, 115, 145.

Masque, 115, 145, 159-161, 171.

_Masque and Triumph_, Bacon's Essay on, 31.

May day customs, 132, 133, 161.

Mean, 27, 67, 84.

Measure, stately dance, 121, 123, 125-127, 203.

_Measure for Measure_, 157.

Méhul, 'Le Jeune Henri,' 183, 211.

Melvil's _Memoirs_, 11.

Melancholy of musicians, 156, 157.

Memoria Technica for step dance, 141.

_Merchant of Venice_, 81, 102, 155, 157, 160, 168, 180.

_Merry Devill of Edmonton_, The, 17.

_Merry Wives of Windsor_, 43, 71, 74, 76, 119, 120, 188, 194, 195.

Mersennus, 52, 80, 161, 174, 177, 179.

Metaphors, musical, in Shakespeare, see Quibbles.

_Mi Contra Fa_, 186.

_Mi_, to place the, 38, 69.

_Micrologus_, Guido's, 37.

_Micrologus_, Ornithoparcus's, 34.

_Midsummer Night's Dream_, 52, 114, 119, 160, 162, 167.

Military music, 162, 208, 209.

Milton, 105, 155, 171.

Minim rest, 43.

Miracle Play, 1512, music in, 169.

Monochord, 66, 68.

Monteverde, 47, 133, 206.

Moresca, Morisque, see Morris.

Morley, Thomas, 'Introduction,' 4-8, 18, 23, 33, 34, 41,
song, 93,
dances, 113-116, 122, 124, 136,
descant, 185.

'Morning Music,' 100, 101, 102.

Morris, dance, 132, 133, 151 (tune and steps), 205, 206, 208.

Mouton, middle 16th cent., 10.

_Much Ado_, 24, 70, 71, 81, 121, 125, 161, 162, 187.

Music at home, 107-109.
and disease, 106, 107.
and Manners, 5-8, 49, 67, 68.

Music and madness, 32, 35, 64, 107.

Music-masters, 5, 6, 14, 40, 58-60, 62-64, 66-68.

'Music of men's lives,' 32.

'Music,' stage direction, 169-171, 175, 208.

Music, in time of Charles I, 2, 47.

Music, two views of in Shakespeare, 2.

Music, Lessons in the fields, 6.

Music at University, 7-9, 12-14.

Music in barber's shop, 18, 19.

Music in taverns, decay of, 19, 20.

Music, lesson, of an hour, 59.

Musica Ficta, 69, 98.

Musical England, 20, 25, 47, 53, 54, 55.

Musical 'at home,' 16th cent., 5.

Musicians, Royal, 9-12.

_Musick's Monument_, 45, 46, 56, 187.

'My heart is full of woe,' 73, 130.

'My Mistress,' for Lute, 187.

'My Robin is to the greenwood gone,' 198.

NATIVITY HYMN, Milton's, 155.

Nebel, see Psaltery.

Nevell's, Lady, Virginal Book, 54.

Nightingale, descants, 22, 23.
kept awake with thorn, 22, 26.

Nimble notes, 22, 23.

Noise, _i.e._ concerted music, 105, 106.

'Note-splitting,' 28.

Note, to give a, 26, 27.

'O DEATH, rock me to sleep,' 111, 112.

'O heart, heavy heart,' 72.

'O mistress mine,' 87.

'O sweete Olyver,' 73, 193.

'O! the twelfth day of December,' 72, 89.

_Old Wives' Tale_, Peele's, 16, 189.

Oldcastle, Sir John, 86.

Ominous music, 159.

Ophelia's songs, 76, 77, 196-198.

'Orchésographie,' Arbeau's, 113, 119, 120, 122, 124, 137-151, 205, 206.

_Orchestra_, poem by Sir John Davies, 123.

Organ, in chamber music, 13, 30, 31, 48, 170 (on stage), 185.

Ornithoparcus, 34.

'Orpheus with his lute,' 73.

_Othello_, 102, 161, 166, 182.

Oxford, music at, 12-15.

PAGEANT of the Nine Worthies, 131.

_Pammelia_, Ravenscroft's, 17, 18.

