The
first
Chapter
of
the
first
Tune
of
Musicke
.
FOR
the
first
tune
we
wil
take
for
example
the
song
of
Orland
de
Lassus
beginning
Quand
mon
mary
vient
de
dehors
,
in
which
we
must
firstly
set
the
treble
:
the
first
note
wherof
being
in
gsolreut
must
be
set
on
the
second
string
of
the
Lute
open
,
that
is
to
lay
,
so
as
the
finger
of
the
left
hand
do
not
toutch
vpon
that
string
:
although
we
sée
in
other
tunes
that
the
treble
open
serueth
for
Gsolreut
,
and
sometime
for
Ffaut
,
as
in
the
sixt
tune
.
True
it
is
that
such
as
be
cunning
in
this
Art
,
do
dispose
of
them
diuersly
at
their
pleasure
:
but
it
is
not
to
them
that
I
direct
my
present
worke
.
Now
of
these
eight
tunes
there
is
made
a
difference
of
foure
called
the
Master
or
principall
tunes
,
that
is
to
say
,
the
first
,
the
third
,
the
fift
,
the
seuenth
,
and
of
foure
called
their
sequels
or
seruants
,
which
be
the
second
,
the
fourth
,
the
sixt
&
the
eight
.
Of
these
eight
the
first
&
second
end
in
re
,
the
third
and
fourth
in
my
,
the
fift
and
sixt
in
fa
,
the
seuenth
and
eight
in
sol
:
notwithstanding
that
there
may
be
a
changing
or
trasposition
,
as
in
the
first
and
second
tune
from
Re
of
Gsolreut
,
and
from
Re
of
Dlasolre
,
and
so
in
the
other
of
diuers
My
,
Fa
,
sol
.
To
retorne
then
to
the
discourse
of
the
first
tune
,
we
haue
to
giue
a
reason
wherfore
we
haue
before
ordered
,
that
the
second
string
of
the
Lute
open
shal
serue
for
Gsolreut
,
which
is
because
this
first
tune
hath
his
retche
or
compasse
a
fourth
or
foure
notes
higher
then
the
second
▪
as
contrariwise
the
second
hath
his
retch
or
compasse
a
fourth
lower
.
So
is
it
of
the
other
six
tunes
,
that
euery
Mastertune
hath
alwaies
his
retch
or
compasse
higher
by
a
fourth
and
the
sequeles
or
seruaunt
tunes
,
the
base
likewise
contrary
.
Now
must
bée
vnderstood
the
cause
why
herebefore
we
haue
layed
for
foundation
,
that
in
setting
songs
to
the
Lute
,
we
procéede
by
sembreues
,
Which
is
by
occasion
of
the
nature
&
disposition
of
this
instrument
,
as
it
is
likewise
in
that
of
the
Uirginalles
,
but
contrary
in
Organs
.
For
in
Organs
,
the
tune
may
hold
a
Maxim
being
as
long
as
eight
sembreues
,
yea
and
longer
by
meanes
of
the
wind
continu●●
by
the
bellowes
.
But
in
the
other
two
instruments
their
sound
,
which
dependeth
altogither
by
the
toutch
of
the
fingers
,
cannot
endure
longer
then
a
sembreue
:
if
the
string
on
the
one
,
or
the
key
on
the
other
,
be
not
touched
againe
by
the
hand
:
which
is
the
reason
in
consequence
,
that
forceth
vs
when
we
set
in
Tablature
,
to
deuide
Maxims
alwayes
in
eight
partes
,
Longes
in
foure
,
Breues
in
two
,
and
so
forth
of
other
great
notes
which
are
augmented
with
pricks
.
Herein
lieth
the
reason
for
the
Etimologie
of
the
woord
.
To
omit
nothing
of
the
whole
instruction
of
the
Tablature
of
the
Lute
,
I
haue
diuised
this
foundacion
to
be
thereunto
necessary
:
that
is
to
saye
,
the
manner
of
musick
to
set
a
song
by
setting
forth
the
retch
or
compasse
of
all
the
notes
in
euery
one
of
the
foure
partes
,
by
examples
of
the
first
Tune
in
the
song
Qand
mon
mary
vient
de
dehors
,
where
I
haue
set
forth
all
the
notes
as
far
as
they
did
retch
in
the
whole
making
of
that
song
.
In
the
which
I
haue
to
aduertise
you
,
that
there
is
first
to
be
seen
,
the
letters
of
the
tablature
,
aunswerable
to
the
note
of
the
song
,
and
the
vnissons
which
maye
chaunce
vppon
the
strings
of
the
Lute
.
Also
the
reader
shall
find
in
the
example
of
the
Base
,
that
in
the
first
note
we
were
dryuen
to
haue
recours
to
the
eight
aboue
,
as
yt
appereth
in
the
Retche
or
compas
:
which
must
serue
herafter
for
a
generall
rule
in
all
other
songs
here
giuen
for
examples
:
that
is
to
wete
,
aswell
for
refuge
to
the
said
eights
,
as
to
the
compasse
of
the
note
.
