The music of Cuthbert Hely in Cambridge, Fitzwilliam music ms. 689
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Authors Cockburn, Brian, 1963-
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The music of Cuthbert Hely in Cambridge, Fitzwilliam music ms. 689
Cockburn, Brian A., M.M.
The University of Arizona, 1988
UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106
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UMI
THE MUSIC OF CUTHBERT HELY
IN CAMBRIDGE, FITZWILLIAM MUSIC MS. 689
by
Brian Cockburn
A Thesis Submitted to the Faculty of
THE DEPARTMENT OF MUSIC
In Partial Fulfillment of the Requirements For the Degree of
MASTER OF MUSIC WITH A MAJOR IN MUSICOLOGY
In the Graduate College
THE UNIVERSITY OF ARIZONA
198 8 STATEMENT BY AUTHOR
This thesis has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under the rules of the Library.
Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author.
SIGNED
APPROVAL BY THESIS DIRECTOR
This thesis has been approved on the date shown below:
John Boe [Date Professor of Music PREFACE
The purpose of this study is to bring to light the previously unknown solo lute music of Cuthbert Hely. Hely was an amatuer musician who flourished sometime in the early seventeenth century. His music is filled with overlapping suspensions and retardations but often lacks the craftsmanship found in the lute music of professional composers of his day.
I have been fortunate in being able to acquire all the materials I needed to complete this study. 1 wish to thank the Keeper of the Department of Manuscripts and
Records at The National Library of Wales, and the Syndics of the Fitzwilliam Museum, Cambridge for their promptness and kind encouragement. I would like to thank the
University of Arizona Music Department for their grant which enabled me to purchase the microfilm of the manuscript and other items. I would like to thank my adviser, Dr. John Boe, who kept this study in focus.
Finally, I thank my wife who encouraged and criticized when mos t needed.
i i i TABLE OF CONTENTS
Page
LIST OF ILLUSTRATIONS vi
ABSTRACT vii
PART I: COMMENTARY 1
1. LORD HERBERT OF CHERBURY'S LUTE-BOOK .... 2
The Compilers of the Lute-Book .... 2 Lord Herbert of Cherbury 2 Cuthbert Hely 5 The Influence of Lord Herbert's Lute on the Manuscript 9 History of the Lute 9 Lord Herbert's Lute 11 Description of the Lute-Book 13 Contents 13 Physical Description 13 Organization of the Manuscript .... 16 Historical Precedents for Dance Movement Groupings 17 Groupings in Lord Herbert's Lute-Book 18
2. The Lute Music of Cuthbert Hely 22 Tuning 22 Temperament 23 Tablature 24 The Music 26 Type I 27 Type II 29 Type III 31 Detailed Analysis of Nos. 1,5,6... 32 Type I 36 Type II 44 Type III 48
iv V TABLE OF CONTENTS--Continued
Page
PART II: THE LUTE MUSIC OF CUTHBERT HELY IN FITZWILLIAM MUS. MS. 689 52
Editorial Note 53 No. 1 , Pre lude 5 5 No. 2, Pre lude 5 7 No. 3, Fantasia 59 No. 4, Fantasia 61 No. 5, Saraband 65 No. 6, Pre lude 66 No. 7, Fantasia 67 No. 8 , Pre lude 71
SUPPLEMENT: MODERN TABLATURE 73
Editorial Note 74 No. 1, Prelude 75 No. 2, Prelude 78 No. 3, Fantasia 80 No. 4, Fantasia 83 No. 5, Saraband 87 No. 6, Prelude 88 No. 7 , Fantasia 89 No. 8, Prelude 94
APPENDIX A: HELY/HERBERT LETTER 96
APPENDIX B: CONTENTS OF LORD HERBERT'S LUTE-BOOK . . 98
SELECTED BIBLIOGRAPHY 104 LIST OF ILLUSTRATIONS
Page Fi gur e
1. Cuthbert Hely's Signature from the Letter, Powis Castle 351 7
2. Lord Herbert of Cherbury1s Lute-Book, Fitzwilliam Mus. Ms. 689, Folio 82^ 54
vi ABSTRACT
Part I comments on the life and music of Cuthbert
Hely. In Chapter 1, Hely's place in society is described.
The only evidence for Hely's existence consists of a letter from Cuthbert Hely to Lord Herbert of Cherbury, and the unusual organization of the lute-book. Chapter 2 studies the style of Hely's lute music, using a pseudo-Schenkerian approach to show its harmonic and polyphonic characteristics.
Part II presents a transcription of Hely's eight pieces, along with lute tablature, edited for modern performance.
A selective bibliography is included.
vi i THE LUTE MUSIC OF CUTHBERT HELY IN LORD HERBERT OF CHERBURY1S LUTE BOOK FITZWILLIAM MUS. MS. 689
PART I
COMMENTARY CHAPTER 1
LORD HERBERT OF CHERBURY'S LUTE-BOOK
Edward, Lord Herbert of Cherbury and Castle Island was deeply involved in the political, social, and religious events of his time--events that affected not only the choice of music included in the lute-book that bears his name, but in an indirect way, their order as well.
The Compilers of the Lute-Book
Lord Herbert of Cherbury
Edward Herbert was born on 3 March 1582.^ In
1596, at the age of fourteen, he became a
Gentleman-Commoner of University College Oxford. Soon after, on 28 February 1598, he wed his older cousin Mary, daughter of Sir William Herbert, and with his mother and wife returned to his studies at Oxford. He later wrote of the ensuing period:
^Dictionary of National Biography, (London: Oxford University Press, 1972), pp. 624-626.
2 3
During this time of living in the University or at home, I attained also to sing my part at first sight in music, and to play on the lute with very little or almost no teaching . . . my learning of music was for this end, that I might entertain myself at home, and together refresh my mind after my studies . . .
He was made a Knight of the Bath soon after the accession
of James I, and visited the castle of James I in
Montgomery.
Herbert first visited France with the Cavalier poet
Aurelian Townsend in 1608. They returned in 1609 to an
English court eager to hear of the splendor of the French
court. In 1610 Lord Herbert again left England as an army
officer—later, as a military volunteer. He traveled in
Italy, Rhineland, France, Spain, and the Netherlands. Upon
his return to England in 1617, he associated with a
literary circle that included Ben Jonson and John o Donne. During the next two years Herbert, along with
Jonson and Donne, tried to compose a religious creed that
would be acceptable to both Puritans and Roman Catholics--
the two extreme religious factions in England.^
Edward Herbert, The Autobiography of Edward, Lord Herbert of Cherbury, ed. Sidney Lee, 2nd Ed. (New York: E. P. Dutton, 1907), p. 23. 2 Lord Herbert was also a poet. See The Poems o f Lord Herbert of Cherbury, ed. John Churton Collins (London: Chatto and Windus, 1881). 3 Herbert wrote many treatises on the subject: Religio Laici, Ad Sacerdotes de Religione Laici, and De Religione Gent i1ium.
r 4
In 1619 he was offered the post of Ambassador to
France and left for Paris in May of that year. Herbert,
according to his own admission, indulged in the
extravagance of the French capital but was,
nevertheless, a productive and loyal ambassador.*
Around that time, King James I began planning a marriage
between his eldest living son, Prince Charles, and the
Spanish Infanta. Eventually the negotiations broke
down, and in 1624 it became Herbert's responsibility to
seek a marriage for Charles with a French princess.
However, in April 1624 he was suddenly dismissed.
Herbert says only this of the incident:
The treaty of a match with France continuing still, it was thought fit for the concluding thereof, that the Earl of Carlisle and the Earl of Holland should be sent Extraordinary Ambassadors to France.^
Actually, Herbert's characteristic frankness concerning the negative effects of France's "secret" alliance with Bavaria displeased both King James I and O Louis XIII. After his dismissal, Herbert was
banished to Castle Island, an Irish peerage. There he
^Herbert, An Autobiography, pp. 108-124.
^Ibi d. , p. 134. 3 Gerald Malcolm David Howat, Stuart and Cromwe11ian Foreign Policy, (New York: St. Martin's Press, 1974), pp. 29-34. 5 began compiling his lute-book from the loose leaves of lute music he had collected during his travels.
In 1628, during the reign of Charles I, Herbert returned to Montgomery castle and shortly thereafter was made Baron, Lord Herbert of Cherbury. In 1632, he began to work on a biography of King Henry VIII but lost interest when his petitions to the court for
. 1 u financial support were not successful.
The beginning of the great Civil War in 1640 marks the end of the period with which we are concerned. Lord Herbert spent the last years of his life trying to retain his fortune and avoid the civil war. When the war finally spread to Montgomery he remained neutral and was host to both sides on various occasions. He died in his Montgomery residence on 20
Augus t 1648.
Cuthbert Hely
Cuthbert Hely is known only through his association with Lord Herbert. A letter from Hely to Herbert^ and
*The manuscripts were edited and published posthumously: The life and Reign of King Henry the Eighth, written by . . . Edward Lord Herbert of Cherbury (London: Printed by M. Clark for J. Martyn, S. Mearne and H. Herringman, 1672). 2 Cuthbert Hely to Lord Herbert, 30 September 1639, Powis Castle 351, The National Library of Wales, Aberystwyth. For the complete text of the letter see Appendix A. 6
the pieces in Lord Herbert's lute-book are all we have to construct a biography of Cuthbert Hely.
The trust Lord Herbert eventually placed in Hely can perhaps be explained by Hely's friendship with Herbert during a difficult time in Herbert's life. Dart guesses that Hely was a professional lutenist from the same family as Benjamin Hely, a violist, and Henry Heale, a member of the King's Musick, both active in the late seventeenth century.* While Dart's theory is possible, hew evidence suggests that Hely was probably not a professional musician but a merchant or solicitor.
A letter dated 30 Sept. 1639 from Hely to Herbert
(see Figure 1, p. 6) only recently discovered by W. J.
Smith at Powis Castle, Wales, shows Hely as a trusted friend or employee overseeing Lord Herbert's business and legal affairs in his absence.^ For complete text see
Appendix A. In the letter Hely describes various requests from attorneys, judges, and a chief justice and Hely's replies to them. He copied and dispatched defendants' affidavits, reported to Lord Herbert about a trespassing
(rental dispute) case concerning Herbert's properties, and even offered legal advice to Lord Herbert and his attorneys
^Thurston Dart, "Lord Herbert of Cherbury's Lute-Book," Music and Letters 38 (1957):136-148.
2 William J. Smith, Herbert Correspondence, (Newport: R. H. Johns Limited, 1963), pp. 86-87. Figure 1: Cuthbert Hely's Signature from the Letter, Powis Castle 351
Used by permission of The National Library of Wales, Aberys twyth. 8
(see Appendix A). However good a friend Hely might have been, it is hard to imagine a figure such as Herbert delegating that amount of authority to a "simple" musician.
