Contents 6-part consorts

1. Taverner: Quemadmodum 31. Jenkins: Fantasia 9 2. Weelkes: Laboravi in gemitu 32. Lawes: Sett in C, Fantazy 1 3. Ramsey: How are the mighty fall’n 33. Lawes: Sett in C, Fantazy 2 4. Byrd: Fantasia 2 34. Lupo: Fantasia 7 5. Byrd: Fantasia 3 35. Lupo: Fantasia 8 6. Coleman: Fantasia 1 36. Lupo: Fantasia 11 7. Coleman: Fantasia 2 37. Parsons: A Songe called Trumpetts 8. Coprario: Fantasia 1 38. Peerson: Fantasia Beauty 9. Coprario: Fantasia 2 39. Tomkins: Fantasia 2 10. Dering Fantasia 5 40. Tomkins: Fantasia 3 11. FerraboscoI No title (motet) 41. Tomkins: Fantasia 4 12. FerraboscoII: Fantasia 2 42. Tomkins: Music Divine 13. FerraboscoII: Fantasia 3 43. Ward: Fantasia 1 14. FerraboscoII: Fantasia 6 44. Ward: Fantasia 2 15. FerraboscoII: Fantasia 8 (3Tr) 45. Ward Fantasia 3 16. FerraboscoII: In Nomine Fantasia 46. Wilbye: Fantasia Je suis desheritée 17. Gibbons: Fantasia 1 47. Byrd: Pavin & Galiard 18. Gibbons: Fantasia 2 48. Gibbons: Pavan 19. Gibbons: Fantasia 3 49. Jenkins: The Bell Pavin 20. Gibbons: Fantasia 4 50. Philips: Passamezzo Pavan 21. Gibbons: Fantasia 5 51. Tomkins: Pavan & Galiard 22. Gibbons: Fantasia 6 52. Anon: In Nomine 23. Gibbons: Fantasia 7 53. FerraboscoII In Nomine 1 24. Gibbons: Fantasia 8 54. Jenkins: In Nomine 1 25. Gibbons: Fantasia 9 55. Mundy: In Nomine 3 26. Gibbons: Go from my window 56. Mundy: In Nomine 4 27. Hingeston: Fantasia 57. Strogers: In Nomine 4 28. Ives: Fantasia 2 58. Tye: In Nomine 21 29. Jenkins: Fantasia 4 59. Ward: In Nomine 2 30. Jenkins: Fantasia 8 60. Purcell: In Nomine

Treble Viol 2 Quemadmodum John Taverner (1490 - 1545) 5 Ú b4 Ó w & 2 w w w w w w ˙

11 ˙ &b œ œ ˙ œ œ œ œ ˙ ˙ w w w ˙ ˙ w w ∑ ∑ Ó

17 5 &b ˙ w ˙ w w ˙ ˙ w ˙ ˙ ˙ ˙ w w

27 Ú &b Ó ˙ ˙ ˙ ˙ ™ ˙ Ó ˙ w ˙ ˙ w ˙ ˙ œ ˙ w

33 ™ b ˙ ˙ w w ˙ ˙ Ó ˙ & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙

39 ™ ™ b ∑ ∑ Ó ˙ ˙ œ ˙ œ œ & ˙ ˙ w w ˙ œ œ œ œ œ œ w ˙ œ

45

&b ™ œ w ∑ Ó ™ ˙ W ˙ W ˙ ˙ ˙ œ œ œ w w ˙ ˙ ˙

52 b Ó ˙ w ˙ ˙ w & w w w ˙ ˙

56 b w w & w w w #Ww # Taverner Quemadmodum 2 Treble Viol 2 60 3 b w ™ Ó ˙ w ˙ w W & w w ˙ W ˙

69 b w w ˙ ˙ ˙ ˙ w Ó w Ó ˙ & w ˙ w ˙ ˙ ˙ ˙

75 ™ &b w ˙ ˙ w ˙ ˙ w w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w

81 2 b w w ∑ ∑ Ó & w w w œ œ ˙ ˙ ˙ ˙

88

&b Ó w ˙ ˙ ˙ ∑ Ó w w ˙ ˙ ˙ ˙ w ˙ ˙ w ˙

94 Ú b w ∑ Ó ˙ w ™ Ó & w ˙ ˙ ˙ œ w ˙ œ œ ˙ w w

101 b Ó Ó ˙ ˙ ˙ ™ & ˙ œ œ ˙ w w w ˙ ˙ ˙ w ˙ ˙ œ ˙ ˙

107

&b ∑ ™ ˙ ˙ w ˙ ˙ w ˙ œ ˙ ˙ ˙ ˙

111 b W Ó w ˙ w ˙ ˙ w & ˙ ˙

Treble Viol 2 2. Laboravi in gemitu meo Thomas Weelkes 5 1576 - 1623                              

10                                      

                                        