Which
I
wold
to
be
vnderstood
for
all
songs
of
the
first
Tune
,
which
ar
to
be
set
on
the
Lute
:
in
which
it
cannot
be
often
found
that
they
excede
this
compasse
aboue
one
note
higher
or
lower
.
And
so
shall
it
be
presupposed
of
the
other
Tunes
following
,
and
likewyse
of
the
compasse
of
them
.
Here
I
will
not
forgette
to
tell
that
the
learner
of
this
Arte
,
may
not
faile
after
he
hath
set
out
his
Treble
in
Tablature
to
tel
diligently
all
the
measures
of
the
same
,
for
feare
of
this
Inconuenience
,
which
chaunceth
oftentymes
,
yea
to
the
most
expert
for
Lacke
of
this
diligence
,
to
goo
ouer
and
beginne
againe
the
woorke
nowe
already
half
doon
,
for
that
there
maye
happen
to
muche
or
to
littell
:
so
as
if
the
foundacion
be
not
good
,
all
that
is
Laied
vpon
must
nedes
goo
to
ruyne
.
The
Reach
or
compasse
of
the
song
,
Quand
mon
mary
.
The
compasse
of
Base
.
Of
the
Tenoor
.
Base
.
Tenor.
Of
the
Countertenor
.
Of
the
Treble
.
Countertenor
.
Treble
.
TO
beginne
the
example
to
set
,
first
you
must
knowe
,
that
this
marke
like
vnto
a
C
,
with
a
strike
thorowe
,
signifieth
the
measure
to
be
by
the
nomber
of
twoo
,
whiche
hauyng
no
strike
,
betokeneth
double
measure
,
whiche
the
Italians
call
the
blacke
note
:
because
that
in
that
kinde
of
song
,
there
are
vsed
many
quauers
yea
,
and
sem●e
quauers
,
whiche
hapen
verie
seldome
in
the
measure
of
twoo
,
as
the
Battaile
,
Caquet
des
femmes
,
chant
des
oyseaux
,
and
suche
other
songes
of
Clement
Ianequin
.
Now
as
touchyng
the
first
drafte
of
this
example
,
you
see
there
the
first
note
,
a
,
to
be
in
value
a
Minim
,
the
seconde
.d
,
in
value
a
cratchet
with
the
other
next
followyng
,
whiche
is
of
the
same
value
the
former
is
,
although
it
be
not
marked
vpon
:
in
whiche
matter
you
shall
knowe
that
this
marke
is
in
value
this
in
value
this
in
value
this
in
value
and
this
last
in
value
.
As
for
the
prickes
where
soeuer
thei
chaunce
,
thei
encrease
the
value
of
the
note
nexte
before
,
by
the
one
halfe
,
as
it
hath
been
shewed
here
before
in
the
notes
of
Musick
.
As
to
the
firste
measure
of
the
song
of
Orlande
,
we
muste
make
the
distaunce
large
enough
(
as
it
is
to
be
obserued
in
all
the
reste
)
because
there
maie
chaunce
many
Cratchettes
or
Quauers
,
in
some
other
partes
of
the
song
,
besides
those
of
the
treble
:
whiche
as
you
se
we
doe
here
place
first
.
For
this
cause
the
twoo
distances
,
the
fifte
and
the
sixte
bee
seen
voide
,
because
of
the
restes
of
the
treble
there
.
Also
in
the
seuenth
distaunce
,
you
see
the
firste
marke
to
bee
in
value
a
Minim
,
whiche
hauyng
no
letter
vnderneth
,
signifieth
there
a
Minim
reste
.
The
twoo
strikes
marked
with
prickes
after
the
fiftenth
distaunce
,
doe
signifie
that
you
muste
repeate
the
line
endyng
there
.
In
the
distaunce
nexte
after
the
same
strikes
,
after
the
reste
,
there
is
marked
but
the
halfe
of
the
value
of
the
sembrieue
standyng
betwene
bothe
,
whiche
is
notwithstandyng
,
marked
whole
in
the
song
or
Musick
:
because
that
the
string
beyng
stricken
once
,
doeth
holde
the
sounde
of
the
sembrieue
:
as
it
happeneth
also
sometyme
of
a
Minim
standyng
so
betwene
bothe
.
You
must
also
marke
,
that
at
the
repetition
shewed
before
,
you
must
beginne
at
the
seconde
distaunce
,
noted
with
the
marke
to
begin
againe
▪
and
not
at
the
first
distaunce
whiche
must
be
likewise
at
all
tymes
hereafter
obserued
,
when
so
euer
ye
shall
see
that
marke
.
