A brief and plain Instruction to set all Music of eight divers tunes in Tabulature for the Lute. With a brief Instruction how to play on the Lute by Tablature, to conduct and dispose thy hand unto the Lute, with certain easy lessons for that purpose. And also a third Book containing divers new excellent tunes.  
ALL FIRST WRITTEN IN FRENCH BY ADRIAN LE ROY, AND NOW TRANSLATED INTO ENGLISH BY F. Ke. GENTLEMAN.  
Imprinted at London by james Rowbothome, and are to be sold in Pater noster row at the sign of the Lute. ANNO. 1574.   

The Books verdict.  
With heart receive, with mind embrace:  
This small work, though name be base.  
The Reader may, with careful pain,  
By perusing it, some profit gain.  
Refuse not thou, which is thine own,  
Thou reapest that, thou hast not sown.  
The Author holds it, double gain,  
If thou with patience, peruse the same.  
Content therein, his willing mind,  
So shall you reap, that is behind.  
Farewell.   

To the Right Honourable and my very good Lord the Lord Edward Seamour, Viscount Beauchamp, earl of Hertford. I R. wisheth long life, perfect health, increase of honour, and endless Felicity.  
THe chief and principal thing (right honourable) apertaining to every honourable parsonage (which thing is good too see that your honour doth well consider) is to walk in the garden of humility: & the direct way to the same, is to pass by the gate of virtue, whose foundation is ankerd to the fear and love of God: for as by the one is covered the multitude of sins, so by the other is obtained blesednes, wisdom, and knowledge, whose godly perseverance therein will (no dought) much multiply the great and blessed benefits of almighty God, upon your honour and all your whole seed and posterity, Knowing therefore (right honourable) the great love and affection which your honour ever hath and doth bear to virtue and good letters, I was thereby moved the more boldly after I had printed this work for the Lute divided into three books: (the first an easy and plain method to set all songs of eight divers tunes in tablature for the lute, the second how to handle the lute, the third and last containeth divers excellent tunes) to dedicate the same to your honour, nothing doubting but that it shall most acceptably come into your favourable and sure protection. I therefore most humbly beseech your honour too take this small gift in good part, which coming as it were from your honour into the hands of many shall (I dow not) do many good. God whose holy word your honour doth most fervently love and most ernesty practise in your daily conversation, might vouchsafe to preserve your honour and your virtuous children in continual health and daily increase of honour, unto the glory of his name.  
Yours honours most humble at commandment. J. R.   

To my very good Lady my Lady the Countess of Retz.  
THe small present (right Honourable Lady) which I make unto you of this my simple work, is not done for flattery respecting only your great calling, according to the manner of most part of Authors now A days, but the virtue and knowledge so manifestly appearing in you above other Ladies of this our time, doth draw unto it (as the adamant doth Iron) the works that are of good invention: chief from him, who is your servant by inheritance: having before time served with all obedience the late Lord Dampierre your father while he lived, in the room of captain of fifty men of arms, at ●utche time as he was the King's Lieutenant general at Ardes: where he died nobly in the service of his majesty. Which I cannot remember without renewing the tears that I did then let fall upon his body. For all that may be mine, must of necessity be yours, by reason of my bound service, although that bysyd● my duty in that behalf, I could not direct this my work any better, then to your Ladyship, for the worthiness of your excellent knoweldge rare in your kind, rare in our age. The which I esteem worthy to be compared with any of the most noble Ladies that were of ancient time in Room, Mutia, Lelia, Cornelia, Aurelia. By whose private teaching at home, sprang forth Hortensius, julius Cesar and other the most eloquent Orators of their time. But every good judgement will allow me to prefer yours far above theirs, in asmutch as the Latin tongue gotten by your diligence, deserveth more praise, then that which they had borne with them, and as it were sucked out together with the milk of their nurse's breast: Even as according to the mind of Cicero, that Knight deserveth more commendation, who hath won fame by his own manly acts, th●●ee to whom it cometh by succession from others, as it doth by race from the father to the son. For this cause this book is by good reason presented unto you, as to a judge sufficient in all knowledge, containing an easy instruction of all the Art of Music to be reduced in Tablature for the Lute. Which hath no● been heretofore communincated by the doctors of this science, making strange to acquaint many with the secrets of there facculties. Now have I brought to light and public knowledge this Musical method for the Lute to be the more easily learned by every one by himself without any teacher, taking beginning at the first grounds of the science, them exemplyfieng it by plain playing, and after showing the more cunning, for which all they that shall take any pleasure or profit by it, shall have to thank you, as a thing proceeding from you: which I desire your Ladyship to receive in good part at the hands of your humble servant, who protesteth from henceforth to dedicat and consecrat to your Excellency all the fruits which may spring out of the forge of his simple wit, to be the better allowed of by the favour of your worthiness.  
Your humble servant, Adrian le Roy.   