Hely's music found in Lord Herbert's lute-book establishes general dates in Hely's life. Hely probably first met Lord Herbert during Lord Herbert's exile at
Castle Island (see above). Hely copied the first three pieces, on ff. 81^, 82**, and 82^, into the lute-book at Lord Herbert's residence at Castle Island. After his banishment Herbert, now Lord Herbert, moved to Richmond, where Hely must have visited him several times. It was probably during a visit there sometime in 1638/39 that Hely copied his last five lute pieces, on ff. 87^, 88R,
88^, 88v - 89r, 89^, into his book. Lord Herbert's musical interest seems to have been renewed partly by
Hely's continued visits as solicitor and friend. At least,
Lord Herbert composed his last two pieces found in the book in 1639 and 1640, according to the dates in the manuscript.
My search for mention of Cuthbert Hely in lists of musicians, members of the Inns of Court, solicitors and barristers, and recipients of University degrees has been fruitless. The Powis Castle letter is the only new piece of biographical information about Cuthbert Hely. Perhaps more will eventually be uncovered about this man and his place in the noble and legal societies of the seventeenth century. 9
The Influence of Lord Herbert's Lute on the Manuscript
History of the Lute
At the beginning of the sixteenth century the lute was standardized throughout Europe. Around 1600 in England
(and earlier on the continent), lute-makers began to modify the standard lute. The bodies were constructed with a greater number of ribs; from 9, 11, or 13 ribs during the sixteenth century to as many as fifty after 1580. The backs of almost all lutes began to be made from that part of the yew tree where sapwood and heartwood meet, giving the lute a characteristic striped effect.
The lute is played by pressing the courses, or strings, to the neck of the lute with the fingers of the left hand while the courses are plucked by the first and index fingers and thumb of the right hand. The left hand presses down the courses just behind the frets, which were made of gut and wood. The frets shorten the vibrating length of the string. Lutes are strung in courses—that is in pairs of strings—except for a single string at the highest pitch. During most of the sixteenth century, lutes had six courses; five doubled sometimes at the octave, and sometimes in unison to clarify part writing. In 1580 music intended for a seven-course lute appears. That number remains fairly common during the following years. By 1600 eight courses were common, and by 1610 lutes with ten 10 courses were in use. Around 1615 the French added two more frets, although Dowland says that the most he had seen in
England were eight.^ With the introduction of a new
playing style from France incorporating greater reliance on
style brisfj and stronger harmonic support, lutes were fitted with diapasons, or additional bass strings, attached to an added head (an influence of the Italian theorbo).
These courses were not over the fingerboard and were often tuned differently for each individual piece. The French were quick to abandon this innovation, but by then England had begun using the double-headed lute. The English called this lute a "French" lute. However on the continent, they were known as "English" lutes.
In the early sixteenth century, pegboxes were large and heavy when compared to the delicate and fragile pegboxes which appeared around 1600. After 1620, tension from additional courses made larger pegboxes necessary.
At first the lute was strung with gut strings throughout. Sometime after 1600, catlins—produced by plaiting two or three gut courses around each other to produce a single course—were used to strengthen the tone of the lower courses and even made lower pitches for more courses possible. It was discovered that wire wound around gut would also increase the thickness. The earliest
* Robert Dowland, A Varietie of Lute Lessons (London: 1610). 11
mention in England of wire-wound strings is a 1650
advertisement by John Playford.^ The introduction of
catlins and wire-wound strings gave the two-headed lute,
with its longer length for the diapasons, a powerful bass,
well suited for accompaniments. To create a more balanced
sound for solo lute music, the French eventually placed all
the courses on a single head.
Also during this time the French added additional
courses to the single-headed French lute. Around 1675, in
an attempt to revive waning interest in the lute, an
eleven-course lute (7 courses, and 4 diapasons) was
unsuccessfully introduced in England by Thomas Mace.
Eventually, thirteen courses were placed on the lute in
Germany in the eighteenth century.
Lord Herbert's Lute
Eight pieces by Cuthbert Hely illustrate by their range and fingerings that Lord Herbert owned a single-headed ten-course ten-fret lute—that is, the style of lute that became popular in England around 1620, after the French had added two frets to the eight already present.
The ten-course ten-fret single-headed lute is the only lute in England at this time that could play Hely1s
^John Playford. Introduction to the Skill of Music, (London: 1650). 12 music—which demands ten frets and fretted diapasons. Hely copied his pieces into Lord Herbert's book during a visit to Castle Island and during a later visit with Lord Herbert at Montgomery. He would not have copied music into Lord
Herbert's book which would have been impossible to play on
Lord Herbert's lute. Lord Herbert's lute must therefore have influenced Hely's compositions. In no. 7, mm. 35 -
36 (see p. 89), Hely uses the tenth fret on four courses.
In no. 8, measure 22 (see p. 94), Hely uses the first fret of the second diapason. On the double-headed
"French" lute which appeared about the same time as the above lute (see p. 10) this procedure would not have been possible. The diapasons of that lute are not over the neck and cannot be fretted.
Hely changed his compositions as he copied them into
Lord Herbert's lute-book. The corrections found in the manuscript show that he was not simply correcting mistakes as Lord Herbert often did in other pieces in the manuscript^, but was changing major thirds to minor thirds, revising the rhythm of a section, and adding or subtracting passing notes. One of Hely's revisions can be seen in Figure 2, p. 54. In the fourth line second full
^Curtis Price discovered that two individual hands and inks are used in the lute-book. From ascriptions (such as "Pavan of the Composition of mee Herbert of Cherbury and Castle Island. 1640") it appears that both these hands must be Lord Herbert's from different periods. Lord Herbert occasionally corrected in Hand II (the later hand) pieces that were originally written in Hand I (the earlier hand). 13 measure, Hely changes the g to*^ -- which in modern notation is a to g#. The a is the tonic of the a minor chord in that measure, but by changing it, Hely delays the cadence.
Description of the Lute-Book
Contents
David Lumsden's survey of the sources of English lute music shows that Lord Herbert's lute-book is the unique source for fourteen English lute pieces by Dowland,
Bachelor, Rossetter, and Robert Johnson.^ It also includes the eight pieces by Cuthbert Hely known only from this manuscript and mentioned above, and ten by Lord
Herbert himself. The manuscript is the only source for works of several otherwise unknown French composers and for many pieces by well-known composers, such as Jacques
Gautier. The lute-book is the only source of Sweelinck's lute works^.
Physical Description
Thurston Dart, in his article "Lord Herbert of
Cherbury's Lute-Book" presents a detailed physical
^ David Lumsden, The Sources of English Lute Mus i c , 15 40-1620, (Unpub. Diss., University of Cambridge, 1955).
2 See Frits Noske, "Lute composities van J. P. Sweelinck," Orgaan van de Koninklijke Nederlandsche Toonkunstenaars-vereenigung 12, (1957): 46ff. See Appendix B to see Sweelinck's works in the manuscript. Also see be low, p. 14. 14
description of the manuscript. The following summary is
based on that article.*
The lute-book was purchased for £1,500 at an auction
at Sotheby's rooms on 17 January 1956 by the Fitzwilliam
Museum, where it is now known as Lord Herbert of Cherbury's
Lute-Book, Fitzwilliam Music Ms. 689.
The lute-book is still in its original olive morocco
leather binding. The paneled sides enclose a wreath
similar to other books from Lord Herbert's library. The manuscript is a folio volume made of sixteen quires of
paper with ten six-line staves printed on each page. Six
leaves compose each quire except quires 5 and 11, which are
composed of five.
The paper used has the watermark of Jaques Lebe, a
papermaker in Troyes. This mark is found no later than
1626. The thinner paper used for pastedowns and flyleaves
of the book have the watermark of Edmon Denise of Troyes.
The volume was bound all at the same time in
France. It resembles other early seventeenth-century
bindings in olive morocco with crossed palm branches.
Lord Herbert must have purchased this volume before
leaving France in 1624, and during his exile in Ireland copied into it the pieces he had accumulated. On the
*Dart, Lord Herbert's Lute-Book, pp. 139-141. 15
reverse of the second flyleaf appears the following ex
1 ibr i s:
The Lutebooke of Edward Lord Herbert, of Cherbury and Castle Island, containing diverse selected Lessons of excellent Authors in severall cuntreys. Wherin also are some few of my owne Composition. E. Herbert
At the top of the first folio is a paraphrase of a line
from Ovid's second Elegy . . .
Diligitur nemo nisi cui fortuna secunda est (No one is loved except he who is favored by Fortune)
. . . a fitting remark to open a work begun in exile.
The manuscript contains 242 individual pieces on ff.
1R - 51R, 5 2r - 82v, and 83v - 90v. Ff. 51v,
83R and 91R - 94^ are blank. The music is in typical
French six-line tablature with diapasons added below. The mensural rhythm signs are above the staff. Classic tuning for the lute is used throughout—C -D-E-F-G-c-f
- a - d^ - g^.^ Diapason tuning is indicated most often at the beginning of each piece by showing the course and fret position of the octave above.
Of the pieces in the manuscript, about half are from
Herbert's stay in France and half are by English composers. The composers representing France are Diomedes,
Perichon, Jacob Reys, Sieur de Belleville, Luc and/or
'see Chapter 2, "Tuning Temperament and Tablature," for a discussion of pitch and tuning of the lute. 16
Pierre Despont, Gabriel Bataille, Robert Ballard,
Lorenzini, Saman, Jaques Gautier d1Angleterre, Marin Heart,
Eustache du Caurroy, and Lanclos.
England is represented by John Danyel, Anthony
Holborne, John Dowland, Philipp Rosseter, James Harding,
Edward Herbert, Robert Johnson, Daniel Bachelor, Giovanni
Coperario (John Cooper), and Alphonso Ferrabosco. It also contains the surviving lute works of Jan Pieterszoon
Sweelinck, and thirty-seven anonymous pieces.
On the reverse of the final flyleaf is inscribed:
Virtus laudatur et alget. (Virtue is praised and neglected)
Fortuna[m] reverenter habe quicunq[ue] repente (Accept fate reverenty however unexpected it may be)
Dives ab exili progrediere loco. (The wealthy man goes forth from this cheerless place)
These Latin tags refer to Lord Herbert's exile and his return to court in 1628.
Organization of the Manuscript
The peculiar organization of Lord Herbert's lute-book must be seen in the light of the early seventeenth-century suite.^ Lord Herbert organized th pieces in his lute-book into key groups. He also organized
*A few instrumental works of the medieval and early Renaissance use combinations of dance pairs. But, the form we recognize as the suite did not develop until the sixteenth century. 17
the pieces within each key group by type. These pieces
show one way the solo lute suite was performed in the royal
courts of France and England.
Historical Precedents for Dance Movement Groupings
The suite at the beginning of the sixteenth century
was a more or less random assortment of dance types. In
several sources, some of the pieces are arranged so that
each dance is grouped with similar pieces--the fantasies
together, the pavans together, and so forth. Other
collections concentrate on a single type, such as Dowland's
Lachrymae or seven Teares for Seven passionate Pavans * or
a volume devoted to ricercars. Performers must have
selected various movements ad libitum from these
collect ions.
