To the right honourable my very good lord & master Edward de Vere Earl of Oxenford, viscount Bulbecke, lord of Escales & Badlesmere, & Lord great Chamberlain of England. john Farmer wisheth long and happy life with increase of honour.  
IT was mine exercise, right honourable and my singular good Lord, to make upon a plainsong not long a go forty several ways of 2. parts in one, with what commendation, I shall then perceive, when other shall have judged, with what study, myself am privy: neither long, nor serious. This poor conceit I have presumed of your honourable favour to present unto your Lordship: under coverture of whom, to the view of the world: not but that I knew it, unworthy of so high a parsonage, but rather that it needed the more noble patronage, the less is in it to recommend itself, which how little it is, I am greatly in fear Herunto, my good Lord, I was the rather emboldened for your L. great affection to this noble ●●ience, hoping for the one you might pardon 〈◊〉 other, & desirous to make known your inclination this way. For howsoever my skill be nothing such, as in least part to express the dignity of the art, yet this I am sure of, if grave authors have rightly informed me, that the wisest men as Pythagoras & Plato, have made it their study, and most honourable persons as Hercules and Achilles, their earnest practice. Besides this, my good Lord, I bear this conceit, that not only myself am vowed to your commandment, but all that is in me is dedicated to your Lordship's service: so that, albeit I am unable to make show of my duty in such sort, as I wish: yet to transport to other, what I own to your Lordship I deemed not to sit with such a profession. Only if it shall please your honourable mind to measure my deed by my desire, it may happily seem somewhat, which of itself is less than nothing. Which beseeching your Lordship with all instancy, and as before hoping, so now most humbly craving pardon of my presumption, I rest in prayer for the preservation of your honour in long life, and great happiness, in the one to match the oldest, in the other the blesseddest.  
Your Lordship's most bounden servant, and at all commandment most ready. john Farmer.   

Philomusicis.  
Marvel not gentlemen, who soever shall see this little book, that Music shows herself in this unusual vain. For if in other arts it be a common practice (and yet not so ordinary as commendable) every way to devise to further the study of each particular, why should Music be denied that, which is granted the rest? Certes how men do think of her, I do not know (I doubt but bassely) how they should I am out of doubt, that is most honourably. No man can deny, but that God is author, as of all other excellent qualities, so of this (for so even the Philosophers, who had not right knowledge of the heavenly majesty, by instinct of nature did see and confess) and as of the 7. liberal sciences, which therefore have that name, because they are befitting men of most free birth, she is one in number, so peradventure, nay, without peradventure not the last, if not the first, in dignity: for delight wonderful, for depth infinite, for commodity it may happily be doubted, whether any more necessary. Were it not so, it had not been to write, which Tully writes truly of the country of Graecia, where being the fountain of all learning, and the very seat of wisdom, sic Musici floruerunt, as he saith, ut omnes id discerent, nec, qui nesciebat, satis excultus doctrina putaretur. In the same country Themistocles a Prince of Athens, for that at a feast he refused to play on the Harp, an instrument at that time of highest credit, although in other respects in a manner peerless, only for this defect, was thought somewhat rude. The end of my speech and purpose is this, that the science being so excellent, and yet so couldlie followed, every one that knows any thing of her, should every way be doing for her advancement, and such as are not, are greatly in her debt, such as are, are favourably to be accepted, howsoever it be not each man's fate to perform what is singular. I profess (if any less wise, than I could wish them, misconstrue my meaning) to do nothing of ostentation (for alas what is this, nay what have I in me, whereof justly to boast?) I was in hope that students in this art, such as may learn, as myself may, and have not yet proceeded so far as I have, might find something here not unworthy their labour. If it so fall out, I shall be glad, if otherwise, it was the error of mine opinion, which I desire may be pardoned to my good will, so shall I endeavour myself to continue my poor labours, without repentance for this I have done. Far ye well.  
john Farmer.   


1  
WHo so delights in Musics skill  
and thereof judges right,  
May here perceive a strange devise  
most plainly in his sight.   

2  
Two parts in one upon a ground  
in number forty ways,  
A thing most rare surpassing far  
most songsters now a days.   

3  
If this in youth performed be  
as plainly you may see,  
What fruit hereafter may we hope  
to have of such a tree.   

4  
As farmer good or busy be  
still laboureth in the field  
So doth this Farmer that he may  
to others much fruit yield.   