15                                        

20                                       

25                              

30 h = 48 h = 46                         

 h = 44 h = 41 h = 36                        Treble Viol 2

3. How are the mighty fall'n à 6 Robert Ramsey 5 ( ? - 1644)                   How are the might- y fall'n, the might -y fall'n, how

                 are the might- y falln, how are the might- y fall'n, the might- y 10 15                   fall'n in the midst of the bat - tle. O Jo- na- than,

                 O Jo- na- than, Jo- na- than, thou wast slain in 20                    thy high pla ces, in thy high pla ces, thou wast slain in thy high pIa- 25                      ces, thou wast slain in thy high pla- ces, in thy high pla- ces, In 30                   thy high pla - ces. O Jo -na - than, O 35                     Jo- na- than, O Jo- na- than, O Jo- na- than, 40                      woe is me for thee, O Jo -na- than, my bro- ther Jo - na- than, 45                     ve -ry kind hast thou been to me, hast thou been to me, V.S. Ramsey How are the mighty fall'n 2 Treble Viol 2 50                thou hast thou been to me, ve- ry kind hast_ thou been, hast

55               been tome: thy love to me was won -der - ful,

60                  was won- der- ful, was_ won der- ful, pass- ing the

65 70                     love of  might y wo - men. How are the 75             fall'n,       how are the might -y fall'n, the might y fall'n, how

80                     are the might - y fall'n, and the wea -pons of war de stroy - ed, and the

85                 weap- ons of war de stroy - ed, How are the might -

90                   y falln, how_ are the might -  y fall'n, and the weap- ons of war de- stroy 

95              and the weap- ons of war de- stroy- ed,  ed, de-

100

                 stroy- ed, and the weap- ons of war de - stroy - 5. Fantasia 2 a6 h = 90 5 1538 - 1623                         

10                              15                         

20                            

25 30                       

35                         

40                        45                       50  60                            65                         

70                                V.S. 2 Byrd Fantasia 2 a6

75 80                               

85                                    

90 h = 130                                   

95                       

110                        

115 125                       

130                         

135 h = 67                         

140                        

145                                Treble Viol 2

6. Fantasia 3 a6 William Byrd h = 88                           7                        

14                             

20                         

27                     

33                        

38                             

43                       

49                               

54                                   59                             2 Treble Viol 2  Byrd Fantasia 3 a 6 70                                 

78                                 

87                                

96                                     

103                        

112                           

118                      

125                         

133                      

141                     

145                     Treble Viol 2

7. Fantasia1 a 6 Charles Coleman 1605 - 1664 h = 57 5                       

             

10                 

15                  

                   

20                 

25                     

               

30                 

35                                     V.S. Coleman Fantasia 1 a6 2 Treble Viol 2

40                       

              

50           

55                 

60              

                            

65                                

               

70              Treble Viol 2 8. Fantasia 2 a 6 Charles Coleman 1605 - 1664                           

10                          

20              

25                    

30                        

35                      

45                    

50                                                        

55                   60                     Treble Viol 2 9. Fantasia 1 a 6 John Coprario 5 1575 - 1626                     10                       

15                   

20                        

25                          

30                          

35                     

                    

45                    

50

              Treble Viol 2 10. Fantasia 2 à 6 John Coprario h = 60 5                     

10                   

15                       

20                  

25                           

30                           

                  