Pandarus's songs, 72.

Pandarus, a musician and singer, 103, 104.

_Paradise Lost_, 155.

_Paradyse of daynty Devises_, 73, 74.

Parley, 182.

_Parthenia_, 54, 108, 114, 123, 201.

Part-songs by Henry VIII., 9.

Parts, vocal, 5, 7, 24, 25, 65, 72, 79, 80;
instrumental, 103.

Passamezzo, _see_ Pavan.

Passamezzo Pavan (Passy-measures), 114, 126, 134, 145, 201, 203.

Pasqualigo, letter of, 9.

_Passionate Pilgrim_, 71, 188.

Pavan, dance, 108, 113 (for voices), 114, 116 (with Galliard), 134-136, 144-146, 201-204.

Pavan, mode of dancing, 134, 144.

Pavan, 'quadrant,' 7.

Pavan, 'strains' of a, 23, 114, 135, 136, 144.

Pavane d'Espagne, _see_ Canaries, 146.

Peal of horns, to wind a; _see_ Horns, 211.

Peele, _Old Wives' Tale_, 16, 189.

'Peg-a-Ramsey,' 71, 89, 188.

Percy's Reliques, 83, 190, 196.

_Pericles_, 44, 64, 101, 107, 152.

Pes, or burden, 24.

Philomel, 22.

Pipe, with tabor, _see_ frontispiece, 78, 80, 81, 97, 98, 161, 162, 169.

Pipes, 129;
of cornstalk, 162.

Pipers and fiddlers, unprofitable, 20.

Pizzicato, 30.

_Plain and Easy Introduction to Practical Music_, 4-8, 23, 113-116.

Plain song, 6, 8, 41, 42, 50, 67, 69, 185.

Plain song book, 6.

'Play his part,' _see_ 'Bear,' 12.

Playford, John, 12, 45, 189.

Plays of Shakespeare with references to music, 4, _et passim_.

Plays, introduced by trumpets, 164.

Plays with music, 1586 to 1642, 171.

Popular Music, Old English, Chappell's, 9.

Praetorius, 122, 134.

Price, John, 80.

Prick-song, 15, 25, 41, 67, 69, 185.

Professional musicians, 17th cent., 13, 14, 130.

Proportion, 6, 7, 32, 33, 34;
153, Pythagoras on musical.

Psalmody, metrical, 85, 86.

Psaltery, 176.

Psychology of music in Shakespeare, 2, 152-158.

Public-house song, Elizabethan, 17, 20.

Punctus, _see_ Prick-song.

Puns, _see_ Quibbles.

Pupil and master, 5, 6, 7, 58-60, 62-64.

Purcell, _Bonduca_, 17, 36, 171.
operas, 176, 182, 183, 211.

Purcell, catch, 77.
canaries, 120.

Puritan, sings psalms to hornpipes, 84.

_Pyramus and Thisbe_, a masque, 160, 167.

Pythagoras, on music of spheres, 152-156.

QUADRANT Pavan, 7.

Quadrupla, 33, 34.

Quibbles, verbal, on musical terms, 4, 22, 23, 24, 26, 27, 28, 32, 36, 39, 40, 43, 44, 51, 53, 60, 76, 87, 88, 89, 93, 99, 103, 104, 120, 121, 122, 126, 127, 128, 129, 130, 135, 163, 183.

Quiddle, to, 16.

RAYE, _see_ Hay.

Rebeck, 129.

'Record,' use of the word, 50.

Recorder, 31, 50-53, 170, and frontispiece.

Regals, a small organ, on stage, 170.

_Rehearsal, The_, (comedy), 131.

Rests, 22, 23.

Retreat, stage direction, 171, 172.

Ribible, 129.

_Richard II._, 32, 48, 127, 182.

_Richard III._, 166, 167, 168.

Rimbault; Mus. Antiq. Soc., 36, 171.

Rimbault's '_Rounds, Canons, and Catches_', 17, 72, 83, 94.

_Romeo and Juliet_, 43, 73, 110, 129, 185, 192, 193.

Rotybulle Joyse, 67, 68, 69.