In some manuscripts there is a tendency to group certain dances of different types together, though this
procedure is rarely maintained throughout a whole collection. The Fitzwilliam Virginal Book is an excellent example of this tendency. Amidst the usual random order, certain pavans and galliards appear paired and seem to
belong together.
^ John Dowland, Lacrimae or seven Tears figured in seven passionate Pavans, with divers others pavans, gaTTards an3 almancTs . . I (Londo n: f60 4T. 18
Groupings in Lord Herbert's Lute-Book
Using Lord Herbert's political career as a guide,
Thurston Dart devised a theory regarding the organization
of the manuscript.* jje 8Uggested that the pieces were
copied into the manuscript as Lord Herbert acquired them.
Their organization would thus reflect his travels. In ff.
10V - 19RJ the continental composers outnumber the
English. Therefore this group would represent Lord
Herbert's 1608 Paris trip. Ff.. 19^ - 30^ would suggest his return to England in 1609 because English composers are
in the majo r i ty.
However (as Curtis Price points out) this theory does not explain the apparently haphazard order in which
Lord Herbert entered his own dated pieces.2
No. 28 3 March 1626 No.214 10 August 1628 No. 216 3 March 1619 No. 225 3 March 1627 No. 241 1640 No. 242 1639
It seems unlikely that Lord Herbert would have shown so little concern over the placement of his own works within an otherwise chronological order for the rest of the manusc ript.
^ Da r t, Lord Herbert's Lute-Book, pp. 141-146. 2 Curtis A. Price, "An Organizational Peculiarity of Lord Herbert of Cherbury's Lute-Book," The Lute Society Journal (Spring, 1969):3-27. 19
Price successfully argues that the pieces in the manuscript were instead organized into key groups. As discussed earlier, diapasons were added to the lute around
1600.* The diapasons had to be tuned according to the key of each piece—a time-consuming process that often necessitated retuning the other seven courses on account of the change in tension of the lower strings. Key groupings like those in Lord Herbert's manuscript facilitate selection of movements that do not involve retuning.
Both Dart and Price agree that blank pages mark important divisions within the body of a manuscript.
Thurston Dart supposes that Lord Herbert left pages blank simply as dividers. Curtis Price suggests Lord Herbert divided his manuscript into six sections. Each section was reserved for pieces in a different key. Lord Herbert then copied pieces into the lute-book, leaving some folios blank for later additions. The original sections are organized thus: "G - D, ff. lv - 18v; F, ff. 19R - 39R;
Eb, ff. 39 V - 43v; Bb, ff. 44R - 51v; C, ff.
52r - 73V; A, ff. 74R - ?."2
Price believes that Lord Herbert later added more pieces to the manuscript, but respecting as far as possible the existing key groups. To conserve space, he sometimes placed a short piece in one key underneath a longer piece
* See p. 10, above. 2 Price, An Organizational Peculiarity, p. 12. 20
in a different key, though still attempting to keep the
former as near as possible to its proper key group.
Price bases his theory on the fact that two
individual hands and inks are used in the lute-book (See p.
10, above). Within the key groups, described above, Lord
Herbert groups pieces according to type. The internal
order of key group 1 in Hand I is: 2 preludes, 1 fantasia,
8 pavans, 2 galliards, 1 prelude (inserted at the foot of f. 10 underneath the longer preceding galliard), 7 courantes, 1 fantasia (probably overlooked earlier and added here), and another courante (see Appendix B).
Later Herbert added a prelude to f. 2^ (in Hand
II) underneath a prelude copied earlier (in Hand I). He
then copied other pieces which he either had forgotten to enter or had acquired after the manuscript was begun.
Other key groupings more or less utilize this same order of
types.
Thus, Lord Herbert organized the pieces in his
lute-book in key groups so that he could play a suite of dances without having to retune. He also organized the
pieces within each key group by type. This organization is similar to that found in the early seventeenth-century solo lute suite, as performed at the royal courts of France and England.
If we take account only of the music copied into the manuscript in Hand I and dismiss the pieces placed to 21 conserve space, we can see a pattern recurring within each key group. .
In Example 1-2, below, the pieces in the first four key groups appear in the order of prelude, fantasia, pavan, galliard, and courante. Some types of movements are absent from key groups F, , Bb, and A. Some of these gaps are filled with the proper type of movement in Hand II.
Example 1-2: Order of dance types within key groups.
G - D F Eb Bb C A
2 Prel. 2 Prel. 1 Prel. 1 Prel. 1 Prel. 3 Pavan 2 Gagl. 1 Fant. 2 Fant. 3 Fant. 4 Fant. 2 Fant. 8 Pavan 3 Pavan 2 Gagl. 4 Gagl. 1 Gagl. 2 Prel. 7 Cour. 22 Cour. 8 Cour. 3 Cour. 16 Cour.
Herbert's Hand II and Cuthbert Hely's hand are predominant from key group C through the end. These folios are very poorly organized. Herbert seems to have lost interest.
Two new dance types, sarabands and voltes, appear near the end of the manuscript in Hand II but do not create any change in the internal order. The saraband seems to replace the pavan, and the volte replaces the galliard. CHAPTER 2
THE LUTE MUSIC OF CUTHBERT HELY
The music of Cuthbert Hely is "of astonishing
intensity: firmly grounded in the earlier English
tradition, it nonetheless explores previously untried
harmonic territory."1 In his dilettante compositions
Hely built upon the past but pursued a course that English music soon abandoned.
Tuning, temperament, and tablature demand attention as preliminaries to the study of his music.
Tuning
The lute is tuned interva11ica1ly rather than by fixed pitch. Many seventeenth-century lute-books instruct the player to tune the highest string just below the point of breaking and then to tune the next lower string to an interval of a fourth below continuing thus (including the middle third) until all strings are tuned. Lute tuning had become standardized in England around 1550 (see Chapter I, pp. 8-11, p. 14). Diapasons were added to the lute around
1600 in England. More diapasons were added to the lute
^Diana Poulton, "Lute," New Grove vol. 11, 1980. p. 363
22 23
over the next twenty-five years. Diapasons are normally
tuned in a descending diatonic scale. A six-course
four-diapason lute might be tuned thus:
Pitch C-D-E-F-G-c-f-a-d1 -g1
Interval 1 - 1 -1/2- 1-4-4-3-4- 4
The diapasons are very often tuned a half-step higher or
lower depending on the "key" of the piece.
Also, early in the seventeenth century the French,
led by Jacques Gautier and Besard, began experimenting with
various tunings. These do not appear in the manuscript
under discussion—curiously enough, considering the French
influence evident.
Temperament
The temperament of the lute is established by minute adjustment of the frets. Four various fretting methods can
produce either Pythagorean intonation, equal temperament, meantone temperament, or just intonation. Several
Renaissance lutenists have discussed methods for fretting the lute, but as Dowland says:
Now to place these frets aright, whereby wee may make use of these various sounds by them caused, there is two wayes: the one is the deuine sense of Hearing, which those that be skillfull doe most vs e . . .
* Robert Dowland, A varietie of Lute Lessons, London, 1610. 24
He then proceeds to explain a system of fretting "by measure" when a consort must play together.
Some lute works seem to fit meantone temperament.
Because of their chromaticism, Hely's pieces require equal
temperament.
Tablature
Three primary systems of lute tablature were used during the Renaissance -- Italian, German, and French.
French tablature was used in England during the
Renaissance, and is the favorite of lute performers today.
French lute publications began to appear in 1530.
The French system of tablature remained in use in France and England until the popularity of the lute faded around
1675. Although the lute retained its popularity in Germany through 1750. The six-line staff represents the six courses of the lute. Earlier French publications employed a five-line staff. The sixth line was added around 1580 and remained standard for lute tablature.
Assuming a G-tuned instrument, examples II-l, 2, 3, and 4 below show the relationship of the tablature staff to our modern notation. Letters are used to denote the fret to be stopped, i.e., "a" indicates an open string, "b" indicates the first fret, etc. Rhythms are indicated by a system of stems and flags which are sometimes barred together, especially in lute-books printed after 1590. 25
Below are the commonly used letters of the French
tablature system. The letter "i" is omitted and the letter
"j", then regarded as a variant of "i", is used to denote
theeighthfret.
Ex. I— 1: French Tablature Letters.
a. 4 r 3
When a seventh course was added, a symbol was placed immediately under the sixth line of the staff. The addition of an eighth course necessitated the use of a ledger line. Each additional course required another ledger line to notate it. The following examples show a number of ways to indicate the bass courses.
Ex. 1-2: Indications of Diapasons.
"^r
Many composers,including Herbert and Hely, occasionally used a symbol—after 1580, a diagonal line —to indicate how long certain pitches or chords were to be sustained, as in the example below.
Ex. II-3: Sustaining Symbol in French Tablature.
A r fir r ia T 26
Hely used mensural notation rather than the usual system of stems and flags to indicate rhythm. Example
II-4, below, shows Hely's notation and its modern equivalent.
Ex. II-4: Hely's Mensural Rhythmic Notation and the Modern Equivalent.
0 J > X 1 J J> J> J
Hely's tablature contains no ornament symbols. Lord
Herbert's tablature contains few ornament signs, even in the French pieces.
The Music
Hely's eight pieces are varied: some employ sophisticated imitative polyphony; others have a simple melody accompanied by arpeggiated chords. Thick five-voice textures join two-part counterpoint. Complex chord progressions appear in conjunction with phrases employing simple tonic-dominant progressions.
Hely's output is inconsistent. Interesting modulations are followed by abrupt returns to the tonic.
He does not sustain imitative counterpoint for extended periods—not even to the extent of other contemporary composers for the lute—and the modulations found in his music are often created by repetitious harmonic sequences. 27
Hely's lute pieces can be divided into three stylistic types according to their harmonic and polyphonic characteristics.
Type I (Nos. 1,3,4, and 7)
Imitative counterpoint and harmony with many dissonant suspensions —traits typical of early seventeenth-century English fantasias—characterize the
Type I pieces. All are titled "fantasia" except Number 1, which nevertheless is also a fantasia.
No. 1, f. 81v, is identified simply as "Hely." and was copied into the lute-book without revision. Two smeared areas render the tablature unclear. This fantasia in ternary form uses two motives and a harmonically daring style.
In no. 3, f. 82v, a multisectiona1 fantasia, free polyphony alternates with melodic restatements. The tablature letters and mensural rhythm symbols do not agree in measure two, and there are many crossed-out mistaken ba r1i nes.
No. 4, a sectional fantasia of 113 measures, with ten revisions by Hely, begins on f. 87^ and continues on f. 88^. Diapason tuning* appears at the end rather than the beginning, unlike nos. 1 and 3. Hely's first name is given at the end: "Fantasia Cuth. Hely."
*See Tablature, p. 24, above. 28
Number 7, on ff. 88v through 89r, entitled
"Fantasia Hely" exploits the upper range of the lute; Hely
uses the ninth fret on the upper four courses. It is made
up of many sections, related to a small number of motives.
Few corrections appear in the tablature. The design of a
hand appears at the bottom of the page to signal that the
piece continues on the next page. There are no diapason
tunings indicated, so the diapasons are tuned to a diatonic
scale.