Note
also
that
the
double
strike
,
nexte
the
strike
of
repetition
,
doeth
signifie
that
,
that
whiche
is
enclosed
betwene
them
,
must
be
left
out
in
the
plaiyng
forthe
of
the
song
,
after
the
repetition
of
the
first
parte
of
thesame
.
AFter
the
marke
of
repetition
,
in
the
twelfth
and
eightenth
distaunce
,
there
be
twoo
markes
,
without
any
letter
vnderneth
in
Tablature
,
whiche
signifieth
so
many
halfe
restes
,
,
in
the
Musick
.
In
the
laste
distaunce
beyng
the
ende
of
the
treble
,
is
the
letter
,
a
,
alone
,
whiche
tarieth
for
the
ende
of
the
other
partes
:
repeatyng
the
laste
woordes
of
the
song
.
And
this
same
self
letter
,
a
,
shall
continue
still
to
sustaine
,
and
accompanie
the
other
partes
to
the
ende
,
as
long
as
thei
shall
holde
out
.
In
whiche
must
be
noted
and
obserued
that
in
settyng
,
the
ende
of
any
song
muste
neuer
be
closed
,
till
all
the
partes
bee
ioyned
together
:
for
so
muche
as
sometyme
the
treble
holdeth
the
note
,
and
sometyme
some
other
of
the
partes
.
NOw
it
is
conueniente
for
vs
to
declare
the
orderyng
of
the
necke
of
the
Lute
,
to
wete
,
the
vt
,
re
,
my
,
fa
,
sol
,
la
,
vpon
the
strynges
,
and
of
the
tunes
vpon
the
stops
.
There
bee
ordinarily
eight
stops
in
nomber
:
whereof
euery
one
containeth
but
halfe
a
tune
or
note
:
and
any
stryng
open
hath
his
firste
tune
or
note
whole
,
so
euery
other
note
doeth
take
twoo
stops
:
beyng
none
other
difference
,
but
of
halfe
a
note
from
one
stoppe
to
an
other
nexte
,
whiche
is
a
thyng
necessarie
to
bee
vnderstoode
for
this
presente
woorke
,
to
sette
in
Tablature
.
Also
that
from
the
greate
Base
,
beyng
open
to
the
second●
Base
,
called
the
firste
stryng
,
are
fower
notes
,
from
the
firste
stryng
to
the
fowerth
,
are
fower
notes
,
from
the
fowerth
to
the
thirde
,
three
notes
,
from
the
thirde
to
the
seconde
,
fower
notes
,
and
from
that
to
the
Treble
,
are
also
fower
notes
.
NOw
as
touchyng
whole
notes
,
and
halfe
notes
,
whereof
we
beganne
to
speake
,
it
is
to
bee
noted
,
that
the
chaunge
,
commonly
called
b.
sharpe
or
square
,
altogether
differryng
from
b.
flatte
,
in
that
b.
sharpe
doeth
holde
vp
the
●une
halfe
a
note
higher
,
and
b.
flatte
,
contrarywise
doeth
lette
it
fall
halfe
a
note
lower
,
whiche
chaunge
is
necessarie
to
bee
knowen
in
euery
descente
of
Musicke
(
this
must
be
vnderstoode
of
the
Treble
)
albeit
thei
doe
not
vse
to
marke
them
,
in
many
sortes
of
songe
,
sauyng
in
this
aswell
in
the
Treble
,
as
in
the
other
partes
.
Whiche
descente
must
be
vnderstoode
,
to
be
like
vnto
the
Treble
,
in
what
tune
so
euer
it
bee
founde
.
And
if
the
learner
of
this
arte
should
not
well
vnderstande
,
that
the
chaunge
into
b.
sharpe
in
the
descente
,
doeth
fall
vpon
the
laste
note
saue
one
,
he
shall
knowe
it
euidently
by
the
marke
,
whiche
I
will
not
forget
to
set
throughout
all
myne
examples
.
But
he
must
also
knowe
,
that
the
chaunge
into
b.
sharpe
,
maie
chaunce
in
any
ther
place
,
then
vpon
descentes
.
Also
there
resteth
to
consider
,
that
in
the
vt
,
re
,
my
,
fa
,
sol
,
la
,
my
towardes
fa
,
doeth
beare
but
half
a
note
,
nor
fa
,
towardes
my
,
that
is
to
saie
,
aswell
in
goyng
vpwarde
,
as
commyng
dounwarde
,
but
bothe
these
in
all
other
respectes
,
and
also
all
other
notes
doe
beare
a
whole
note
.
Also
euery
note
taketh
twoo
stops
vpon
the
necke
of
the
Lute
,
and
the
halfe
note
one
stoppe
onely
:
but
.
A.
hath
been
put
and
sette
forthe
for
a
marke
,
betokenyng
a
whole
note
vpon
euery
stryng
opon
,
then
B.
in
the
first
stoppe
in
the
toppe
of
the
necke
,
a
halfe
note
.
C.
an
other
halfe
note
in
the
seconde
stoppe
.
