Add MS 34800 B

passim. Compositions for 3 instruments, in parts; after 1618. 1. 'See, see, myne owne sweet Jewell.' This and nos. 2-8 are taken from Thomas Morley's Canzonets or Little Short Songs to 3 voyces . . . 1593, from which the titles (omitted in the MS.) are taken. What is in the original the altus part is here called the tenor, and is frequently written in the G clef, while the bass part is as often as not written in the C clef. f. 3b. 2. 'Ladie, those eyes.' f. 4b. 3. 'Joy, joy doth so arise.' f. 5b. 4. 'Hould out, my hart' (altus?). f. 6b. 5. 'God morrow, fayre ladies.' f. 7b. 6. 'Whether awaye so fast.' f. 8b. 7. 'Flye not.' f. 9b. 8. 'Farewell, disdainfull.' f. 10b. 9-14. Six pieces without titles. 'Edward Blankes.' ff. 11b-17. 15. Fantasia. 'Byrd.' f. 17b. 16, 17. Two pieces without titles, in D minor and G. Anonymous.{= Morley, Conzonet a 3 'Cruel you pull away'}, ff. 25, 25b. 18-23. Six pieces without titles [nos. 1, 6, 5, 7, 4, and 2 of Fantasies in 3 parts for viols, 1610]. 'Orlando Gibbons.' ff. 26b-32. 24-34. Eleven Fantasias (?). Anonymous. ff. 32b-43. {cf. 29427 by Tho Lupo cf. Meyer's index}. 35-37. Three pieces without titles [nos. 3, 8, and 9, of the above-mentioned Fantasias (nos. 18-23)]. 'Orlan[do] Gibbons.' ff. 43b 46. Nos. 38-44, reversing the MS., are from [Michael] East's 5[th] sett of bookes . . . [in] 3 pa[rts] . . . [1618], from which the titles (omitted here) are taken. 38. 'Trip it lightly.' f. 53b. 39. 'Turne round about.' ib. 40. 'Fly not away.' f. 53. 41. 'Softly for falling.' ib. 42. 'My lovely Phillis.' f. 52b. 43. 'And I, as well as thou.' ib. 44. 'Love is a toye.' ib.

ff. 18-24b. Extracts from Gradualia ac Cantiones Sacræ, by William Byrd, 1607, comprising the following 3-part compositions in parts; after 1618: — 1. ‘Ave, Maris [stella]‘; with second part, ‘Sumens [illud Ave]’; third part, ‘Solve [vincla reis]’; fourth part, ‘Monstra [te esse matrem]‘; fifth part, ‘Virgo [singularis]‘; sixth part, ‘Vitam præsta‘; and seventh part, ‘Sit laus Deo.’ ff. 18-21. 2. ‘O Gloriosa [Domina],’ for Lauds; with second part, '' Quod Eva [tristis abstulit]’; third part, ‘Tu regis [alti janua]‘; and fourth part, ‘Gloria tibi, Domine.’ ff. 21b, 22. 3. ‘Quem terra, pontus,’ for Matins; with second part, ‘Cui luna, sol et omnia’; third part, ‘Beata mater, munera’; fourth part, ‘Beata cœli nuncio’; and fifth part, ‘Gloria tibi, domine.’ ff. 22b-23b. 4. ‘Memento, salutis [auctor],’ for Complines; with second part, ‘Maria, mater [gratis]‘; and third part, 'Gloria tibi, domine.’ ff. 24, 24b.

f. 46b. Composition 'For 3 violls to the organ,' in parts, by Henry Loosemore; after 1618.

ff. 48, 49. Sacred compositions for 3 voices, in parts; after 1618. Anonymous. 1. 'Sittinge alone I did lament.' f. 49. 2. 'Excesse of wealth.' f. 48.

ff. 52-49b (reversed). Compositions for 3 voices, in parts; after 1618. Anonymous, excepting No. 1. 1. 'Say, Galatea, since our cominge hither.' By T. Wilkinson. f. 52. 2. 'A sea nimph sat ypon ye shore.' f. 51b. 3. 'The pleasant flowers.' f. 51. 4. 'Whether away, my deare.' f. 50b. 5. 'All creatures now with harts rejoyce.' f. 50. 6. 'Leaue me alone.' f. 49b.