As in most fantasias of the middle and late
Renaissance, these works proceed by points of imitation--
that is, by sections defined by modulation and polyphonic
treatment of motives or themes. Augmented chords are frequent in this type of piece and appear several times in each work.' See Example II-5, below, for examples of
Hely's use of this unusual chord and their context.
Ex. II-5: Hely's use of the Augmented Chord.
No.l, m.8. No.3, m.15. No.4, m.43. No.7, m.42.
* -^5—
-W——i t* ' * fr"t~ Iw • §—
Generally, a non-harmonic tone becomes a leading tone and resolves after the harmonic environment has changed.
A detailed analysis of a representative Type I piece appears below. 29
Occasionally this chord functions as an independent vertical sonority: usually, III+ resolves to i. The augmented fifth on the mediant is very common in later
French harmonic practice as a V substitute in a minor key.
It appears rarely in the works of English composers of this t ime.
There is no evidence to suggest that Hely was ever in France or in a position to be influenced by French composers. It seems unlikely that Lord Herbert influenced
Hely. Lord Herbert's music is harmonically conservative and lacks this type of progression. It is plausible that
French aquaintences of Lord Herbert could have influenced
He ly.
Type II (Nos. 2, 5, and 8)
The pieces in Type II rely solely on harmonic progression and modulation for musical interest, rather than polyphony. Many sections of these pieces consist solely of arpeggiated chords, as seen in Example II-6, be 1ow.
Ex. II-6: Styles of Arpeggiation in Type II Pieces.
No. 2, m. 17. No. 5, m. 4. No. 8, m. 8. 30
No. 2, f. 82**, entitled "Prelude Hely," contains some polyphonic writing but primarily relies on his harmonic vocabulary. It is divided into three sections.
A smudged area obscures some of the music. It is the only piece of Hely1s with the word "finis" at the end. There are no diapason tuning indications.
No. 5, is on f. 88r, below the continuation of no.
4. It is titled "Sarabrand Cut: Hely," and is a thin-textured work in two sections which relies on melody and bass to imply the harmony. No revisions are visible.
This work is the only one with repeat signs. No diapason
tuning appears.
No. 8 on f. 89^, "Prelude C. Hely," seems to have been copied hurriedly. Pitch symbols are sloppy and widely spaced. After the first seven measures, the piece lacks barlines. Rhythmical notation is often incorrect. Of the pieces by Hely, this is the least accurate. The use of the second fret on the third diapason is an important feature of this work.
Below are some examples of chord progressions in
Hely's Type II pieces. These chord progressions rarely produce a true modulation but stray from the tonic.^
*A detailed analysis of a representative Type II piece appears below. 31
Ex. II-7: Unusual Chord Progressions in the Works of Type II.
No. 5, mm. 1-8 ^ k* a * — W ^5? U/*• r
No. 8, mm. 8-12
IFFirl
Type III (No. 6)
Type III consists of only one piece, no. 6, f.
88v, which combines traits from the first two types:
dissonant imitative counterpoint and thicker chordal
texture without true modulation. This piece is
tightly-woven and uses one motive as its primary melodic
material. This work is the most legible from Hely's hand,
and has no visible corrections, or smudges. Texture and harmonic movement are illustrated in Example II-8, below.
Ex. II-8: Harmonic Progression of No. 6.
%——' V 1 1 1 „ - 1 \ 1 u It—1 t ^—0— 1# 1hn—^ 1 =F| w^w 9 0 $-*-
«v. Ff=^f "g ri j D ' V 1 g n p - 1 " nr "V 32
De tailed Analy s is of Nos. 1, 5 , 6
The compositional style of Cuthbert Hely will now be
examined in three pieces representative of each type. No.
1 is a Type I piece. No. 5 is Type II, and No. 6 is Type
III. They will be examined in that order.
Through a pseudo-Schenkerian approach, as seen in
Example II-9, below, I am trying to reveal both the motivic
structure and the tonal scheme. There are differences
between this analysis and true Schenkerian analysis.
Because of the sometimes modal nature of this music I did
not try to find a "fundamental line," (although in most
cases one was found). I did not search for a large-scale
tonal arch (i.e. I - V - I) although some pieces happen to
be structured that way.
The foreground contains all but the most
non-essential pitches. Middleground 2 illustrates the motives (the blackened noteheads) and retains formally
important pitches from the foreground (the open
noteheads). Middleground 1 extracts only the tonally
functional pitches from the motives in middleground 2 (the
blackened noteheads) and again, retains the formally
important pitches (the white noteheads). The background
finally reveals the basic structure of the piece. 10
CO OJ 11-9: Cont inued Ex. 11-9: Cont inued
CO 36
Type I
The basic motive of No. 1 can be seen in Example
11-9. It is important in two ways. The harmonic root movement of the piece, as we shall see, is parallel to the outline of the motive. And all other motives in this piece are related to this first motive.
The motive is characterized by a downward leap
followed by a diatonic scale that ascends to the first note. A downward leap followed by a stepwise ascent
appears in many forms. Hely's manipulation of this motive
is often sophisticated. While it is most apparent in the A section of this tripartite form of A - B - C, it appears in
B and C also. The motive appears in both lines in measures
1-6. In measure 7 the bass enters with the motive
beginning on £. The motive disappears only for the cadence and its preparation in measures 9 and 10. At the anacrusis
to measure 11, Example II-9, the soprano again has the motive, but now the first leap has shrunk to a minor third and the remainder of the phrase ascends to .
The motive appears in the bass, beginning with the A half note in measure 11. The texture is now thicker and
the motive does not permeate each line. The motive again appears in the soprano line in measure 14 with b* descending to d# and resuming its ascent until it is varied
in the next measure. In measure !8 the soprano uses a variation of the melody, but instead of begining with a 37
leap of a minor sixth it begins with a minor second: a*
to gand back up to £*. It then proceeds exactly as
in measures 15 - 18 (see Example II-9).
A new ornamental figure, motive b, along with a
modulation to the key of A (to be discussed later) signals
the beginning of the B section. Motive b appears in many
guises, some of which appear in Example 11-10, but is
always characterized by sixteenth-note movement around a
single pitch.
Ex. 11-10: Ornamental Figures in B section of No. 1. r nritj iSnM|M ii}faffed
Because motive b emphasizes a single pitch, it unifies the
harmonically ambiguous B section better than motive a.
Motive a occurs less frequently in the B section and is
often ornamented by motive b.
Section C is identified primarily by an abrupt
return to the key of A in measure 41. However motive c, a
variant of motive b, is introduced (see Example 11-11).
Ex. 11-11: Motive c in Section C, No. 1, mm. 41-42.
This motive is used in a descending sequential figure beginning in measure 41 (see Example 11-11, above). Motive c also appears in the bass beginning with the A in measure 38
41. The final 10 measures are characterized by the tonic- dominant harmonic progressions and quick runs typical of the late-Renaissance fantasia in England.
The "intense" quality that Diana Poulton spoke of* is created by Hely's daring use of non-harmonic tones and unusual sonorities to create a seamless fabric of sound.
Augmented chords, chords containing the suspended second, fourth, or sixth are all treated as sonorities resolving at distant points long after their harmonic environment has changed. While these sonorities are not commonly used with such frequency during the seventeenth century, each chord is nevertheless prepared and eventually resolved according to the usage of the period.
This piece is made up of mostly irregular phrases that modulate while avoiding strong cadences. A harmonic analysis reveals a tripartite form rather than a free compos ition.
Ex. 11-12: Harmonic Form of No. 1.
mm. 1-22 23-39 40-end
key A DA
This piece is in the key of a/A. In the first phrase we can see one of Hely's favorite devices—the sequence. In Example 11-13 the fifth-relation, E major/a
*Diana Poulton, "Lute," New Grove vol. 11, 1980, p. 363. 39
minor of measure 2 is repeated in the succeeding measures.
It is transposed to b minor/e minor in measure 3. The
harmonic sequence, C major/F major, of measure 4 and
measure 3 begins a return to the E major chord of
measure 2. The d minor/a minor sequence, of measure 5,
continues this return while the e minor chord in measure 6
comple tes it.
Ex. 11-13: Harmonic Skeleton of No. 1, mm. 1-10. Bli l I » r? ~ |? r, IB 1
The passage, above, remains open-ended because of
the dominant ending and because measure 6 does not follow
the fifth-re lation sequence. Beginning in measure 6, the
harmony progresses from an e minor chord to a d minor
chord, moves to a minor 6/4 in measure 7, and finally
arrives at E7 major. Hely deflects this strong v - iv -
i6/4 - V7 cadential formula by using the III+ of a minor,
or C+, to delay and extend the phrase another 2 measures.
A comparison of the harmonic root movement and motive a (as
seen in Example 11-14, below) reveals a parallel structure.
Ex. 11-14: Comparison of Motive a and Harmonic Sequence of No. 1, mm. 1-10 """* it J UjUa'l Ji'Jjjiiiii Harmonic Sequence 40
In measure 10 Hely again constructs a strong cadential formula but avoids the cadence by an augmented chord in measure 11. The phrase seems to end here, because both an A and a £#*• are present. However, instead of e to complete the chord, he uses an _f to create an augmented sonority. This chord can be viewed in two ways: either as an A major resolution with a suspended sixth that resolves through e to d after the harmony has changed to d minor; or it can be viewed as a true augmented chord.
Augmented chords are typically found as III+ in a minor key. The chords in Example 11-15 function as augmented chords resolving to the proper chord.
Ex. 11-15: Augmented Chords and Their Resolutions in No. 1. m.8. m.ll. m.14.
—e I —0 w
11—0— —d
Does this piece in fact modulate (or at least fluctuate between several tonal areas) as Example 11-15 implies? Hely1s use of the sequence—his favorite compositional technique gives the answer. A multilevel tripartite sequence begins with the anacrusis to the £#* in measure 11 in the soprano line and continues through measure 22. See Example 11-16, below. The overlapping 41 multi-level sequence can be observed by combining linear and harmonic aspects.
The parallel motives of measures 11 - 14, 15 - 18, and 19 - 22 are supported by a sequence of chord progressions whose divisions do not always coincide with the linear divisions of the motives.
Ex. 11-16: Harmonic support of Motivic Sequences, No. 1, mm. 11-22.
A , V d A1 i e. $*° &+ & ^ lj[J i ili J « ft7 a. B dta ft c4 c£* ^ J»|J" jinra
£. a. e 4'
In Example 11-16, above, the first harmonic phrase begins in measure 11 and progresses to the f# diminished chord. It extends another measure through the G+ chord and then cadences in the new key of e minor. The next two phrases, each of four measures, follow the contour of the linear phrase exactly. Phrase two begins in measure 15, in the key of E major. The F# major chord in measure 17 suggests B major. It then continues through measure 18, and ends on the diminished-chord cadence, d# diminished - E major. The d# diminished becomes the vii /V - V in the key of A major—the key of the last phrase. The final 42 harmonic phrase in section A begins with the E major chord in measure 19 and exactly follows the harmonic progression of the previous phrase but, in the key of A.