D.
in
the
thirde
.
E.
in
the
fowerth
.
F.
in
the
fifte
.
G.
in
the
sixte
.
H.
in
the
seuenth
.
I.
in
the
eight
:
whiche
bee
the
nomber
of
the
stoppes
,
moste
accustomed
vpon
the
necke
of
this
instrumente
,
notwithstandyng
,
that
thei
doe
not
lette
to
goe
further
towarde
the
knotte
vpon
the
bealie
of
the
Lute
,
by
the
guidyng
and
iudgement
of
the
eare
.
HAuyng
vnderstoode
the
maner
how
to
sette
the
Treble
in
Tablature
,
we
must
now
in
proceadyng
,
se
to
the
other
partes
,
beginnyng
at
the
high
Tenour
,
called
in
Latine
Contratenor
▪
whiche
is
nexte
to
the
highest
,
or
Treble
:
whereof
here
followeth
the
example
.
¶
The
ioynyng
of
the
Treble
with
the
Countertenour
.
VPon
this
beginnyng
of
ioynyng
the
Treble
with
the
Countertenour
in
Tablature
,
is
to
bee
noted
the
excellencie
of
the
Lute
aboue
the
Uirginalles
,
in
the
first
accorde
of
this
songe
,
in
that
the
.
F.
there
dooeth
furnishe
the
vnisson
,
fillyng
so
muche
the
more
the
Harmonie
.
In
whiche
accorde
,
and
the
nexte
followyng
,
because
the
Treble
occupieth
the
place
of
the
Countertenour
:
we
were
forced
to
set
the
.
F.
vpon
the
thirde
stryng
,
where
the
vnisson
of
the
.
A.
of
the
seconde
stryng
is
.
You
must
marke
that
in
the
eight
distaunce
in
the
Treble
parte
,
as
it
was
first
set
out
alone
,
there
were
marked
twoo
Minims
:
but
in
this
seconde
example
,
wherein
is
added
the
Countertenour
,
we
haue
been
driuen
to
chaunge
those
twoo
Minims
into
fower
Cratchettes
,
because
of
the
aunsweryng
of
the
pricke
,
and
the
three
Cratchettes
,
whiche
meete
there
in
the
Countertenour
:
and
yet
neuerthelesse
,
the
twoo
Minims
kepe
their
part
still
in
the
instrument
.
And
in
the
thirtene
distaunce
,
ye
maie
see
twoo
Minims
first
together
,
that
is
to
saie
,
bothe
of
the
Treble
and
Countertenour
,
but
the
seconde
Minim
of
the
Treble
,
whiche
was
in
the
first
example
single
,
in
this
(
whiche
is
as
it
were
a
seconde
or
double
example
)
is
necessarily
conuerted
into
a
Cratchet
,
because
of
the
pricke
,
and
the
Cratchet
of
the
Countertenour
.
Here
muste
bee
noted
,
that
where
soeuer
there
chaunceth
a
pricke
,
it
shal
be
alwaies
best
for
the
easinesse
of
the
Tablature
,
to
tourne
that
pricke
into
the
figure
of
the
note
of
his
Tune
or
value
,
to
aunswere
to
the
other
notes
,
of
the
partes
commyng
together
:
as
is
to
be
perceiued
that
I
haue
vsed
in
all
this
booke
.
Likewise
in
the
laste
note
.
A.
of
the
Treble
(
whiche
is
in
this
example
double
of
twoo
partes
)
marked
in
the
twoo
distaunces
,
the
laste
saue
one
,
and
the
last
,
because
)
as
it
hath
been
tolde
alreadie
)
of
holdyng
the
ende
,
the
Semibreue
is
of
necessitie
tourned
into
Cratchettes
.
Examples
of
three
partes
.
TO
treate
now
in
this
example
of
the
Tenour
,
as
of
the
thirde
parte
,
we
must
first
tell
you
,
that
where
you
see
but
twoo
partes
in
the
Tablature
,
that
betokeneth
so
many
restes
in
the
Musick
of
the
Tenour
:
whiche
beginneth
to
fill
with
the
rest
in
the
fowerth
distaunce
,
where
you
see
,
that
besides
the
sembrieues
of
the
Treble
,
and
Countertenour
,
you
must
set
a
Minim
,
and
twoo
Cratchettes
,
because
of
the
Tenour
,
that
is
to
saie
,
in
the
figure
of
settyng
in
Tablature
although
that
in
the
truthe
of
plaiyng
,
by
the
touchyng
of
the
finger
,
the
Sembrieue
remain
alwaies
whole
,
bothe
here
and
in
all
other
like
places
,
as
it
hath
been
before
declared
in
the
partes
,
as
thei
were
sette
out
seuerally
:
and
note
that
the
twoo
distaunces
,
fifte
and
sixte
,
whiche
were
before
voide
,
are
here
filled
by
the
commyng
in
of
the
Tenour
:
as
the
nexte
space
followyng
,
is
perceiued
to
bee
filled
with
a
Minim
by
the
Tenour
,
although
in
effecte
vpon
the
Lute
,
he
holdeth
the
tyme
of
a
whole
Sembrieue
,
Here
,
nor
at
any
tyme
hereafter
in
plaiyng
,
is
to
be
forgotten
the
skip
,
or
leauyng
out
,
whiche
must
alwaies
be
made
of
the
notes
betwene
the
twoo
barres
,
and
the
place
of
repetition
.