The Preface of jacques Gohory. unto the courteous Reader.  
THE affection which from my youth upwards (right Christian Reader) I have borne to Music, above all other sciences, and to th● instruments of the same, was sufficient cause enough for me to have it in high price and estimation: but the old familiarity which it hath caused me to have with the Author of this present Book (as Poetry wrought between Lelius, and Terence) hath provoked me further to make this short discourse, and to direct it to you: The which shallbe aswell of the worthiness of his person as of the cunning of his work, and the singularity of the Lute, whereof the question is here. For as touching him: besides his knowledge and dilig●●c● both in Music used by voice, and also upon instruments, all in general are greatly beholding unto him, for he hath reduced them into the best form that hath be●● hitherto seen, wherefore by good reason, he hath deserved to be taken for prince or chief. Now it is a token of a person w●ll borne, that his spirit hath been always so inclined to Music, as being ● compounded of proportion and temporative harmonical: a science so perfit, that i● giveth rejoicing to the heart, a great part of man's felicity, that it appeaseth the troubles and passions of the mind, yea & by the report of Aristotle in his politicques, that is able to reform and establish the manners of a whole City. As touching the Lute, which without doubt i● holden for the most● noble and melodious instrument of Music, I will no further dilate the common praises thereof, but only by the great singularity of agreement and disagreement which by 〈…〉 showed in it, in this, that if one Lute be sounded near unto an other that is tuned in the same tune: it is a strange thing and in a manner marvelous, that the strings of the other Lute will move at the sound and will shake not being at all touched, by an effect of correspondence wonderful. Which the Poet augural in his Chrisopeied: nor other Authors of secret Philosophic have forgotten. But to open to the reader, the matter & argument of this Book▪ containing an easy and plain method to set all songs of the eight divers tunes in Tabl●ture for the Lute. The Author feareth not to be reproved by the Masters of this Art for having diclosed the mysteries of this Science, herebefore always kept hidden in their bosoms without 〈◊〉 it to others then to such as had spent many years in their schools. In which he maketh not so much conscience to profane holy things, as it were to them that ●e not professed, at 〈…〉 common and thereby more profitable, a treasure before hidden: deserving thereby no less honour, then sometime Cuslavius: received for a like occasion at Ro●me, who being clerk to Appi●● the blind, published the fasts, and set them up in open Tables: yea as Cicero saith, the very style and form of actions: for the which before men must ordinarily have go● too 〈…〉 of his Master and certain other who religiously kept them secret in a register: Wherefore the people being not unthankful did recompense him worthily, making him first Tribu●e of the people: and after Aedile Curule. Like thanks aught they to give to Adrian le Roy: which shall become good players on the Lute without further help: chiefly those with being far from Cities and teachers, shall even so receive this commodity to learn to set all songs upon the Lute, whereby they may obtain the glorius title of A●ctodidactes such 〈…〉 Manilius the 〈◊〉 ●omane, as Plini witnesseth: such as was that holy Doctor Aurelius Augustine, and within our memory the well learned par●on William Bude. Now this author shall bring that to pass i● thi● Art, which Picus Mirandula in his Book against Astronomers, saith that Abumbanter the Hebrew did, teaching the manner by the which every man by himself might become a Philisopher. For although that Cicero writing to Trebatius, saith that no Art nor Science can be learned without a Master and Instructor, this may serve for answer to that, that Books that 〈…〉 unto this, be true, though not speaking teachers, setting forth the Science so lively, and easily, that they may well supply the default of live speech: Here then will I end, after I have advertised you that all the examples of this Book be taken and chosen out of Orland de Lassis, of whom I will further witness this unto you in french agreeable to mine in Latin set to the 〈◊〉 of his last works not long ago put in print: that is to say, that he is this day (without danger of offence to any man) esteemed the most excellent physician of this time, aswell in grave matters, as mean and more pleasant, a thing given from above to few other, in the which he hath attained not only the perfection of melody, but also a certain grace of sound beyond all other▪ such as Appelles did account of Venus' portraiture: wherein he hath more than all other observed to fit the harmony to the matter, expressing all parts of the passions thereof being the first that hath eschewed bonds and common holdinges of the letter by right placing of the sillabelles upon the notes, and observing the accent in french and quantity in Latin: And if it be permitted to every good ear to judge somewhat of Music as by Cicero it was permitted to the people to judge of painting in which they have no skill: I do protest unto you that if the songs of other musicans do delight me, those of Orland do ravish me, who also in his songs hath often practised experiments of copy in variety of harmony upon one self sound of word, in such sort as we 〈◊〉 Vergill to have done in some Epigrams, and as it is told that Cicero used with Roscius the player, to practise which of them could express one self thing most diversly, the one with most variety of speech, the other with most variety of gesture: Receive thou good Christian Reader this work of Instruction with a cheerful countenance, favouring hereafter the author thereof, to give him occasion to be able to furnish you often with more: and as for me I have the first History of Titus Livius to continued, being ●●goon long ago, and also by way of rec●●ation, the ●3 Book of the Spanish Roman of Amadis de Gaul, the which I would account myself happy to present to you, if I might perceive they would be to your liking.   