This section illustrates the way Hely disguises the sectional nature of his work, and reinforces the key of a minor by d minor and E major--iv and V, respectively.
The B section (mm. 23 - 39) of no. 1 is introduced by a new ornamental figure, as discussed above. This figure unifies the wandering harmonies found in this section.
The first part of the B section is in A major, but quickly leans towards D major and E major, the IV and V respectively, without actually modulating. In Example
11-17, the G in the bass can be heard as a seventh of the A major chord, which then resolves to D major.
Ex. 11-17: Harmonic Fluctuation in B Section, No. 1, m. 23.
0 s ! *
1 to 1
This type of fluctuation continues until measure 31.
In measure 31 the harmonic rhythm quickens, and by measure
34 an actual modulation to F# major has occurred. Example 43
11-18 begins in a minor. The basis of the harmonic rhythm in measure 31 has become the eighth note. The harmony oscillates from B major to e minor, and in measure 32 a
:omplex cadence begins--F#^ - D - a# dim. - B - ,7 _
F#. The modulation is achieved by a deceptive cadence from e? to F# major, but this simple deceptive cadence is disguised by remote chords just before the modulation.
Ex. 11-18: Modulation to Relative Minor, No. 1, mm. 31-34
ri'0'"mFr>LjFTT
Once the remote key of F# is reached, Hely reinforces it by oscillating from F# to C# root-position chords in measures 34 through 37.
A two-measure transition leads into section C in A major. The transition is accomplished through a chain of fifths--F#7 to B7 to E7 to A (see Example 11-19).
Ex. 11-19: Transition to Section C, No. 1, mm. 38-39. UI (WJIJJ ,
t t-I t i, *• 44
Section C begins with the three-note anacrusis, e^
- f#1 - g#1 , in measure 39. The harmonic progression from measure 39 through 46 is traditional. The f^ on the last eighth-note beat in the tenor in measure 46 signals the beginning of a codetta, reminiscent of section A through its use of the F+ sonority.
The codetta quickly returns to the traditional late-Renaissance cadential formula and ends with a flourish on the dominant E, finally resolving to A major.
Type II
No. 5 in f minor is representative of Type II compositions which rely primarily on harmony for musical interest rather than polyphony. In contrast to no. 1, with its harmonic and motivic complexity, it is a simple saraband. It is cast in a bipartite form with repeats—A
II B || (see Example 11-20, following page).
In this piece Hely uses unusual chord progressions with few non-harmonic tones. The first section is divided into two phrases. The first is open-ended, although it ends on the mediant rather than the typical dominant. In
Example 11-21, the phrase progresses from f minor through D flat major and g dim. to A flat major, the III. This becomes commonplace in later works in a minor key, but is unusual in Hely's time. The second phrase begins on the
V/III, a borrowed chord, then quickly returns to f minor through the III, iv, and V. Ex. 11-20: Detailed 46
Ex. 11-21: Harmonic Skeleton of Section A, No. 5, mm. 1-8.
¥ 2E w u u
Only two notes within the first section can be
thought of as non-harmonic. The first is the G in measure
3, third quarter-note beat in the bass. However, that note
along with the d^* can also be thought of as forming a g
diminished chord, so it is not absolutely a non-harmonic
tone. The second non-harmonic tone is the upper neighbor
in measure 5 in the soprano line.
The most striking aspect of this piece is the
delayed resolution of the bass in measures 8 and 21,
suspending the harmonic movement, connecting the two
sections, and making the rhythm ambiguous. In measure 8
(see no. 5, p. 64), the C does not resolve to F until the
last quarter-note beat which then becomes the anacrusis for
the repeat or for section B. The delayed resolution in
section B measure 21 functions similarly, except that the F
becomes the last note of the piece after the repeat.
The B section is also divided into two phrases. The
first phrase ends on A flat major as did the first phrase
in section A. Hely uses a chain of fifths to create an
open phrase. Ex« 11-22: Chain of Fifths in Section A, No. 5, mm. 9-12 I '•i it-» hi I
The f minor chord of measure 9 is the dominant minor of b
flat minor of measure 10. The b flat minor becomes the
dominant minor of E flat major which is the dominant of A
flat major.
The second phrase (like the first phrase) begins in
f minor in measure 13, progressing to b flat minor in measure 14. The dominant, C major, appears in measure 15 heralding the beginning of the final cadence. Hely delays
the cadence by progressing to a i 6/4 chord in measure 16 which changes to root position in measure 17. The true cadence begins in measure 18 with C major on the first quarter-note beat, moving to b flat minor (iv) on the last two beats in the measure.
Ex. 11-23: Section B, No. 5, mm. 9-19.
«. fry i k? i i^fl i t'i'f* i kg i , fry In , ? J in p [K i s us u.r.r i i 1 zgp P~C
The remaining 3 measures are straightforward. The piece ends with a delayed F on the last quarter-note beat in measure 21. 48
Type III
No. 6 is a short piece of sixteen measures and is characterized by imitative polyphony of Type I and thick texture and unusual chord progressions of Type II. This piece is probably Hely's best. He uses motivic sequences, pitch, harmony, and texture to create an effective climax in measure 13.
The work begins with a complete statement of the motive in the tenor voice. In Example 11-24, below, the motive is divided into two parts.
Ex. 11-24: Two Parts of the Motive in No. 6. |°r igj1 t'r i r if r:
In Example 11-25, next page, we can see Hely's pervasive use of the motive. Although he does not use strict imitative polyphony, the main motive appears in at least one voice throughout. In measure 2 as the tenor states part b of the motive, the soprano begins the motive at the fifth. The first melodic interval of the motive becomes a minor third in the soprano statement. In measure 3, third quarter-note beat, the bass states the motive in the dominant. The rhythm is varied, and the pitches are an octave below those in the soprano statement in measures 2 and 3. 4> VO 50
In measure 4 the upper two voices are accompaniment
to the bass, but in measure 5 the soprano and tenor share a
migrating statement of the motive. The bass states the
motive, again in the dominant, in measure 6, second
quarter-note beat. Part b is varied and elides with a
statement of part a in the subdominant tonal area. Part b
then returns to the dominant in measure 8, bass voice, last
quarter-note beat.
In measure 9 Hely begins a stretto section which
builds to measure 13, the climax of the piece. The motive
appears in the tenor beginning in measure 9, the second
half of the third quarter-note beat. The rhythm of part a
is altered, but part b remains the same. The soprano in
measure 10, second eighth-note of beat one, has a similar
variation of part a. The bass takes up part a at the
beginning of measure 11, and the soprano begins a statement
of part a on the third quarter-note beat. In measure 12
the tenor has a rhythmically diminished form of part a.
Part a is again stated in the soprano voice in measure 12
using the same rhythm as the tenor statement just before.
The pitch has steadily risen at each successive
statement of part a during the stretto section. In measure
10 in the soprano line, the initial note of the motive is
^. The motive begins on b^* in measure 11 in the
soprano; in measure 12 it begins on c , and in measure 13 O , , on <1 , the highest note of the piece. 51
Part a is stated twice more. On the first beat of measure 14 the soprano and alto state the motive in thirds; the alto beginning on _f* , the soprano on a^. And on the third quarter-note beat part a is stated in the bass.
Throughout the piece the harmony supports and highlights the motivic structure. The piece is firmly in the tonic, d minor, through measure 6. Hely uses the i, V, and V^/V exclusively. In measures 7 and 8 with the first subdominant statement of the motive, the tonal environment shifts towards the iv. Hely flats the b's and alternates between g minor and D^.
In measure 9 through 12 (the stretto section, see above) Hely uses the notes j># and £# along with alternation between the chords A and to reinforce the dominant, A major. This dominant section resolves in measure 13 not to the tonic (d minor), but to the key of F major. The harmony returns to d minor through a third relation, C major to A major, in measure 14. By measure 15 the A major functions as the V in d minor. The piece ends on a D major chord.
The texture also heightens the climax in measure
13. In measure 1, the texture gradually thicken from one voice to two in measure 2, to three and occasionally four voices in measures 3 through 12, and to four and five voices in measures 13 to the end. THE LUTE MUSIC OF CUTHBERT HELY
IN FITZWILLIAM MUS. MS. 689
PART II EDITORIAL NOTE
The tablature in which these works were originally
notated shows the pitch and the rhythmic order of the notes
but not their duration. In the transcriptions some notes are prolonged beyond the length possible on the lute in
order to illustrate the implied part-writing.
The manuscript is in good condition and the
tablature clear. Editorial decisions are footnoted.
Barring has been made as uniform as possible.
There are no ornament signs in the pieces of
Cuthbert Hely.