The
ioynyng
of
fower
partes
together
.
Quand
mon
mary
.
IN
these
fower
partes
of
Musick
now
ioyned
together
in
Tablature
,
this
is
to
bée
considered
vpon
the
fowerth
distaunce
,
where
the
Base
doeth
begin
to
come
into
the
other
partes
,
that
although
wee
see
there
but
three
letters
,
whiche
can
represent
to
the
sight
but
three
partes
,
yet
in
effecte
the●
bee
taken
for
fower
partes
:
for
so
muche
as
the
first
note
of
the
Base
beginnyng
,
is
in
an
vnisson
with
the
Tenour
.
True
it
is
,
that
there
might
be
an
.
H.
put
on
the
greate
Base
,
or
laste
stryng
(
whiche
maketh
an
v●isson
with
the
presente
.
C.
but
it
is
let
passe
in
this
,
and
all
other
like
places
,
to
make
the
plaie
more
easie
,
and
to
auoide
muche
strain●ng
of
the
hande
.
¶
The
former
song
finely
handeled
.
Quand
mon
mary
.
¶
Of
the
transposition
of
the
first
Tune
.
THere
resteth
for
the
clere
endyng
of
this
first
Tune
,
to
beate
a
woorde
or
twoo
of
the
transposition
of
this
first
Tune
,
whiche
shall
serue
for
a
generall
rule
to
all
other
Tunes
followyng
:
that
is
to
saie
,
alwaies
from
.
b
.
sharpe
,
to
.
b
.
flatt
.
The
first
in
distaunce
of
a
fowerth
,
the
seconde
of
a
fifte
.
The
thirde
of
a
fowerth
.
The
fowerth
of
a
fowerth
.
The
fifte
a
fowerth
.
The
sixte
of
a
fifte
.
The
seuenth
of
a
fifte
.
The
eight
of
a
fowerth
.
TO
make
this
woorke
in
all
poinctes
parfite
,
and
to
shewe
you
(
as
a
man
might
saie
)
not
onely
the
plaine
and
rude
Gramme●
,
but
also
further
somewhat
like
to
the
eloquence
of
Rhetorike
,
I
haue
thought
good
in
this
place
of
the
first
Tune
●to
croune
as
i●
were
the
worke
withall
)
to
adde
an
example
of
the
same
song
,
adorned
with
runnyng
poinctes
and
passages
,
as
wee
will
likewise
doe
in
the
example
of
euery
song
,
giuen
for
example
:
to
the
intente
the
scholer
maie
learne
to
decke
other
songes
or
daunses
,
with
like
flowers
and
ornamentes
:
in
whiche
he
shal
bee
forced
sometyme
,
for
the
better
grace
and
pleasyng
of
●he
eare
,
to
leaue
out
some
one
note
of
the
accorde
,
of
some
one
of
the
partes
:
not
so
muche
for
all
that
for
necessitie
,
as
for
the
pleasauntnesse
of
the
sounde
:
yea
,
and
that
with
fall
recompence
of
the
lacke
of
the
note
,
whiche
shal
bee
omitted
,
by
the
puttyng
to
of
a
runnyng
poinct
or
passage
,
wherein
lieth
all
the
cunnyng
.
¶
The
●eche
or
compasse
of
this
present
song
of
the
first
tune
,
transposed
or
altered
.
The
compasse
of
the
Base
.
Of
The
Tenour
.
Base
.
Tenour
.
Of
the
Countertenour
.
Of
the
Treble
.
Countertenour
.
Treble
.
¶
Transposition
or
alteration
of
the
first
Tune
.
Si
le
bien
qui
au
plus
grand
bien
.
IN
this
example
of
Trasposition
,
we
must
consider
once
for
all
,
that
although
the
ende
of
this
song
of
Aacadet
(
of
whiche
alwaies
the
iudgemente
is
made
)
doeth
fall
and
ende
in
Dlasolre
,
it
is
neuerthelesse
,
taken
for
like
to
the
former
example
of
Orlande
,
whiche
endeth
in
Gsolreut
.
Also
we
make
no
difference
of
Tune
▪
but
make
hym
ende
vpopn
the
Lute
,
on
the
same
seconde
stryng
open
.