An Instruction to set all Music in Tablature for the Lute. The Preface of the Author.  
TO begin by that is first necessarily to be understood, albeit I have sufficiently treated of it in another book joined to this, which containeth an easy instruction to the plain Tabletur of the Lute, and the ordering of the hand thereupon, the Reader must understand that the five lines represent the five strings of the Instrument, and the space last below the sixth or great base.  
Mine intent is now to teach them that are desirous to play on the Lute, how they may without great knowledge of Music set upon that instrument all Ballets or songs, which they shall think good, so as they can only sing, ut, re, my, fa, sol, lafoy, & know the valuation or time of notes, without that that it shallbe needful for them any farther to wade for the knowledge of any composition or concords, that is to say, that it shall suffice them to know that this note called a sembrief, in the measure of two signified by this figure differing from the measure of three commonly called Triplée, is in value two minims and two minims are as much as four Crotchets, four Crotchets as much as eight quavers, eight quavers as much as sixteen semiquavers. There resteth no more to consider but the little mark which is called a prick, which always is half as much in value as the note going before. As touching Triplée ye must understand the like correspondence for the value of the notes thereof.  
To enter then into the ground of this present Art: all our Music consisteth in eight tunes although Glarian and some other would divide them into a greater number, as far as twelve. The first whereof as consequently of all the rest we will treat of by rules and examples.   

The first Chapter of the first Tune of Music.  
FOR the first tune we will take for example the song of Orland de Lassus beginning Quand mon mary vient de dehors, in which we must firstly set the triple: the first note whereof being in gsolreut must be set on the second string of the Lute open, that is to lay, so as the finger of the left hand do not touch upon that string: although we see in other tunes that the triple open serveth for Gsolreut, and sometime for Ffaut, as in the sixth tune. True it is that such as be cunning in this Art, do dispose of them diversly at their pleasure: but it is not to them that I direct my present work. Now of these eight tunes there is made a difference of four called the Master or principal tunes, that is to say, the first, the third, the fift, the seventh, and of four called their sequels or servants, which be the second, the fourth, the sixth & the eight. Of these eight the first & second end in re, the third and fourth in my, the fift and sixth in fa, the seventh and eight in sol: notwithstanding that there may be a changing or trasposition, as in the first and second tune from Re of Gsolreut, and from Re of Dlasolre, and so in the other of divers My, Fa, sol. To return then to the discourse of the first tune, we have to give a reason wherefore we have before ordered, that the second string of the Lute open shall serve for Gsolreut, which is because this first tune hath his retch or compass a fourth or four notes higher than the second▪ as contrariwise the second hath his retch or compass a fourth lower. So is it of the other six tunes, that every Mastertune hath always his retch or compass higher by a fourth and the sequels or servant tunes, the base likewise contrary. Now must be understood the cause why herebefore we have laid for foundation, that in setting songs to the Lute, we proceed by sembreves, Which is by occasion of the nature & disposition of this instrument, as it is likewise in that of the Uirginalles, but contrary in Organs. For in Organs, the tune may hold a Maxim being as long as eight sembreves, yea and longer by means of the wind continu●● by the bellows. But in the other two instruments their sound, which dependeth altogether by the toutch of the fingers, cannot endure longer than a sembreve: if the string on the one, or the key on the other, be not touched again by the hand: which is the reason in consequence, that forceth us when we set in Tablature, to divide Maxims always in eight parts, longs in four, Breves in two, and so forth of other great notes which are augmented with pricks. Herein lieth the reason for the Etymology of the word.  
To omit nothing of the whole instruction of the Tablature of the Lute, I have devised this foundation to be thereunto necessary: that is to say, the manner of music to set a song by setting forth the reach or compass of all the notes in every one of the four parts, by examples of the first Tune in the song Qand mon mary vient de dehors, where I have set forth all the notes as far as they did retch in the whole making of that song. In the which I have to advertise you, that there is first to be seen, the letters of the tablature, answerable to the note of the song, and the unissons which may chance upon the strings of the Lute.  
Also the reader shall found in the example of the Base, that in the first note we were driven to have recourse to the eight above, as it appeareth in the Retche or compass: which must serve hereafter for a general rule in all other songs here given for examples: that is to weet, aswell for refuge to the said eights, as to the compass of the note. Which I would to be understood for all songs of the first Tune, which are to be set on the Lute: in which it cannot be often found that they exceed this compass above one note higher or lower. And so shall it be presupposed of the other Tunes following, and likewise of the compass of them. Here I will not forget to tell that the learner of this Art, may not fail after he hath set out his Treble in Tablature to tell diligently all the measures of the same, for fear of this Inconvenience, which chanceth oftentimes, yea to the most expert for Lack of this diligence, to go over and begin again the work now already half done, for that there may happen to much or to little: so as if the foundation be not good, all that is Laid upon must needs go to ruin.  