53 54
|t<» l^/yra-c;— J«g ifcL.r * •* r$t& •?•*•* j-
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TT^ n—j—— „ i H i J 1 -|J- J e (U-i-j 7 r rnn r; = J> n n*n x t 1 f" f — ir r r- *c r—r J * It ; *1'r *f" r -f L-J=U=EJ J J>" J : t~T~—i^l— tM M—f f - « ' —^_jUM= r M= r —*r—1 —*r £ /iA J' = •i ri r%=i i 1 » If ~H t % ttf •* •U * ti-\ 1 f 'r t r ' duitf H- it *| f IJjJJ iirmr Cr ' ] J i jimxp. ^.n i^jLp—im-i r r T —5 ' i 56 ji J 1Jjlj 1 H iJb Lr "/L-i--- / ^-f =—1-^IPigaiisJ 2S= 15 *u clr m m f 0 > Ur 't^Uf 't ifcr SP J Jlfl V T t^Tv ^=r r r—-rr "TW i r 57 No. 2 Prelude ?HF ZTWW- ^ J fr * t™ TT r I f 'r rrr- -TT-TJTw rm t f -Ji-- I I •-! , ismi II r r > i ^ j. ^ ***~*- FF J'i-" J J 4y=£ =*^=. J1 'JlP-j"]|j- «f f't *r [' 't 1 U--i—i—' m §? r ~r- 58 PIP - " r r T-'TTitp ' =H -4-* — f.—-r T i" r 59 No. 3, Fantas ia -«L Jj-^ J; P TH f J f ' 'iJ l^r'r r 1- iibAu^I 1 1 * Ttt ~ rFf irtr 1TOT \a m 'nitJ j' ^ J—-J- J- JKt li J T ¥ i* *i"—-l-r- ? r r ' f r i' r r if i 3=£ J : •J- • f if tf-r p - TT31 -!• J'- ,n - -J J felt pr»r r Ptrr r •^rf=r ^T*00 'tr ":j&& Wrw fl_?l' »W ^"r Lr' f T#r-'tlWr r \ r;j7: J , r r - r «f r H "h « r) f-i- -ttuV—F r r zr*r V -f "'( =±=M f ^ Usyd mm X ft -fij r*[j-i1' rrct r- -T_r r dir r! r r r' r -r r r» •€b —-—r* -titr" r r " n ST.. 2—r-l 1,11 J- ••fflp f p—T^T" Uf ir^u^ a' rJ'Wrji, 09 61 No. 4, Fantasia gil i * fj> 'LilJ T Vf T r r HY r ; 1 1 j— X ,ri.. J— r L J- }- 'O ' '' r f—1 r r r 'if « A 1-1 • O • t T -J J j i ,1 j.—n 1 J—1 .J J J I 62 r ** J & V''LT ' 332U33 — iL_ -'J 4 h! ^ _ a - 6) J 1 rrr_r^'ffi K^-T" V-H" -o r T'CR -r1 ^ ^ j •J. ^ _ TVi4e m TJ1-— —--f- r^#4i' © ] i |i,r r_ff.r r f f ^ ^ " i V •-NJ-L= r fi r? '-rt p f h —1—p 1— •a£ 1 J j 1 •i NI| f> 7 r 1® .1 i- ' ' ~T f f qr P fv += W—I 1— I n 1 ^H=r= JL.4- -< +J-—* J I n r(^ ph JT - "rti A .. -.11. J J " J ,•]« / •• =fe= —P 11 T I - RM r H / —Jj— •>T fyk JI«— j .4 J ^ n | 11 tcr rr tl r r f "j i.. r T1— - /L „ -*• * """—'*• T 4 *' •* ^ * J d "• * —tzar i **rMf »"FT- ^ "" J j J J ' " il. j ,— r ou flN'l*^p- -J-in ri--J ' ^ 1 r Tr— / ?• L^i b ^1* —. » y J -flfli /] ; (1- ^ 5 p. !)»<> — 0-o- / > * \-41 01 B _4' ^f •• J . j j. • - T—HIT* r—•TTTf T\ -4—f- • -— ii "or •f— /i W J j fe=; •J n j j " -"—— n—r-rW JJJJJJJ 9'il|L p •—f— -—i-r,- \< *V \ 13=— =35= v= 1 r—^ i 4 4' > i-- J •i i KM j" ^5=4 ^ lli J— * J J ^ =^=f ¥~? r T 65 No. 5 Saraband TT WrT I 66 No. 6, Prelude * nr r i1 if*) i ^ -uj n. i f p—^— t*f f 'if .fl i Jt it ,.* JHJ J ^ jl ,i * *F F r f • 1i 4I ., J J .•ifcJ- ± *•*' I J1 i 1 -T~, ' R crr-T r 5*r R ^ /N" i • 'f V i L 1. WTTili J ^ i ^-J-Vb. J J *r r -f—T—F—F- ' cr f- 1 L> J J J J"ft -J—N—I—I— --J. J J • =•1— -i-^4 i— — 14: I"Ptrr R JV k J 1 J rw n | Hi' =H J r f rJ"Lr r r Lr 1 -fpE ^ F T r F 67 No. 7, Fantas ia jp J. J I'l j. HL-~M Q]-JJ j j i r r r 1 $mm J3J*} a gira nraj J f^-^rp JTT] j>j I if *cjtf cJ 5 n rr%u L-T r r J j i - t 1.,-, 1 pn* -Ji 'J -Ttf rr f =^Bej=i& i rur-Ttf1' ^ f> -jl ^ 4f i k„ i ii, jip j 4—.—iMt rfl. ••}^ r J* T' riJ f^T?" r r J r 1 _»«SJ ^ (A, V r r. j ^ mm ' Ulj =^f ,C -jTSpin^- flrfflr •nlfft f, a.n— i—id-^J- -C—Jl| ^ .O 4 , r rVr T* - "' -d Jin, .4 .giftujv»tff |j.f fir r -U^Mr?r J'j —f -If • 1Jii.• ^ ^ rt-r r '^4=J=^f i^Lr^r"A. a Ji -J., J — f J vT-f-_ 1 ,4 A . J. ---r Pf-^; 1 l'lU=*=J 89 1 69 JiJ j. , J«J W t j--jm >^4 u nLi > *u r= "ir r r > if f ie \f"r r _ j Hi ==to * r r r r f' r J' r— VBSSBBB r r r~r IS3& r rr-r G3Sn| r rrfr r n^J3 J .J>J ' p cjitru ^ rfl-il |j=J335. /it t J. >-fl rfPirj n n -H—J 1 pi -cii£rJ' J1 ; s .r J3^JP^D J—j^ZL, |T7IbL | JBJ ^f p r >—•• i • j—m y —I"1 H" , i ' i—1 1 J -i /I'l »* * =\ (r ^-J- H- J iji-^ ^ !1 I [ 1 - j ' 19^ r r * 7—[j*— uif*r f ?L A *-r—trr-* } nil T *f •i.,^ J i n i I 1 —^^^ t r 71 No. 8, Prelude f T'r rv-r * The rhythm is probably: 72 THE LUTE MUSIC OF CUTHBERT HELY IN FITZWILLIAM MUS. MS. 689 SUPPLEMENT EDITORIAL NOTE In this edition I have kept as close as possible to the original manuscript. A few changes have been made to facilitate reading. The barring has been made as uniform as possible. A few unusual barrings are retained because the music dictates it. In the case of corrections made in the manuscript, I have chosen the sign written in hand II. Hely and Herbert indicated the tuning of the diapasons by showing their relationship to the upper strings. For example, in No. 1, Prelude the first diapason is tuned an octave below the first fret on the third course or to F#. The second diapason is tuned to the fourth fret on the second course or E, and so on. I have placed these tuning indications at the beginning of the pieces when necessary. If there is no tuning indications the diapasons are a natural diatonic scale from F down to C^. There are no ornamental signs in the pieces of Cuthbert Hely. 74 75 No. 1, Prelude J J* J J J* J J* J J> r a a. r 7> q. a. r a. > ra f r a_ K * j ft r a. 3 e- r«_ e. n Hr e r a. r e — ra. er C r a t r o* - r r— a t e r r a. r £ + a. 0 r "3 cl 3£ e 3 r * 9 P. A* ' ra e er a ic -a n. r r Jf J J> J g— . - _ T_.i ^ r t—r ~ 6 r , P J P £ r— a. r e r a. r ra. e. tf r e r re - a.. £- r t E r £ T o_ a. 7>e. 71 7 re OL r e p a. ft r e «• rera. 76 ,-!< 1 _B .41 1 . _ ... IL a ro. a- r r e ' 7 7^1a. a. r a. •» r «. Pr i'rr f *>. f •» r'S r a "i r *a c a. r • • 1 > ; •» e e *- r J* J r a. a~ r «- a, e a a. cl r /? & r g r p. e c r^I .£ r e. r c s: r— a- 3 r 7 r £ r S r 4 r ff r 8 r e •a a e. •» £— r e. i 1* Jfc e. X fr e fr fr g "8 — _C_ Tfr g £t r e r— ,i r u- » t r. ^ . a. o~ •*—et f f a. r £ Sg wA n M9 §C~~ 9' 13r t —&— f r t1 C A a. e. 77 J r a. a. r Ol a. r T 4 Q. OL. T r e r o~ e r e ex. C , r T a- r & £ -a r •be. "A jt e. r — r «/ & r ex. or sr 7E— 555—=•:— ssr" S1 i t J J> r o- a. r 1 •a •» r 4. a. * a. r a, r e tJ a- o. 1 ex "?> a. a. r r a. a. r 4 ^ «r r e £— £ r r — t J> J> r r a, r fi.rc.OLr a. a. a ou re £ r a. a- r T> *& e - r ert i? £ rH r o ^ o. r- r •a e. -a r 78 No. 2, Prelude o i J P J J J J J -t J r r a. r g.. T ~— _ "5 •» —| *~J E ft- (L g JT £ a. r p r P. a. r—• i J ) J if j J> i CL 0L "T a -a r •" ' r7> 3 U' Q_ CL - r c — r / r * &— r a. e r q. e C1 £ fi "3 & a. a. a. fi r — & r =cr j> i *=^~ t £ r l e. T A •» j e A r i r J i r 4* r- £ 2 «—%n t v r 'r a r ou 7i a. r "a l *a _T r K r a. p c- a. e. £ —p =BC «- -a- 79 J i J1 JP J J> J.fJ J j V » II » a. r a- re. o- r ^ r r a. r ^ B r 3 r Q. r a a. a. 2? a- « -f a a &. , r our 'a. e. 6 p c r f J J1 J i j j> i J j d t A- - 8 A P ~i> e r , r a. o. ~b £ „ e. r a- re a. re e r r 8 r e OL r a r e. r e r J i J J ^ 80 No. 3, Fantasia j j J> J p i r J p r r r d — r a. r r— a. a. a. (i- Q~ P- TP. - £ re. * * •& T> r — ^ a. a £ t P — re. r j r j> J J> J J. J* r f if- 6 . r 1 _2—/ 1 —£• 3s—_ ,4 r a. r 1 r r a. r 9 r"i "J r r,& rfl—., 'fi fc. i t€• g f »• r g r a. r 2 r r r r .4 a. J P J* J> f> * „ „ r a r £ c r e. { e. r 6 r — r d a~ r 1 r a. ' a~ r r a. O- r "3 r n. r a. r 1 8 7> £ r »»"_ A a. o- ^ I J1 J! 9 a. r- e. 7— r^TCL F- x* *a p r t-A- a. r a_ •1" k > e. r d •§ e. r t i e.r au a- «_ t- *- 81 J p J? J* s> r JI JJ j. J1 J J> fl= .. 3r- r .4r .a— —c—e— ^ r -r £t r — A' c s •a- fi m >—" e . r ... - TT-—•2 —i—e> a- o- a- -f *• =E "i'4- ] F J J> i i> p P J I> J • Ti— •£ a,Vfr -E— £jy , ,.ft.A„nr^f.l^ j.fLjJ»i £a r e- e. r If 1 * e £ & r a. ol. ol ou <3L a. a. JL Zr r, nf i—8 tie— IZAl •W^sr 1C TC i P J P JJ> J P J J J> J L * •a e £ rr P. r a- a. a. r r'r * /0 T> *a *2> «- a- A. /l. 82 rjj jr i ni J J> • & } e. A 2 r 8 V g 5 vi & r 6 I e I r dx- A. ft- e. gr VL a- " W K W •e ii V £ s. J J'fi J> } p J pi J> r- r r j —fi^-F i r A . ¥~n fit Or ——O- .. °» I JL—£L— * fl. r — r 1 * P J J J J> j j J J> J r J J> 'r• ,f 7T —, a- r -p e e. a. r rfi r r e r1 f z„i VC zr—w 0 r —"-g -f-*- £ "TT r — . IP u i J Ifflm a- JC r r £ a j ^—9r- £ "» * —£ a. r A- r e c e. r- «- £ . r 83 No. 4, Fantasia o J ) Pi P' J ] P ) P /l "VT" •i c*- » y r7> £— 0L- r If* T b~ 8 a Ou B GL-» ft. % r? j r i i r J i IP J] P J R I I) P A L —j- 7t~ X4-JL- ZE £, i JL \t- V'<> J J J 4 J ± O- i i_' i± t 1t—*s W~r 3_ZE 3 ZSZ2I _2X. £ -At a- -ar 7 J I J J I J •a tf . £?- ff ^ r ^ .. e. •S— "S Tf J ^ "d a*1 r tx- r "3 a. "a. r r> r a- t? r * %- - K- o- e~ A. f7 a. * 'S Or . 7E 1 i fV ?\\\^ &J p •- in as, 1*> a *PT «d| *Sk »s> Qj *o P *. aJas, •— <*? P^ &J P *, •- Pi o) )[*J1 al *> AW AW TP p^ *=o Q] HP P T L *& o) c) r* a P ft P •»• 00 *p°- 4> 85 J P J J J J.J*1 J ] J J P J J « 'Se. 