There
remaineth
to
prescribe
,
or
obserue
in
settyng
,
that
as
ofte
as
there
is
one
,
twoo
,
or
mo
restes
in
any
song
,
as
in
the
firste
distaunce
of
the
Treble
of
this
present
,
that
you
beginne
alwaies
to
set
in
Tablature
,
the
marke
of
the
Semibreue
,
because
it
shall
bee
easie
for
you
,
if
there
happen
any
shorter
measure
in
any
of
the
other
partes
,
to
conuert
that
marke
of
Semibreue
,
into
a
Minim
,
Cratchet
,
or
Quauer
.
¶
The
ioynyng
of
twoo
partes
together
:
Treble
,
and
Countertenour
.
IT
is
nedefull
to
take
hede
to
the
fowerth
distaunce
of
this
example
,
of
twoo
partes
:
that
is
to
saie
,
of
the
Treble
with
the
Countertenour
:
that
naturally
the
.
F.
whiche
you
see
there
,
was
an
.
A.
in
Semibreue
(
as
it
is
to
bee
see
.
●
in
the
former
example
of
the
single
Treble
)
whiche
it
behoueth
vs
to
chaunge
,
by
reason
of
the
Countertenour
commyng
to
that
place
,
whiche
mounteth
a
thirde
higher
then
the
Treble
,
in
the
last
halfe
of
the
Semibreue
:
albeit
the
A.
might
haue
remained
for
this
first
half
,
but
so
had
the
other
halfe
loste
his
Tune
.
For
this
cause
it
was
necessarie
,
to
go
doune
from
the
seconde
stryng
,
to
the
thirde
,
tournyng
the
.
A.
into
.
F.
(
whiche
is
his
vnisson
vpon
the
Lute
)
whiche
shal
maintaine
the
sounde
of
the
Semibreue
whole
:
a
thyng
necessarie
to
be
obserued
in
all
other
like
haps
,
that
as
ofte
as
the
proper
and
naturall
place
of
the
one
parte
,
shal
be
occupied
by
an
other
,
you
must
of
necessitie
haue
recourse
to
an
other
stryng
,
that
maketh
the
vnission
with
that
,
for
the
vnderstandyng
of
whiche
vnissons
throughly
,
wee
will
here
vnderneth
by
waie
of
example
,
giue
you
a
generall
collection
of
all
the
vnisson
,
whiche
maie
be
founde
on
the
necke
,
or
beallie
of
the
Lute
.
¶
A
generalitie
of
vnissons
.
IN
this
example
of
three
par●e●
,
wee
will
〈…〉
particulerly
all
the
distaunces
,
in
whiche
the
partes
meete
〈…〉
an
other
,
with
〈…〉
of
the
notes
:
as
the
Treble
beyng
a
Semibreue
,
the
Countertenour
〈…〉
Cratchettes
and
Qa●ers
:
In
whiche
we
haue
to
prescribe
〈◊〉
a
generall
rule
,
that
as
ofte
as
that
happen●th
,
the
notes
of
eche
parte
,
one
after
the
other
,
whiche
were
sette
〈◊〉
in
their
naturall
order
(
as
you
haue
been
〈…〉
before
)
muste
bee
chaunged
and
conuerted
in
all
fower
pa●tes
se●e●ally
:
somtyme
it
chaunseth
,
that
the
Countertenour
hath
a
Semibreue
,
where
the
Treble
againste
hym
hath
Minims
,
and
so
likewise
of
the
other
twoo
partes
,
whiche
maie
happen
in
all
diuersities
of
value
.
¶
The
ioynyng
of
fower
partes
together
.
¶
More
finely
handled
.
SY
●e
bien
bui
tu
plus
grand
bien
.
¶
The
seconde
Chapiter
of
the
seconde
Tune
.
THis
seconde
Tune
,
whiche
is
called
folower
,
or
seruaunt
to
the
first
maister
Tune
,
because
he
hath
his
reche
or
compasse
a
fowerth
lower
,
therefore
it
behoued
vs
to
set
hym
so
muche
the
higher
,
that
is
to
saie
,
in
the
Treble
open
which
shall
serue
for
Gsolreut
,
where
it
was
in
the
seconde
stryng
open
in
the
first
Tune
.
In
this
example
of
the
Treble
,
I
haue
to
aduertise
you
vpon
the
fowerth
distaunce
,
in
which
ye
se
a
marke
of
the
value
of
a
Minim
,
without
any
other
letter
in
the
Tablature
vnder
it
,
that
thesame
procedeth
because
of
the
pricke
,
whiche
is
in
the
Musick
ioyned
to
a
Semibreue
of
the
third
distauce
:
and
that
folowyng
a
rule
,
which
we
haue
giuen
you
before
,
that
the
Lute
striken
out
once
,
could
not
hold
the
sound
aboue
the
time
of
one
semibreue
:
whiche
must
bee
vnderstoode
for
the
perfection
of
the
more
greater
harmonie
:
albeit
that
the
sounde
of
the
stryng
,
might
partly
endure
the
value
of
a
pricke
added
,
or
of
the
half
more
,
but
the
sound
towards
the
ende
is
alwaies
naturally
of
lesse
force
,
as
the
seconde
sounde
of
an
Echo
in
his
doublyng
.