Round, dance, 123, 125, _see_ Hay.

Round (catch), 16, 17, 18, 23, 24, 69, 72, 91, 94.

Royal musicians, 9-12.

SACKBUT, 144, 176.

Salary of musicians in taverns, 19, 104.

Salary for a singer, 86, 87, 88.

Saltarello, dance, 84, 115.

Saltiers, company of dancers, 80, 84.

Saraband, dance, 116.

_Satiromastix_, by Dekker, 164.

Sault majeur, in galliard, 124, 138, 143, _see_ Caper.

Sault majeur, in lavolte, 149.

Scale, notation of, 37-40.

Scamps in Shakespeare, mostly musicians, 92,
_see_ Falstaff, Stephano, Pandarus, Toby, Autolycus.

Scotch Jig, 125.

'Scurvey tunes,' 191.

Selden, on dances, 118, 126.

Sellenger's Round, 54.

Sennet, 168, 178 (derivation), 210.

Serenades, 55, 96 ff, 128.

Serpent, 179, 180.

Sesquialtera, 7, 33, 34.

Sesquitertia, 33, 34.

'Set,' to, (of pitch), 26, 27.
quibble on, 27.

Shakespeare, trustworthy in musical matters, 1, 2, 3.

Shakespeare, passages on music classified, 21.

Sharps, 26, 27, 28.

_Ship of Fools_, Brant's, 96.

Shirley, _Triumphs of Peace_, 171.

Shorthouse, Mr J.H., 2.

_Shrew, Taming of the_, 39, 40, 58-60, 63, 64, 92, 168, 183, 187, 199.

Sight-singing, 7, 9, 25.

Silence's songs, 70.

'Sing his part,' see 'Bear,' 14, 15.

Singers' excuses, 93.

Singing, amongst lower classes, 15-18, 66-69, 78-80, 83, 84.

Singing, amongst higher classes, 5-9, 12, 13-15.

Singing, 13th and 14th cent., 65.

Singing, 15th and 16th cent., 66-69, 97, 98.

Singing-man of Windsor, 85.

Sinkapace, see Cinquepace.

Sir Roger de Coverly, dance, 115, 123.

Skelton, 66, 67.

'Sneak's noise,' 105, 106.

Social Life, music in, 4 ff.

Sol-Fa, 35-40, 67, 68, 130, 186.

Solmisation, 187.

Songs, mentioned or quoted in Shakespeare, 69 ff.

Sonneries, French trumpet calls, 178, 210.

_Sonnet VIII_, 25.

_Sonnet CXXVIII_, 54.

_Sophonisba_, by Marston, 170.

Spheres, Music of the, 152-156.

Spinet, 145, and frontispiece.

St Thomas Wake, Pavan and Galliard, 136, 201-203.

Stage Directions, musical, 4, 159, 165 ff, 169-171, etc.

Stanley, Thos., Hist. of Philos., 152.

Stephano's songs, 73, 191.

Steps, of dances, 122, 124, 139.

Stop, to, of strings, etc., 22, 26, 51, 52, 53.

Strain, technical meaning of, 23, 108, 114, 116, 124, 135, 136.

Strain, quibble on, 22, 23.

'Sumer is icumen in,' 23, 24, 65.

Supper, music after, 5, 105.

Swan-song, 95.

_Sylva Sylvarum_, Bacon's, 31.

Sympson, Christopher, 29, 30, 37, 38, 47, 116, 117, 185.

TABOR and Pipe, 78, 80, 81, 91, 92, 131, 133, 139, 161, 162, 176, and frontispiece.

Tabourin and Flutte, 139.

Tabourine, military drum, 162, 209.

Tabourot, Jehan, see Arbeau, 137.

Tangents, of clavichord, 68.

Tarantella, 35.

Tarantism, 35, 106.

Taverns, Music in, 19, 20, 104, 105.

Technical terms, musical, 21 ff.

_Tempest_, 73, 77, 81, 91, 92, 107, 122, 171, 191.

Temple, Sir W., 132, 133.

Tereus, 23.

Text, music in Shakespeare's, 4.

