Add MS 11581

Examples of Harmony in the hand of Dr. Charles Burney. 1. 'Exempla (Discant) quatuor vocum.' '[J.] Froschius,' 1535. f. 2b. 2. Fuga ad Minimam'; in 4 parts. 'Jodocus Pratensis.' From Glarean (p. 453), 1547. f. 4. Reversing the volume. 3. Extemporaneous Bass. 'Crotch' (æt. 4). f. 41b. 4-6. Three examples of 2-part harmony. 'Marchetti di Padua.' From Gerbert (ii, p. 74). f. 41b. 7. 'Canto figurato.' Gioanni Bonadies (the master of Franchinus), 1473. From Padre Martini (i, p. 188). f. 41b. 8-18. Fugues on 'Non nobis, Domine,' etc., Use of the false 5th, Extraneous modulation, Imitation, etc. 'Pietro Aaron,' 1545. From the Lucidario in Musica. ff. 38b, 38. 19. Two-part harmony. From 'Calvisius' (ch. xi), 1592. f. 37b. 20. Double counterpoint. From 'Cerone' (p. 786). f. 37. 21, 22. 'Syncope.' From 'Calvisius' (ch. x). f. 36. 23. Four-part harmony. '[Charles] Butler,' 1636. From ‘Principles of Music’ (p. 42). f. 36.

Canons in 3 parts, unless the contrary is stated, transcribed by Dr. Charles Burney. 1. '[P.] Mo[u]lu's canon continued'; without words. f. 13b. 2. 'Canon à 5 in unison'; without words. 'Claude Le Jeune...1598.' f. 40 (reversed). 3. 'Canon à 5'; without words. 'Zacconi' (from , 1592). f. 39 (rev.). 4. 'Canon 3 in one.' [From , by Angelo] 'Berardi, 1689.' f. 37b (rev.).

Portions of Masses, for 4 voices (unless the contrary is stated), in score, transcribed by Dr. Charles Burney. 1. ‘Messa chiamata L' Homme arme, del Palestrina, messa in partitura dal Zacconi,’ for 5 voices. It consists of the ‘Kyrie, eleison,’ ‘Gloria in Excelsis,’ ‘Osanna,’ and ‘Agnus Dei.’ f. 14b. 2. ‘Et vitam venturi,’ from the ‘Credo’ of a Mass. ‘Ant. Fevin or Feum.’ Printed in 1515. f. 22. 3. Portions of the Mass, ’Pater Patris,’ consisting of ‘Pleni sunt cœli,’ for 2 voices; ‘Osanna,’ ‘Benedictus,’ for 2 voices; and ‘Agnus Dei,’ for 4, 2, and 5 voices. ‘Josquin [des Près].’ f. 22b. 4. First movement of Mass ‘La, Sol, fa, re, mi.’ By the same. f. 27b. 5. 'Kyrie,’ for 4 voices, and fragments of the ‘Benedictus‘ and 'Agnus Dei,’ set as 2-part Canons. From the ‘Missa super Gaudeamus.’ By the same. f. 29. 6. ‘Kyrie’ and ‘Qui Tollis.’ From the Mass ‘Per Fortuna desperata.’ By the same. f. 31.

f. 2. ‘Double Chant sung at St Paul's church, Octr 20th, 1780.’ The treble part only. Copied by Dr. Charles Burney.

ff. 6b, 7. 'Tablature of the Lute — from [Thomas] Mace [Musick's Monument, 1676], p. 84. Exercises for the five different strings, with a key to the notation, in the hand of Dr. Charles Burney.

f. 8b. 'Lessons XX, XXI, XXII (p. 27 of Mr. Morris' Welsh musical MS.),' sc. Exercises (? for the harpsichord or pianoforte), in modern notation. In the hand of Dr. Charles Burney.

f. 9v. 'Lord, who shall dwell in thy tabernacle': Anthem for 5 voices, by Robt. White, 'scored [by Dr. Charles Burney] from [a copy of the] single parts, without bars, transcribed 1581.'

ff. 12b, 37. Canons in 3 parts, transcribed by Dr. Charles Burney, sc. (1) ‘Non nobis, Domine.’ ‘Ascribed to Wm. Bird.’ f. 12b;— (2) ‘Canone di Giuseppe Bernabei nella messa di morte.’ (Paulucci's 'Arte pratica di Contrappunto', i, p. 158). f. 37.

f. 13. 'I thought I'd vanquish'd mighty Love': song with bass. Adapted 'From Thibaut, King of Navarre.' In the hand of Dr. Charles Burney.