40                         

45              Treble Viol2 Fantasia 5 a6 Richard Dering

q = 138.000198 ™ ™ 4 œœœ œ œ œ ˙ ˙ w ˙ œ w ˙ œ &2 ∑ ∑ w Œ ˙

6 ™ ™ œ ˙ ˙ œw ˙ œ ˙ W œœœ ™ œ˙ œ w #w & œ œ# œ Ó ˙ Œ œ# J œ

12 w ™ ˙ ˙ W ˙ œœœ œ w w ˙ #w w w & ˙ Œ

18 ™ ™ w w œœœ œ #w ˙# œ œ œn œ# ˙ œn œ œ ˙ œ & ∑ Œ w Œ œœ

23 œ ˙ 2 œ œœœœ œœ œ w œœœœœœœœ ˙ w #w & Ó œ ∑

29 ™ ˙ ˙ ˙ w ™ œ ˙ ˙ œ œ œ# œœœ ˙# œ œ w & ∑ ∑ Ó J œ œ

34 ™ œœ œ w ∑ ∑ œ œœœœ œœœœ w ˙# ˙ ˙ ˙ #w & w J

39 œ œ œ œ œ œ œ œœœœœ œœœœœœœ & œn ˙ w œ œ œ œ œ œ œ œ Œ œ œ œ

43 ™ ™ ™ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & Œ œ ˙ Œ J œ œ œ œ œ Œ œ œ œ œ

46 ™ q = 128 œ œ œ œ œ œ œ œ œ œ œ œ œ œ w W & Œ œ# œ# No title Alfonso Ferrabosco I h = 90 GB-Lbl Add. MS 31390(ca. 1578)

                             7                     

13                              19                     25                          31                            36                        41                         47

                    53                      58                   Treble Viol 2 11. Fantasia 2 (a6) Alfonso Ferrabosco II h = 60 5 1575 - 1628                        10                         

15 20                        25                       30                         

35                       45                                

50                                  

55                         60                                        65                        Ferrabosco II Fantasia 3 a6 Treble Viol 2

12. Fantasia 3 (a6) Alfonso Ferrabosco II 1575 - 1628                

5                            

8                          

11                

14                          

18                     

21                     

24                               

27                          

30                     V.S. Ferrabosco II Fantasia 3 a6 2 Treble Viol 2 33                         

36                      

39                           

42                     

45                      

48                                

50                               

53                    

56                       Treble Viol 2 13. Fantasia 6 (a6) Alfonso Ferrabosco II h = 60 10                   

15                      

20                          

25                     

 30                    

35                       

 40                                   45                               

50                       

    55                 Treble Viol 2 14. Fantasia 8 (a6)

Alfonso Ferrabosco II h = 72 Three Trebles 1 5                   

10                         

15                     20                          25                     

30                         

35                              40                           

45                           50                 

55                  15. In Nomine Fantasy (a6)

Alfonso Ferrabosco II 1575 - 1628 5                      

10                           

15                        

20                                 25                          

                           30                            

35                            

40                                                                     V.S. 2 45                           

50                            

55                                 60                           

65                         

70                            

                       

75                       80                            85                 

90                        Treble Viol 2 16. Fantasia 1 (a6) 1583 - 1625 5                          

10                            

15                         

20                              

25                                    30                                  

35                         

40                               45                                50                         55                   17. Fantasia 2 (a6) Orlando Gibbons h = 60 1583 - 1625                             

10                               15 20                         

25                      30                          

35                               40                                   

45                               

50                             

55               

                18. Fantasia 3 (a6) Orlando Gibbons 1583 - 1625 h = 60 5                          10                        

15                             20                                  

25                                    

30                               35                                      

40                                       45                                 50                                      55                          ©jnoorman Treble Viol 2

19. Fantasia 4 (a6) Orlando Gibbons 1583 - 1625 h = 57 5                              

10                           

15                       

20                              

25                                 

30                                 35                         

40                                   45                              

                               

50                                20. Fantasia 5 a6 Orlando Gibbons 1583 - 1625  5                                  

10                             

15                                   

20                              

25                    

30                                     35                            

40                     45                        

50                          

55                    Treble Viol 2 21. Fantasia 6 a6 Orlando Gibbons 1583 - 1625 h = 64 5                      

10 15

                      

20                             

25                        

30                               

35                             

40                             

45                          

50                             

55                          22. Fantasia 7 a 6 Orlando Gibbons 1583 - 1625 h = 72 5                         

10                                        

15                           

 20                        

25                                  30                            

  35                                      40                              

                 

  45                      Treble Viol2 23. Fantasia 8 a 6 Orlando Gibbons h = 52 1583 - 1625                          

5                    

10                          

15                            

20                              

25                    

30                      

35                   24. Fantasia 9 a6 Orlando Gibbons 1583 - 1625 h = 70 5                  

15                    

20                       

25                       

30 35                            

40                         

45                               50                    

55                            

60                           V.S. 2 Gibbons Fantasia 9 a6

65                        

70                      

75                   

85                  

90 95                        

100                       

105                           

110                        

115 h = 60 h = 50                           25. Go from my window a6 Orlando Gibbons 5 1583 - 1625

                    