So
maie
the
pricke
of
the
Semibreue
(
as
it
shall
like
hym
that
setteth
,
be
left
out
from
beyng
marked
with
any
letter
in
Tablature
,
or
els
be
marked
by
the
discretion
,
and
iudgement
of
the
eare
.
For
it
is
certain
that
the
sounde
is
more
strong
,
and
of
longer
tariyng
,
accordyng
to
the
goodnes
of
the
Lute
.
¶
The
rethe
or
compasse
of
the
song
of
Orland
,
le
l'ayme
bien
.
The
compasse
of
the
Base
.
Of
The
Tenour
.
Base
.
Tenour
.
Of
the
Countertenour
.
Of
the
Treble
.
Countertenour
.
Treble
.
IN
this
example
of
the
Countertenour
ioyned
to
the
Treble
,
in
the
firste
distaunce
,
there
is
an
.
F.
twise
vpon
the
seconde
stryng
,
whiche
had
their
naturall
place
in
the
Treble
,
where
a
learner
smally
exercised
mighte
haue
placed
them
.
But
because
the
.
H.
whiche
must
be
in
the
place
of
.
C.
of
the
Treble
,
the
placyng
of
the
twoo
.
FF
.
did
come
to
better
purpose
,
for
the
art
and
grace
of
the
plaiyng
.
Also
because
these
twoo
,
A.A.
had
doen
wrong
to
occupie
the
place
&
tune
of
the
.
F.
of
the
Treble
whiche
is
in
value
a
Minim
and
a
pricke
,
whiche
must
bee
obserued
generally
in
euery
like
hap
,
vpon
what
stryng
so
euer
it
bee
:
whiche
thyng
often
vse
in
settyng
diuerse
songes
,
will
teache
sufficiently
.
¶
The
ioynyng
together
of
twoo
partes
,
Treble
,
and
Countertenour
.
HEre
where
three
partes
are
ioyned
together
,
we
haue
to
declare
that
in
the
fowerth
distaunce
,
in
settyng
after
them
common
sorte
,
there
is
.
B.
and
.
D.
on
the
seconde
and
thirde
strynges
,
in
the
first
Minim
,
whiche
if
it
should
stand
●o
would
bryng
an
inconuenience
in
the
pricke
.
B
whose
sounde
would
be
loste
,
in
goyng
to
the
nexte
stoppe
.
To
preuent
whiche
,
we
will
amende
them
otherwise
,
in
the
example
of
fower
partes
together
hereafter
,
tournyng
the
.
B.
here
into
.
G.
vpon
the
thirde
stryng
(
whiche
is
his
vnisson
)
likewise
the
.
D.
into
.
H.
vpon
the
fowerth
stryng
▪
which
beyng
so
brought
to
perfection
▪
shal
be
in
that
order
also
more
easie
for
the
hande
:
besides
the
necessitie
it
hath
by
reason
of
the
stop
of
the
next
distaunce
,
of
whiche
also
the
twoo
.
D.
D
▪
of
the
thirde
stryng
be
to
be
chaunged
into
as
many
.
H.H.
vpon
the
fowerth
stryng
.
These
be
thynges
that
happen
ofte
,
so
as
to
declare
euery
one
,
it
were
almoste
infinite
,
if
the
iudgement
of
the
learner
of
this
arte
,
should
not
supplie
it
by
reason
,
aswell
hauyng
regarde
to
the
grace
in
plaiyng
,
as
the
ease
and
commoditie
of
the
hande
.
So
I
omitte
in
this
example
to
goe
ouer
againe
many
distaunces
of
like
sorte
,
reseruyng
the
correction
,
for
the
nexte
example
▪
where
fower
partes
are
ioyned
together
.
The
ioynyng
of
thrée
partes
together
,
Treble
,
Countertenour
and
Tenour
.
IN
this
present
song
of
Orlande
of
the
seconde
Tune
,
beginnyng
,
Ie
l'aame
bien
,
whiche
you
maie
see
here
of
fower
partes
set
in
Tablature
,
all
the
distaunces
whiche
I
had
lefte
in
the
former
example
of
three
partes
,
onely
in
their
naturall
and
grosse
order
,
here
I
will
deliuer
them
vnto
you
,
brought
into
a
more
artificiall
sorte
:
so
that
you
doe
vnderstande
,
that
the
firste
maner
is
alwaies
necessarie
to
beginne
to
set
in
Tabloture
,
because
in
settyng
(
as
we
haue
shewed
you
in
all
the
former
examples
)
one
parte
after
the
other
,
we
doe
not
see
at
the
firste
,
the
beste
forme
euery
stop
is
to
be
brought
into
.