5  
Farewell with praise and good report  
of those that know thy skill  
What thou desernest in musics art  
this book will witness still.   
Richard Wilkinson.   


1  
whether in Musics praise to wright  
In general, or of the skill,  
That did conduct this authors quill:  
I fear I perch above my might.   

2  
Since then I can not, as I would,  
I spare to do it as I can,  
Lest I do wrong both art and man,  
Not giving either, as I should:   

3  
The rather, cause it's to well known,  
What Music is without my pen,  
And he, among the skilful men,  
Wanting my praise, will work his own.   

4  
Only, for that I love not ill  
The art itself, and arts man both,  
To lend my hand I was not loath  
Both ways to witness my good will.   
Francis Yomans.   

I  
The plainsong.  
2. parts in one.  
2. parts in one.  
2. parts in one in the fourth, a sembriefe after the other: the plainsong beneath.   

TWO  
The plainsong.  
2. parts in one.  
2. parts in one.  
2. parts in one in the fifth, a minim after the other, The plainsong in the midst, the Triple before.   

III  
The plainsong.  
2. parts in one.  
2. parts in one.  
2. parts in one in the fifth, a sembriefe after the other, the plainsong beneath.   

IIII  
The plainsong.  
2. parts in one.  
2. parts in one.  
2. parts in one in the fifth, the Basse before, the Treble follow a minome. The plainsong in the midst.   

V  
The plainsong.  
2. parts in one.  
2. parts in one.  
2 parts in one in the fifth, the Basse before; the Treble follow a semibreve the painsong in the midst.   

VI  
The plainsong.  
2 parts in one.  
2 parts in one.  
2 parts in one in the fifth, the Triple before, the Basse low a semibreve, the plainsong in the midst.   

VII  
The plainsong.  
2. parts in one.  
2. parts in one.  
2 parts in one in the eight the Triple before? the Basse follow a minim, the painsong in the midst.   

VIII  
The plainsong.  
2 parts in one.  
2 parts in one.  
2 parts in one in the eight, the Basse before, the Treble follow a minem, the plainsong in the midst.   

IX  
The plainsong.  
2 parts in one.  
2 parts in one.  
2 parts in one in the ninth, the Basse before, the Treble follow a semibreve, the plainsong in the midst   

X  
The plainsong.  
2 parts in one.  
2 parts in one.  
2 parts in one in the ninth, the Mean before, the Basse follow a semibreve, the plainsong in the midst.   

XI  
The plainsong.  
2 parts in one.  
2 parts in one.  
2 parts in one in the seventh, the Basse before, the Mean follow a semibreve, the plainsong in the midst.   

XII  
The plainsong.  
2 parts in one.  
2 parts in one.  
2 parts in one in the seventh, the Triple before, the Basse follow a semibreve, the plainsong in the midst.   

XIII  
The plainsong,  
2 parts in one.  
2 parts in one.  
2 parts in one in the fifth, Tripla to the minim, beginning both together, the Base being the proportion: the Mean singing all minomes, the very same, the plainsong in the midst, likewise minome time: this is a very pleasant way.   

XIIII  
The plainsong,  
2 parts in one.  
2 parts in one.  
2 parts in one in the ninth, a semibreve after the other, the plainsong beneath.   

XV  
The plainsong.  
2 parts in one.  
2 parts in one.  
2 parts in one in the seventh, a semibreve after the other, the plainsong beneath.   

XVI  
The plainsong.  
2 parts in one.  
2 parts in one.  
2 parts in one in the fourth, a minim after the other, plainsong beneath.   

XVII  
The plainsong.  
2 parts in one.  
2 parts in one.  
2 parts in one in the fifth, a minim after the other, the plainsong beneath.   

XVIII  
The plainsong.  
2. parts in one.  
2. parts in one.  
2. parts in one in the eight, the Triple before, the Basse low a semibreve, the plainsong in the midst.   

XIX  
The plainsong.  

2. parts in one.  
2 parts in one.  
2 parts in one, Counterpoint in the fifth, the plainsong beneath minim time.   

2. parts in one.  
2 parts in one.  
2. parts in one, Counterpoint, in the fifth, the plainsong in the midst, likewise minim time.    