                            

10                           

15                             25                        

30                              

35                                                              

40                                 45                                        V.S. 2 Gibbons Go from my window a6

                              

50                             

55                         

60                          

                                  

65                             

70                                 

75                         

                  

80

          Treble Viol 2 26. Fantasia a 6 John Hingeston h = 57 1612 - 1683                    

5                           

10                       

                       

15                        

              

25                                                                 

30             

                   Treble Viol 2 VdGS#2 27. Fantasia 2 a 6 Simon Ives 1600 - 1662                                              5                                10                                15                                      20                                                              

25 30                        35                                                         

45                     

50                  Fantasia No. 4 Treble viol 2 John Jenkins (1592-1678) Edited by Martha Bishop 5                      

                          

10                    

15                    

                    

20                   

                           

25                             30                  

35                  2 Fantasia No. 4: Treble viol 2                

40                         

                     

45                      50                      

                  Treble viol 2

Fantasia No. 8 John Jenkins (1592-1678) Edited by Martha Bishop  5            

                      

10                 

15                 

20                  

                     25                    

30                   

               2 Fantasia No. 8: Treble viol 2

35                               

40                          

                            

45                           

                       

50                           

                         

55                        Treble viol 2

Fantasia No. 9 John Jenkins (1592-1678) Edited by Martha Bishop                         

5                             

                             

10                        

                            

15                          

                        

20                         

                         2 Fantasia No. 9: Treble viol 2                           25                             

                   

30                       

35                        

                       

40                 

45                  

              

           Treble Viol 2 31. Consort Sett a6 in C 1. Fantazy William Lawes h = 72 5 1602 - 1645                           10                         

15                                  

                   

30                           

35                            40                       

45                              50                      

h = 64 55                  32. Consort Sett a6 in C William Lawes 2. Fantazy 5 1602 - 1645                           10                               

                            

15                               20                                25                             

30                           Treble Viol 2 33. Fantasia 7 a 6 Thomas Lupo h = 60 5 1571 - 1627                           10                                                                 15                              

20                      

25                      30                            

35                          40                          

45                      

50              Treble Viol 2 34. Fantasia 8 a 6 Thomas Lupo h = 60 5 1571 - 1627                                 10                           15                        

20                       

25                         

30 35                            

40                        45                        

50                            

55                  

60              Treble Viol 2 35. Fantasia 11 a 6 Thomas Lupo 1571 - 1627 5                             

10                        

15                          

 20                             

25                          

30                       

35                            

40 45                  

50            

55               Treble Viol 2 36. A Songe called Trumpetts Robert Parsons 5 1535 - 1572                         

10                        15                           20                        

25                               30                               

35                                  

40                                

                                   

45                             

50                                    Treble Viol 2 37. Fantasia Beauty 1572 - 1651 h = 72            

10                    

15                        

25                 

 35                

 40                   

45                          

                   

50                                Peerson Fantasia Beauty 2 Treble Viol 2  55                      

60                      

65                         

70                

 75                             

80                          

85                                

90                       

95                       Treble Viol 2 38. Fantasia 2 a 6 1572 - 1656 h = 60 5                       

10 15                             

20                            

25                           

30                                      

35                             

40                                 

45                               

50                           

55                        

60                              Treble Viol 2 39. Fantasia 3 a 6 Thomas Tomkins 1572 - 1656 h = 104  5                               

10                         15 20                            

25                             

30                            

35 40                           

45                          50                            55                            60                      

65 h = 70               Treble Viol 2 40. Fantasia 4 a 6 Thomas Tomkins 1572 - 1656 h = 64 5                   

15                 

 20                      

25                      

30                   

35                    

40                             

45                            Tomkins Fantasia 4 a6 2 Treble Viol 2                                

50                              

55                                

60                                 

65                          

                              

70                              

75                          

80                     Treble Viol 2 41. Music Divine a 6 Thomas Tomkins h = 64 1572 - 1656                    

10                         15                        

20                           

25                                   

                              30                            

35                         

40                            45                           

50                      Treble 2 42. Fantasia 1 a 6 John Ward h = 60 (1571 - 1638)                           

10                                 

15                             

20                      

25                    

30                 

35                                

40                        

50                            

 55                     Treble Viol 2 43. Fantasia 2 a 6 John Ward 1571 - 1638 5                          

10                            

15                             

20                           

25                     

30                      

35                         

40                            

45                      Treble Viol2 Fantasia 3 a 6 John Ward                          

10                       16                           

22                                

27                       

32                               37                         

42                           46                        

52           

55             Treble Viol 2 44. Fantasia a 6 'Je suis desheritée' John Wilbye 5 1574 - 1638                    

                   

10                   

15                    

20                        

25                 

                       

30                                

                    

35                 Treble Viol 2 Transposed down by a fourth 45a. Pavin a 6 William Byrd h = 64 5 1540 - 1623                    

10                              

15                              

20                       

25  1. 2.                               

