Royal Appendix MS 58

Vocal compositions: one part only (except in no. 27), chiefly tenor. Unless the contrary is stated, they are anonymous. 1. 'A[h], the syghes that come fro my hert.' By W. Cornish. f. 1. 2. 'Though that she cannot Redresse.' f. 3b. 3. 'Colle to me the Rysshes greene.' f. 4. 4. 'Down bery down': a 'Rownde.' f. 4b. 5. 'Westron wynde.' f. 5. 6. 'Iff I hade wytt.' f. 5b. 7. 'Why soo vnkende.' f. 6. 8. 'Kytt hathe lost hur key.' f. 6b. 9. '[B]low thy horne, hunter.' By W. Cornish. f. 7b. 10. 'Alone, alone...in wyldernys.' f. 8. 11. 'The lyttell prety nygtyngale.' ff. 8b, 9b. 12. 'Cum home, swet hart.' f. 8b. 13. 'Nay, Mary.' f. 8. 14. 'To leve alone.' {[John Cole.]} f. 10. 15. 'By a bancke as I lay.' f. 10b. 16. 'Thys yenders nyght I herd a wyght.' f. 12b. 17. 'Nay, Mary' (different from no. 13). f. 13. 18. 'Coll to me the russhes grene' (different from no. 3). f. 14b. 19. 'O my lady dure.' 'Parker, monke of Stratforde.' f. 16b. 20. 'Rasyd ys my mynde.' f. 17. 21. 'Now fayre, fayrest off euery fayre.' Supposed to bave been written on the marriage of Margaret, sister of Henry VIII, to James IV, of Scotland, in 1503. f. 17b. 22. 'Those I doo syng.' f. 18b. 23. 'Petyously constraynyd am I.' 'Docter Copere.' f. 19b. 24. 'When fortune had me avaunsyd.' f. 21b. 25. 'Frere Gastkyn.' 'Raff Drake.' f. 24b. 26. 'The whele off fortune.' f. 50. 27. 'My lytell fole ys gon to play' (à 3). f. 55b.

passim. Single parts (chiefly tenor) of sacred vocal compositions to Latin words. 1. ‘Spem in alium nunquam habui.’ f. 11b. 2. ‘Stella celi extripauit [i.e. extirpavit].’ f. 26. 3. ‘O gloriosa stella maris.’ ‘Doctor Coper [i.e. Cooper].’ f. 26b. 4. ‘Egredientem de templo’; with ‘Gloria Patri.’ f. 27. 5. ‘Sancta Maria virgo, intercede’ (crossed out), f. 31b. 6. ‘Sabatum Maria.’ f. 32b. 7. ‘Salue, festa dies.’ f. 33. 8. ‘Jacob autem genuit Joseph.’ f. 39b. 9. ‘Gloria sanctorum.’ Imperfect at the end. f. 58b. 10. The end of a ‘Gloria Patri.’ ‘J. Cole.’ f. 59. 11. ‘Adesto nunc propicius.’ f. 59b.

ff. 15b, 57b. Two compositions, without titles, for 3 instruments, the first in parts, the second in quasi-score. Anonymous (English).

f. 16b. Canon without words, by John Ambrose.

f. 23 'Now marcy, Jhesus‘: the tenor part, apparently of a composition for several voices. Anonymous.

ff. 28b-60 passim. A single part (chiefly medius) of anonymous compositions probably of English origin and intended for a chest of viols. Nos. 6-15 occur in the same order in Royal Appendix MS 56, as Organ Solos (see above, p. 79). 1-5. Five pieces unnamed. ff. 28b 29b. 6-8. 'Apre de vous,' and two unnamed pieces. f. 30. 9-11. 'Dum vincela' (?), and two unnamed pieces. f. 30b. 12. 'Grace and vertu.' f. 31, 13-15. 'A solis ortus cardine.' Three settings, or three parts, ff. 31b, 32. {4 parts cf score in R App 56} 16, 17. Two pieces unnamed, ff. 32 {this is poss part of no 13.}, 39. 18. 'La belle fyne.' f. 39b. 19-23. Five pieces unnamed, ff. 57, 59 (2), 59b, 60.

ff. 33b-38b. Mass, beg. ‘Et in terra pax.’ Anonymous.

ff. 40-49b passim. Compositions, apparently for the Spinet, written on two staves of from five to seven lines. Unless the contrary is stated, they are anonymous. 1, 2. 'La bell fyne,' and a short piece without title. f. 40. 3. Hornpipe.' Hughe Aston.' f. 40b. 4. 'My lady Carey's dompe.' f. 44b. 5. 'My lady Wynkfyld's rownde.' f. 45b. 6. 'The emperorse pavyn.' f. 47. 7. Galliard. f. 47. 8. 'King Harry the VIII th['s] pavyn.' f. 47b. 9. 'The crocke(?).' f. 48. 10. 'The kyng's marke(?).' f. 49. 11. Galliard. f. 49b.

ff. 51b-55 passim Short anonymous compositions for Lute. 1. 'The Duke of Somersett's dompe.' f. 51b. 2. 'In wynter's just returne.' f. 52. 3. 'Yf care cause me[n ?] to cry.' f. 52. 4. 'Heven and erth.' ff. 52, 55b. 5. A piece without name. f. 54b. 6,7. 'Pastyme,' and 'Pover man's dor...s.' f. 55.

f. 52b. 'Thys vyrgyn clere': a quasi-dialogue between the Virgin and Child, preceded by a very short 3-part chorus, ‘Thys endere nyʒth,’ with which it is evidently connected, the refrain ‘By by, baby, lullay‘ being common to both. Anonymous.

* Except where the contrary is stated, it may be understood to be written in the usual form of tablature employed in England and France.