XX  
The plainsong.  
2. parts in one.  
2. parts in one.  
2. parts in one in the tenth, the plainsong in the midst semibreve following after the other.   

XXI  
The plainsong.  
2. parts in one.  
2. parts in one.  
2 parts in one in the sixth, a semibreve after the other, the plainsong beneath beginning at the end, & so forward sembreefe time.   

XXII  
The plainsong.  
2 parts in one.  
2 parts in one.  
2 parts in one in the fifth, the Basse before, the Tenor follow a semibreve after, the plainsong in the highest.   

XXIII  
The plainsong.  
2. parts in one.  
2. parts in one.  
2 parts in one in the fourth, the Basse before, the Tenor follow a semibreve after, the plainsong in the highest.   

XXIIII  
The plainsong.  
2 parts in one.  
2 parts in one.  
2 parts in one in the fifth, the Tenor before, the Basse follow a semibreve after, the plainsong in the highest.   

XXV  
The plainsong.  
2 parts in one.  
2 parts in one.  
2 parts in one in the fourth, the Tenor before, the Basse follow a semibreve after, the plainsong in the highest.   

XXVI  
The plainsong.  
2 parts in one.  
2 parts in one.  
2 parts in one in the eight, the Tenor before, the Basse follow a semibreve, the plainsong in the highest.   

XXVII  
The plainsong.  
2 parts in one.  
2 parts in one.  
2 parts in one in the eight, the Basse before, the Tenor follow a semibreve after, the plainsong the highest.   

XXVIII  
The plainsong.  
2 parts in one.  
2 parts in one.  
2 parts in one in the seventh, the Tenor before, the Mean follow a semibreve, the plainsong in the highest, sing the plainsong 8. notes higher than it stands, if the voice will serve.   

XXIX  
The plainsong,  
2 parts in one.  
2 parts in one.  
2 parts in one in the seventh, the Mean before, the Tenor follow a semibreve, the plainsong the highest, sing the plainsong 8. notes higher than it stands.   

XXX  
The plainsong,  
2 parts in one.  
2 parts in one.  
2 parts in one in the eight, the Basse before, the Tenor follow a minim, the plainsong the highest, sing the plainsong eight notes higher than it stands.   

XXI  
The plainsong.  
2 parts in one.  
2 parts in one.  
2 parts in one in the sixth, a semibreve after the other, the plainsong the highest, sing the plainsong as it stands   

XXXII  
The plainsong.  
2 parts in one.  
2 parts in one.  
2 parts in one in the tenth, a semibreve after the other, the plainsong the highest, sing the plainsong 8. notes higher than it stands, the Basse before, the Treble doth follow.   

XXXIII  
The plainsong.  
2. parts in one.  
2 parts in one.  
2. parts in one in the sixth, the Mean before, the Basse follow a semibreve, the plainsong the highest.   

XXXIIII  
The plainsong.  
2. parts in one.  
2. parts in one.  
2. parts in one in the tenth, the mean before, the Basse follow a semibreve, sing the plainsong as it stands; this is a very difficult way to make.   

XXXV  
The plainsong.  
2 parts in one.  
2 parts in one.  
2 parts in one in the eight, if you would know how this can be, turn the book upside downward and look on the Basse, there shall you perceive it, but sing it as it is pricked down before you, sing the plainsong as it stands.   

XXXVI  
The plainsong.  
2. parts in one.  
2. parts in one.  
2 parts in one in the fifth, if you would know how to sing this, you must turn the plainsong upside downward, & then sing forward to the end, the other 2 beginning both together, the one dividing descant wise, the other singing the very same all sembreefes like the plainsong.   

XXXVII  
The plainsong.  
2 parts in one.  
2 parts in one.  
2 parts in one in the fifth, if you would know how to sing this, you must turn the plainsong upside downward, and begin backward and so to the end, & sing it with a b. cliff eight notes lower than it stands, the other 2 as they be pricked, then shall you 'gree, though somewhat hard, because of hardness.   

XXXVIII  
The plainsong,  
2 parts in one.  
This 2 parts in one is backward and forward, the one part to begin at the beginning and so to the end, and the other part to begin at the end, and so forward to the beginning, the plainsong likewise, is to be sung forward and backward, the first note a sembreefe the next a minim, and so forward in order to the end, and then begin at the end, singing one note a minim the other a semibreve, and so backward in order to the beginning.