 1 h = 80 45b. Galiard a 6 5                            

10                         

15                                 

20                    

                 Treble Viol 2 46. Pavan a 6 Orlando Gibbons 1583 - 1625                        5                                

                      

10                      15                                  

                                   20                              

 25                         

30                           

35                   Treble Viol 2 47. The Bell Pavin John Jenkins 1592- 1678  5                        

10                        

15               

20                             

25                                 

30 h = 150                        

                   

35 h = 50                    

40                           48. Passamezzo Pavan 1560 - 1628 q = 116  5                                                          

10                          

15                           

 20                                

25                           

30                        

35                                      40                                       45                                                                 V.S. 2 Philips Pazzamezzo Pavan a6 50                               

55                                    60                              65                                

70                               

75                      

80                  

 85                                       90                                   95                              100                         Treble Viol 2 49a. Pavan a 6 Thomas Tomkins h = 50 1572 - 1656                     

5                  

10             

                      

15                 

  20                    

                              

25                       

           

30              Treble Viol 2

49b. Galiard a 6 Thomas Tomkins 1572 - 1656 h = 72  5                           

10                       

15                               20                                               Alto 50. In Nomine a 6 Anonymous h = 57 3 4 5 6                     

7 8 9 10 11 12                           

13 14 15 16 17 18                          

19 20 21 22 23 24                          

25 26 27 28 29 30 31                             

32 33 34 35 36 37 38                             

39 40 41 42 43 44 45                             

46 47 48 49 50 51                         

52 53 54 55 56 57 58

                      

Treble Viol 2 51. In Nomine 1 a 6 Alfonso Ferrabosco II h = 64 1575 - 1628                        

5                 

                  

10                                 

15                    

                      

20                             

                         

25                         

30                               V.S.

©jnoorman Ferrabosco II In Nomine a6 2 Treble Viol 2                           

35                        

                              

40                        

 45                         

                  

50                               

                     

55  h = 54 h = 48                     

©jnoorman Treble Viol 2

52. In Nomine I a 6 John Jenkins (1592 - 1678) q = 96 5          

15 20            

25 30            

35 40            

45 50            

55 60            

65 h = 48 70           

75          

80 85 h =h 36 = 72             Treble Viol2 53. In Nomine 3 a 6 John Mundy h = 90 2 3 4 5 6 7 1555 - 1630

         

8 9 10 11 12 13 14 15         

16 17 18 19 20 21 22 23

        

24 25 26 27 28 29 30 31         

32 33 34 35 36 37 38 39

        

40 41 42 43 44

     

45 46 47 48       Treble Viol2 54. In Nomine 4 a 6

John Mundy h = 90 2 3 4 5 6 7 8 1555- 1630

          9 10 11 12 13 14 15 16

        

17 18 19 20 21 22 23 24

        

25 26 27 28 29 30 31 32

        

33 34 35 36 37 38 39 40

        

41 42 43 44 45 46 47 48

         Treble 2 55. In Nomine IV a 6

Nicholas Strogers h = 90 6 7 8 9 10 11 ? - 1575         

12 13 14 15 16 17 18 19

        

20 21 22 23 24 25 26 27         

28 29 30 31 32 33 34 35         

36 37 38 39 40 41 42 43

        

44 45 46 47 48 49 50 51

        

52 53 54 55 56 57 58 59

        

60 61 62 63 64 65 66 67           Treble Viol 2 56. In Nomine XXI a 6

Christopher Tye 10 1505 - 1572                    

15                    

20                      

25                     

30                           

35  40                     

45                 

50             

            

57. In Nomine 2 a 6 John Ward h = 57 5 1571 - 1638                          

               

10                         

15                      

                              

20                                                        25                 

30                 

35                       V.S. 2 Ward In Nomine 2 a6

                           

40                   

                          

  45                               

                           

 50                            

             

55              58. In Nomine a 6 Henry Purcell h = 54 5 1659 - 1695               

                     

10                     

15                     

                   

20                  

25                        

        

30                