We
knowe
well
that
thesame
might
bee
practised
in
an
other
sorte
,
that
is
to
saie
,
to
set
first
the
Musicke
in
measures
,
assemblyng
all
the
partes
together
one
ouer
the
other
,
whereby
there
could
bee
none
occasion
to
race
out
,
but
then
ye
must
after
doe
as
muche
to
bryng
thesame
into
Tablature
for
the
instrumente
,
whiche
would
bee
twoo
labours
for
one
,
because
that
in
our
fashion
,
we
shall
assone
haue
set
it
in
Tablature
,
as
in
the
other
ye
shall
onely
haue
doen
the
Musicke
.
¶
The
ioynyng
of
fower
partes
together
.
Ie
l'ayme
bien
.
¶
Of
the
transposition
,
or
alteration
of
the
seconde
Tune
.
IN
this
song
of
Orlande
of
the
seconde
Tune
transposed
,
beginnyng
vn
deux
Nennin
,
I
haue
to
aduertise
the
reader
,
that
he
dooe
not
trouble
hymself
,
for
that
he
seeth
not
the
laste
note
to
fall
in
Dlasol
vpon
the
Treble
open
,
as
it
hath
been
prescribed
here
before
,
because
it
is
so
,
by
reason
of
the
drafte
of
the
laste
ende
,
procedyng
of
the
pleasure
of
the
maister
Musician
,
beyng
disposed
as
it
were
,
to
passe
a
carriere
:
although
those
that
bee
experte
,
doe
knowe
euidently
this
Tune
,
by
the
continuaunce
of
his
other
descentes
.
¶
The
compasse
of
this
song
followyng
,
of
the
seconde
Tune
transposed
.
The
compasse
of
the
Base
.
Of
The
Tenour
.
Base
.
Tenour
.
Of
the
Countertenour
.
Of
the
Treble
.
Countertenour
.
Treble
.
HEre
the
scholer
must
be
aduertised
,
that
in
this
transposition
,
there
is
no
difference
,
as
touchyng
the
letters
of
the
Tablature
,
but
onely
in
the
notes
,
for
the
firste
note
of
this
song
,
whiche
beginneth
in
Alamire
is
taken
for
D
lasolre
in
this
present
song
.
whiche
is
a
fifte
higher
as
touchyng
the
note
,
but
as
concernyng
the
Tablature
,
he
doeth
not
chaunge
his
place
.
¶
The
ioynyng
of
the
Countertenour
with
the
Treble
.
¶
The
ioynyng
together
of
three
partes
,
Treble
,
Countertenour
,
and
Tenonur
.
IN
the
presente
song
giuen
for
example
of
Transposition
of
the
seconde
Tune
,
in
the
.
F.
whiche
is
the
seconde
Minim
of
the
twenteth
distaunce
,
we
haue
to
consider
the
loste
Tune
of
the
eight
,
of
the
.
F.
belowe
,
whiche
happeneth
often
in
our
plaine
ordinarie
Lutes
,
whiche
be
but
of
eleuen
strynges
,
and
might
easely
bee
remedied
by
settyng
the
song
one
note
or
twoo
higher
,
but
it
would
be
harder
for
the
hande
,
and
the
grace
of
the
plaie
would
bee
woorsser
.
Truthe
it
is
,
that
it
were
possible
to
supplie
that
lacke
vppon
our
plaine
Lutes
,
by
settyng
the
base
a
note
lower
,
but
that
would
make
the
plaie
a
greate
deale
harder
,
because
it
would
cause
a
chaunge
of
all
the
letters
of
the
greate
Base
.
The
Lutes
of
the
newe
inuention
with
thirtene
strynges
,
bee
not
subiecte
to
this
inconuenience
,
whereof
the
laste
is
put
be
lowe
:
whiche
accordyng
to
the
maner
now
adaies
,
is
thereby
augmented
a
whole
fowerth
:
where
here
before
it
was
vsed
onely
to
supplie
the
lacke
of
this
one
note
,
whereof
wee
speake
now
.
I
will
not
here
forget
to
tell
you
,
that
cunnyng
Maisters
(
to
giue
remedie
to
this
defecte
)
heighten
their
plaie
vpon
the
Tablature
,
as
many
notes
as
thei
thinke
good
.
Here
resteth
yet
to
consider
vpon
that
we
haue
spoken
of
before
,
concerning
the
pricke
,
how
it
is
to
bee
kepte
with
his
note
:
notwithstandyng
in
the
.83
.
distaunce
of
this
example
,
we
bee
constrained
to
lose
hym
,
by
reason
of
the
Tunes
,
whiche
mingle
and
passe
one
emong
an
other
:
whiche
also
maie
bee
founde
in
some
other
distaunces
followyng
.
The
ioynyng
of
iiij
.
partes
together
.
VNdou●
ne●nin
.