'A 'i & it a. ol r r ol. a- r a- r'd a. K * r ra- r L T a. Q- Ou u •» _*_4= - e •» r J1 J a* yP 'V l> ''1*^1 rs—t~*—ti^ J -O p—E-tf —^~*s—g. ^ &—a— —*h!^ C e e. F=-£ -Oit Ar . A. \ kV\ frffre— zt. "^r ^ ft i "ive j jv."b£i- —| **i /— L I. til e.-ae •atf / 6 4 ft* A- 1 & —• IA. <7» | | ^ BC"m- - -1 86 * LI & Tf a. / Ui r^ i •> jf 1 & •1 *'» ft „ j. j1 J j> j r i -a t $ o £ ^ & -9 t—o a. . •d !~ fe! a. 0- .• <1 J1 1 P j. J»] P 1 P J J J ^ \rUi% r...A "TET _A_ fl=_ 1 r j p. j> j> i j i q> , a» . . - * n\ 1 pr^ 1 ' '"A ITS—•a—| rsK ^ A i\ r "W*'* "?> &*»& "^"T 5-*- t* t —3 a. QL flL r 4-r3 r 2 a- "" • •" 'raspr •aa j1 a. p i i *** ^ —H— =3? * t d- d- 87 No. 5, Saraband J J. J* J J. J1 J f ' i fi t g -3—1~ -3^ -p—• > \ ^ — ^ ... r a <7 IL a. a- *> " - a- a_ A a J J J. Pi J. J> J J J i. J> J J> • • 1 J j. P J J1 J J J J. J* J 1 _ i 88 No. 6, Prelude » e j P i P J P 4 i> J» . j r * p i < ra- r r r i i % r a. a r . ,**• t 3 r r -a "* " U ¥— r a- r , . h/-*--15—V A r C. fir tf fc . . * r . C r i v J V a, a. ia,& OL % trt§L ' * -r £.-1m 7 •r .. £*.cx-_. . r r o, r a. a. . n.. r r» r%— J f J P J J r J3L _r__a_ r a. r o. a •-*- &o- 7 4 IE JX- r fl- IZ2I t J P J P J J J 89 No. 7, Fantasia J J f if j r i—a f *d 6 Ou S Q.T> ^ Q_ *b a- :f:3r~ 1 J r P a. a. a. r~ r £ erou e -a r *3- r CL» } ?p r JP J J> r *;> Chr r ra. Q- a. ^ ^ 80-81>• / a* & 'd a. I o- a- £=_ _OJL. .r.A- g p. e & r & a. e. A. r *a — *3 r'a. -ar a- a. J> j? 1 P i» J J* V cu r TP* a: <3i r£ MZ5ZS: nfft" a. r £Q. 5 a- r j£EL r""g g-r ~g~r~ -iT J J> } p j? r * J> f r 'fc r 1 /-£ r r •f £flyi* j J Il> , ^fr—ii * a- £— io-i -a 75 r a. r .. , ri £ r / r •a r o. Ol. =£" 90 r L „ Uta A - & o- t a. "2> K j? p p rP r a. a. o-re. .£ -f £ r a. a r £—• 4- e. a. 'd r ' ' * e. r re. ftre.ou a. r, ' a. r "71 (LT? a.{ + £. —— f n> r o-e "7> r f t. ...r-A P a. i7 6- « r 91 j> ? 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A Or T" C*- —|F—* e. r c , , r ...... r p / 94 No. 8, Prelude J j j i r i j r J 4J - „ * ?f— •*— £ K r £ "IT,I O a o cuts CL'«- —ihr: ~(Li"~'bU- o o •» t •3—Jat a-s- 7? !> £ J J1 i (5) ) J> j r j r j t£ g- tf1 -a CL. t a t\(i -i j£ ¥ -f-BT T -tt J J» J» J1 t " * *2> £. IS a & •'a ZE -qttT G_ ol r 3Z flu t ear or ] fi P i P J J 1 J 1 J J JL. S 8 =fc 2 a. ^ 73T r h or T TTT £ tit * 95 j i r J P J —¥* -fO ^7i—2?—/> H J - -£^ ^£ &7-5"^ r. ,,. O- r 'a -a jt 6 r ® £ >? « — .5 APPENDIX A Cuthbert Hely to Lord Herbert of Chirbury in Tuttle Street, Westminster The manuscript is badly torn. I have transcribed it from a copy sent to me from the library of Wales. I have occasionally consulted the transcription of the letter found in Herbert Correspondence by W. J. Smith (see bibliography, p. 104). At your Lordship's going hence I received a letter from Mr. Edward Whittingham by your Lordship's intentions (as it seemed) by Roger Reignolds, and within 2 days I returned your Lordship a full answer by him of my endeavers in effecting your Lordship's Commands with a copy of a tripartite affidavit of some of the defendants. By the neglect of some absent, who had exemplification of Reignold's judgement against Dunn . . . [tres]passer . . . [and had it] not been for Mr. Attorney Euers's great [?care] his lordship is as favourable as could be in respect Mr. Gilbert Jones and all the writings were absent. There was great opposition and struggling by the defendants and counsel and [attorney] . . . who appeared for all the defendants except Wm. Rees alias Dunn, the chief actor. Now I not knowing what inconvenience might accrue to your Lordship by this order, had them leave out any appearance of your Lordship name. I have by advice of Mr. Rees Jones, one of your Lordship's attorneys, sent copies. He is chiefly to consider whether to go to a ne trial; secondly, whether to move this court to stay this order and go to a hearing for the misdemeanour. For the better effecting thereof they [should leave] the original unsigned — until signed by some of thejudges it is no order. The old order was rightly pursued if it can be made appear that Tho . . . [and Wm.] Rs alias Dunn had notice of the trial. The scruple they stand on is that they hed no notice, thinking Reignolds would never pay their costs. Besides, there was a slip in the order for the 96 97 interruption, viz, upon notice to the defendants or either of them — Griff, swears he had no notice. Ludlowe, 30t*1 September 1639. Mr. Cuthbert Hely [Add i t ion] Was last night after supper invited by Mr. Rich. Herb[er]t to "my Lords" presence to hear the two ladies, Lord Herbert's two grandchildren, and Mr. Coate sing. His lordship goes hence next Wednesday towards Aseridge or London. Sent this day a letter from Mr[s]. Beatris. [Further addition] Received . . . [th]ese copies from Mr. Edward Whi[ttingham] . . . [? Rijch. [? Thjompson . . . [Received] also last night a letter which Lord Herbert . . . Tho. Turnor to the Chief Justice, Sir Tho. Millward . . . [So defective as to be unintelligible]. APPENDIX B CONTENTS OF CAMBRIDGE, FITZWILLIAM MUSEUM MUSIC MS 689 LORD HERBERT OF CHERBURY'S LUTE-BOOK Folio Key Hand Title g II 'Prelude des preludes par Sr Diomedes g I Prelude Perichon d •Prelude Jacob g II •Prelude iv.a G •Ut re mi fa sol la Fantasia dell' Sr Diomedes 3V_4R D Pauana del Sr Danielli Inglesi 4V_5R d Pauana del medisimo 5V_6R G Pauana del medisimo 6V g Pauana by Anthony Holboune Countesse of Pembrookes Funeralle g Pauana del medisimo g Pauana del medisimo Decrevi 8 g Pauana del medisimo 8V.9R g Pavana by J. Dowlande Lachrimae g Gagliarda by Mr Jeames 10' d Gagliarda J. Dowlande g Prelude P: Roseter 10' d Courante La Poulonois g Courante de Belleville ll1 g Courante del medes g Co uran t e g Courante Perrichon 11 g Courante Desponde g Courant Belleville 1 2 g Fantasie Battaille 12V g •Courante 13 r g I—Prelude Jacob 13v d Fantasia Diomedes d Pavan of my own Composition 3 Martij 1626 Herbert 14 C Fantasia Jacob 14V-15R d Fantasia Lorenzino d Courante Bocquet 15' d II Courante Despond 98 99 Folio Key Hand Title 15v d Eh i d Pr elude 16 r d II Fantasie R. Jhonson 16v-17r C Fantasia Sr Diomede 17v-l 8r f Fantasia Jacob 1 8V f Prelude Jacob f •"Balet Jacob 19 R f — Prelude Polonios f Prelude Battaille i9v_ 20r F I Pauana Mr. Daniel. Bacheler 20v f Pauana Mr Daniel Bacheler [cancelled] 21 R f Pauana Ph: Rosseter 21V f Gagliarda della Pauana f The Teares of the Muses Anth. Holb. 22 r f Ga gliarda IT F Gagliarda 22 ~2 3 r f Pauana Ro. Jhonson 23V-25 r f La ieune fillete Mr Daniel 25 V f Courante Mr Daniel F Co urant e 26R f Courante F Almaine Daniel 26V f Courante Mr Daniel f Courante 27 R f Courante Perrichon f Co uran t e 27 v f Mr Daniell f Courant e 28r F Courante F Courante 28V F Mr Daniel 29R f Courante F Courante F Courante 29 V f Courante f Courante 30r f Prelude Perichon f Courante du mesme 30 V f Prelude Desponde f Courante du mesme 31R f Courante du mesme Perrichon F Elle me revenant 3 1V f Prelude Perrichon F Courante Saman 32R f Fantasie Pollonois 32v f Fantasia du Gast gentiloe Provencal f —[untitled] 335 33 34r — Fantasie de du Gast f 1 100 Folio Key Hand Title 34R f Une Pseaume: 5 f II Fantasie de du Gas 34I 35R f Fantasie de du Gas 35Vf Fantas ia f Fantasia du Gast 36v 36 f Fantasie Prelude Jacob f Sur le Courante de Perrichon Jacob 37 R f Courante Gaultier f Volte Pietreson 37V f Volte Pietreson f Prelude 38r f Fantasia Diomedes f Prelude Mr Dan. Bach. 38V Eb Fantasia Jacob 39R Eb Courante Jacob Fantasia de du Gast e£ 39 V E —Cadance Battaille eb Fantasia du Gast 40r Eb Courante Courante > o E£ E I Courante Gaultier Eb Courante du mesme 40V-41R Eb Courante 41R Eb Courante Saman Ab Courante Hearte 41v-42r Eb •—Fileu Despond 42r Eb —Clocles Mr Gaultier 42V Eb Prelude Mr Daniel Eb II Volte Gaultier 43R Eb Hearte Eb —Angelica de Ballard 43V f —Fantasie du Cauroy R b 44 B1 Prelude Desponde B Elle me revenant 44V bb I Fantasia Alfonso Ferabosco 45 R bb Prelude Jacob 45v bb Fantasie du Gast gentilhome Provencal 46R Bb Gagliarda Jacob 46v Bb —Courante Gaultier II "•Courante Gaultier 47r Bb I —•Courante Saman Bb II "•Chacogne 47v-48r Bb I —Couran t e b 48? E » — Fantasia de du Gast 48 Bb Fantasia Polonois 48v-49R bt II Fantasia du mesme Jacob 49 V Volte Gaultier Eh bb Courante Gaultier Son Adieu bb La redouble Folio Key Hand Title 50R b*> Courante Gaultier Bb Courante Gaultier; sur J'avois brise mes sers [untitled] 50 v B° Courante L'espine bb Prelude Herbert 51R bb [one line fragment] •—Prelude