'The God of Love,' 70.

'The hunt is up,' 192.

'The master, the swabber,' 73, 191.

Theatres, closed, 19.

Theatres, music at, 175-177.

Theorbo, lute, 46, 56.

'There dwelt a man in Babylon,' 71, 89, 189.

'They bore him barefaste,' 77, 197.

'Thou knave,' 87, 88, 89, 198.

Threemen songs, 16, 66, 69, 79, 82, 83, 84, 85, 199.

'Three merry men,' 71, 89, 188.

Thunder and lightning, on stage, 165.

Time, _see_ Proportion.

Time, to keep, 22, 23, 32, 42, 43, 44, 87.

_Timon of Athens_, 115, 181.

Titus Andronicus, ballad of, 76, 196.

_Titus Andronicus_, 183, 211.

'To shallow rivers,' 71, 187.

Toby Belch's, Sir, songs, 71, 72, 188, 190, 198.

Toccata, 62, 181.

Tocco di campana, 62.

Tocsin, 62.

'Tom o' Bedlam,' 35, 36.

Tordion, dance, 138, 141, 142.

'Touch,' to, an instrument, 49, 62, 108.

Tragedies, Music in the, 4, 165, 169.

Trenchmore, or Frenchmore, a dance, 118, 131.

Trinity Coll., Camb., Statutes of, 8, 9.

Tripla, 33, 34.

_Troilus and Cressida_, 32, 72, 103, 104, 124, 162, 166.

Trumpets, in the theatre band, 176.

Trumpets, stage direction, 168, 169, 175, 178.

Tucket, 62, 63, 180-182, 210, 211.

Tudway, Dr, 49.

Tune, to keep in, 22, 26, 27, 28, 100.

Tusch, 63.

_Twelfth Night_, 29, 48, 71, 72, 77, 81, 88, 89, 94, 95, 108, 114, 121, 135, 152, 188-190, 198, 201, 202, 203.

_Two Gentlemen of Verona_, 24, 26, 71, 81, 98, 99, 100, 117, 128, 207.

_Two Italian Gentlemen_, comedy by Munday, 170.

'Two maids wooing a man,' 72, 79.

_Two Noble Kinsmen_, 71.

'UNDER the greenwood tree,' 72.

University, music at, 16th and 17th cent, 7, 8, 9, 12-14.

'Usurer's wife, The,' ballad, 72, 79.

Ut, Re, Mi, 37-40, 187.

VARIATIONS, 28, 29, 48, 195.

Ventages, 51.

_Venus and Adonis_, 166.

Viol, treble, tenor, bass, 12, 13, 19, 31, 45, 46, 47, 171, and frontispiece.

Viols, 11-14, 19, 44-49, 61, 65, 98, 101, 170.

Viols, tuning of, 46, 47.

Viol da Gamba, 11, 12, 19, 29, 30, 45, 46, 47, 48.

Viol da Gamba, divisions on the, 29, 30, 186.

Violin, 45, 49, 62, 145, 176.

Violin, thought vulgar, 13, 46, 59.

Violone, double-bass, 48, 176.

Virginal, 10, 11, 13, 31, 53, 54, 68, 76, 123.

Virginal, Qu. Elizabeth's, 11, 53, and frontispiece.

Virginal Book, _see_ Fitzwilliam _and_ Lady Nevell.

Volta, Volte, _see_ Lavolta.

'WALSINGHAM,' 196.

Weavers, and singing, 86, 87, 88.

'Wee be souldiers three,' 199.

'What shall he have,' 77, 94.

'When Arthur first,' 70.

'When daffodils,' 72.

'When griping grief,' 73, 128, 130, 193.

'White his shroud,' 196.

'Whoop, do me no harm,' 72, 78, 190.

'Will you buy any tape,' 72.

Windsor, St George's Chapel Choir, 85.

_Winter's Tale_, 53, 72, 78, 80, 190, 192, 199.

Wood, Anthony, 12, 13.

Wright, Mr W. Aldis, 9, 31, 83.

YE noble minds, 195.

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End of Project Gutenberg's Shakespeare and Music, by Edward W. Naylor