of my owne making 51* [Blank] 52r c I '""Prelude Pollonois c II Prelude Jacob 52v-53 r c Pauana Mr Daniel 53R c Ga11: Polonois 53 C Pauana Anth. Holborne 54R c Pa uana 54V-•5 5r c Galliarda: J: D: 55R c Gall: Mr D: B: 55V-•56 r c Pauana R. Jhonson 56R c Prelude Mr Daniel 56V-•57r c Fantasie Mr Dan. Bacheler 5?V f Fantasie Pollonois 58 r f [untitled] c II| Prelude Mr D. B. 58V c P1Toccata Lorenzino c 1L—iPrelude Mr Daniel Bacheler 59 R c Prelude Cauroy r 59V- 60 c |I 1Fantasie Diomedes 60r c E1Fantasiei Diomedes 60V c II !Pauana Ro. Jhonson c r~I • PrI elude 6 1R c Prelude Perrichon c Prelude Perrichon 61v c dCourante Gaultier c II •—Repassagi 1 61v-6 2r c I "•Courante Saman 61v c II —^[Repassagi, Part] 2 62 R c Courante Gaultier c Courante Gaultier 62V-63r c Courante Heart 63r c Courante Heart c Courante Heart 63V c Courante Saman c Courante Despond c Volte du mesme 64 c II p^Courante Ballard c 1—Pr e lude 102 Folio Key Hand Title 64 c "Courante Lanclos C Courante Ballard C Prelude Coprario 65R C Courante Samen C Courante Gaultier C Courante 65 C Courante Gaultier C •Courante Belleville 66' c -Courante Belleville c Courante Pietreson 66 c Courante Samane 66V-67R c Fantasie Jacob c 67 Susanna un jour de Jacob 68R c Prelude H: c Vo1te Jacob c II Volte Belleville c Volte Pietreson 68 c Volte Jacob 69 c Courante Despond 69 69 c Courante Balleville sur Bien quan cruel martire c Courante Battaille 70 c Courante Samane c Volte Belleville 70' c Volte Gaultier c Almaine R: Jhonson c Vo 1 te 71 R c Co uran t e c Prelude Mr Daniel c Ballard Premier couple Polonois le 2d 71v c Pauana Gaultier 71v-72 r c Courante Gaultier 72 V- 73 r c Fantasia del Sr Diomedes d -Fantasia Jacob 73l 74 a I •Prelude Polonois a II "Volte Perrichon 74V-75 r a •Fantasie Diomedes 75 V a -Fantasia Cavallier du luth 76R a "Fantasia Diomedes 76v-77 r a Fantas ia 77r a Fantas ie Jacob 77V a Fantasie Jacob 78 r a Courante Jacob a Coutante of my owne composition Montgomery Castle Aug. 10, 1628, Herbert 103 Folio Key Hand Title 78^-7 9 R a II Fantasia Cavalier du Luth 79 a Pavan of my owne Composition 3 Martij 16 79V a Prelude Jacob 0 a Vo 1 te Jacob o 0 a Vo 1 te Jacob a Fantasia Sr Diomed. 80v a Fantasia con Jo credo Sr Diomedes 81R a 'Fantasia de du Gast 81v a He ly 82r a Prelude Hely a II Pavan of the Composition of mee Edward Lord Herbert 1627 3i 1r d Martij die scilicet natalitio 82v A Fantasia Hely 83r [Blank] 83v Ab Prelude Jacob 84r Ab Fantasia Jacob 84v-85r Ab Sarabande Jacob 85 R e*> II Fantasie Jacob 85V-86R eb Fanta s ia 86 V f Vo 1 te Jacob f Vo1te Jacob D 87k Volte Jacob 87r e 1 >Les Larmes de Gaultier 87V-88r f Fantasia Cuth. Hely 88r f Sarabrand Cut: Hely 88 d Prelude Hely 88v-89r d Fantasia Hely 89V Prelude C. Hely 90r Pavan of the Composition of mee Lord Herbert of Cherbury and II Castle Island 1640 90 :A Pavan composed by mee Herbert of Cherbury and Castle Island 1639 9!R-94 r [Blank] Appendix B is based on a table in Curtis Price, "An Organizational Peculiarity of Lord Herbert of Cherbury's Lute-Book," The Lute Society Journal (Spring, 1969):22-27. SELECTED BIBLIOGRAPHY The bibliography contains citations of only those works pertinent to this study. Many other sources are related to this subject but can be found using various other bibliographies. In this bibliography works are divided according to their function in Part I of this study. Biographical material Collins, John Churton, ed. The Poems of Lord Herbert of Cherbury. London: Chatto and Windus, 1881. Dictionary of National Biography. 1972 ed. S.v. "Herbert, Edward, Lord of Cherbury." Herbert, Edward. The Autobiography of Edward, Lord Herbert of Cherbery. ed. Sidney Lee. 2nd ed. New York: E. P. Dutton, 1907. Herbert, Edward. The Life and Reign of King Henry the Eighth. 2nd ed. London: Printed by M. Clark for J. Martyn, S. Mearne and H. Herringman, 1672 The National Library of Wales, Aberystwyth. Powis Castle Collection. Cuthbert Hely to Lord Herbert, 30 September 1639. Smith, William J.. Herbert Correspondence. Newport: R. H. Johns Limited. 1963. 104 105 The Lute and Its Music Dodge, Janet. "Lutenists and Lute Music in England." Euterpe 7 (1970):34ff. Dowland, Robert. A Varietie of Lute Lessons. London: n.p. 1610. Gill, Donald. "The Elizabethan Lute." The Galpin Society Journal 7 (1954):16ff. Lowe, M. "The Historical Development of the Lute in the 17th Century." The Galpin Society Journal 29 (1976):14ff. Lumsden, David. "The Sources of English Lute Music. (1540-1620)." The Galpin Society Journal 6 (1953): 14-22. . The Sources of English Lute Music, 1540-1620. Unpubl. Ph.D. diss., University of Cambridge, 1955. "The Lute and Its English Music." Listener 49 (1953 ) . "The Lute in England." The Score 8 (1953): 36- 43. . "The Lute Music 1540-1620, an Introduction." Proceedings of the Royal Music Association 83 (1956/1957):1-13. Morris, Reginald Owen. "Some Technical Features of the English School." In: Contrapuntal Techniques in the Sixteenth Century. Oxford: Clarendon Press, 1922. Newcomb, Wilburn W.. Studien sur englischen Lautenpraxis im e1izabethanischen Zeitalter. Kasse1: Barenreiter, 1968. Newton, Richard. "English Lute Music of the Golden Age." Proceedings of the Royal Music Association 65 (1939):63-90. Playford, John. Introduction to the Skill of Music. London: n.p. (1650). Pohlmann, Ernst. Laute Theorbo Chitarrone. Bremen: Archives Deutsche, 1968. 106 Rave, Wallace John. Some Manuscripts of French Lute Music 1630-1700. An Introductory Study. Unpubl. Ph.D. diss., University of Illinois, 1972). Spencer, Robert. "Chitarrone, Theorbo and Archlute." Early Music 4 (1976):407ff. Music and Society Botfie Id, Beriah. Documents and Accounts in Manners and Household Expenses in England. n.p.: Roxburgh Club, 1841. Boyd, Morrison C.. Elizabethan Music and Music Criticism. Philadelphia: University of Pannsylvania Press, 1940. Byrne, Muriel St. Clare. The Elizabethan Home. n.p., 1 930. Gadding, Bessie A.. "Music as a Social Force during the English Commonwealth and Restoration." Mus ical Quar t e r1y 15 (1929):506-21. Hooton, M.. "Music and Dance in Elizabethan Life." American Recorder 15 (1974):118-26. Kelso, Ruth. The Doctrine of the English Gentleman in the Sixteenth Century. With a Bibliographical List of Treat ises on the Gentleman and related subjects Published in Europe to 1625. Urbana: University of Illinois Press, 1929. Le Huray, Peter. Music and the Reformation in England, 1549-1660. New York: Oxford University Press, 1967. Mackerness, Eric David. A Social History of English Mus i c. London: Routledgd and Kegan Paul, 1964. Mellers, Wilfred. Music and Society. n.p. 1946. Nagel, Willibald. Annalen der englischen Hofmusik, 1509- 1649. Leipzig: Breitkopf & Hartel, 1894. Peacham, Henry. The Compleat Gentleman. In: Strunk, Oliver. Source Readings in MusTc History: from Classical Antiquity through the Romantic Era. New York: Norton, 1950. 107 Price, David C.. The Development of English Secular Music and Patronage, 1540-1620. Unpubl. Ph.D. diss., Cambr idge, 1 976. . "The Elizabethan Household and its Musical Education." The Consort 32 (1976):193-95. Ruff, Lillian M.. "The Social Significance of the 17th Century English Music Treatises." Consort 26 (1970):412ff. Westrup, Jack A.. "Domestic Music under the Stuarts." Proceedings of the Roya 1 Music Association 68 (1642):19-53. Lord Herbert of Cherbury's Lute-Book Dart, Thurston. "Lord Herbert of Cherbury's Lute-Book." Music & Le 11e r s 38 (1957):136 — 148. Noske, Frits. "Lute Composites van J. P. Sweelinck." Orgaan van de Koninklijke Nederlandsche Toonkunstenaars-vereenigung 12 (19? ):46ff. Poulton, Diana. "Lute." New Grove 11 (1980):363. Price, Curtis A.. "An Organizational Peculiarity of Lord Herbert of Cherbury's Lute-Book." The Lute Society Journal (1969):3 — 27. General Sources Apel, Willi. Die Notation der Polyphonen Musik, 900-1600 Leipzig: Breitkopf & Hartel, 1970. Dolmetsch, Arnold. The Interpretation of the Music of the 17th and 18th Centuries. New York: H. W. Gray, 1915. Ford, Wyn K.. Music in England before 1800: a select Bibliography. London: The Library Association, 1967. Howat, Gerald Malcolm David. Stuart and Cromwellian Foreign Policy. New York: St. Martin's Press, 1974. Padelford, Frederick M.. Old English Musical Terms. Bonn: n.p. , 1899. 108 Pulver, Jeffrey. A Biographical Dictionary of Old English Music. New York: E. P. Dutton, 1927.