The Reach or compass of the song, Quand mon mary.  
The compass of Base. Of the Tenoor. Base. Tenor. Of the counter-tenor. Of the Triple. counter-tenor. Triple.   

Quand mon mary.  
  
TO begin the example to set, first you must know, that this mark like unto a C, with a strike thorough, signifieth the measure to be by the number of two, which having no strike, betokeneth double measure, which the Italians call the black note: because that in that kind of song, there are used many quavers yea, and sem●e quavers, which happen very seldom in the measure of two, as the Battle, Caquet des femmes, chant des oyseaux, and such other songs of Clement janequin. Now as touching the first draft of this example, you see there the first note, a, to be in value a Minim, the second .d, in value a cratchet with the other next following, which is of the same value the former is, although it be not marked upon: in which matter you shall know that this mark is in value this in value this in value this in value and this last in value . As for the pricks where soever they chance, they increase the value of the note next before, by the one half, as it hath been showed here before in the notes of Music. As to the first measure of the song of Orlande, we must make the distance large enough (as it is to be observed in all the rest) because there may chance many Cratchettes or Quavers, in some other parts of the song, besides those of the triple: which as you see we do here place first. For this cause the two distances, the fift and the sixth be seen void, because of the rests of the triple there. Also in the seventh distance, you see the first mark to be in value a Minim, which having no letter underneath, signifieth there a Minim rest. The two strikes marked with pricks after the fifteenth distance, do signify that you must repeat the line ending there. In the distance next after the same strikes, after the rest, there is marked but the half of the value of the sembrieve standing between both, which is notwithstanding, marked whole in the song or Music: because that the string being stricken once, doth hold the sound of the sembrieve: as it happeneth also sometime of a Minim standing so between both. You must also mark, that at the repetition showed before, you must begin at the second distance, noted with the mark to begin again ▪ and not at the first distance which must be likewise at all times hereafter observed, when so ever ye shall see that mark. Note also that the double strike, next the strike of repetition, doth signify that, that which is enclosed between them, must be left out in the playing forth of the song, after the repetition of the first part of the same.  
AFter the mark of repetition, in the twelfth and eighteenth distance, there be two marks , without any letter underneath in Tablature, which signifieth so many half rests, , in the Music. In the last distance being the end of the triple, is the letter, a, alone, which tarrieth for the end of the other parts: repeating the last words of the song. And this same self letter, a, shall continued still to sustain, and accompany the other parts to the end, as long as they shall hold out. In which must be noted and observed that in setting, the end of any song must never be closed, till all the parts be joined together: for so much as sometime the treble holdeth the note, and sometime some other of the parts.  
NOw it is convenient for us to declare the ordering of the neck of the Lute, to weet, the ut, re, my, fa, sol, lafoy, upon the strings, and of the tunes upon the stops. There be ordinarily eight stops in number: whereof every one containeth but half a tune or note: and any string open hath his first tune or note whole, so every other note doth take two stops: being none other difference, but of half a note from one stop to an other next, which is a thing necessary to be understood for this present work, to set in Tablature. Also that from the great Base, being open to the second● Base, called the first string, are four notes, from the first string to the fourth, are four notes, from the fourth to the third, three notes, from the third to the second, four notes, and from that to the Triple, are also four notes.  
NOw as touching whole notes, and half notes, whereof we began to speak, it is to be noted, that the change, commonly called b. sharp or square, altogether differing from b. flat, in that b. sharp doth hold up the ●une half a note higher, and b. flat, contrariwise doth let it fall half a note lower, which change is necessary to be known in every descente of Music (this must be understood of the Triple) albeit they do not use to mark them, in many sorts of song, saving in this aswell in the Triple, as in the other parts. Which descent must be understood, to be like unto the Triple, in what tune so ever it be found. And if the learner of this art should not well understand, that the change into b. sharp in the descente, doth fall upon the last note save one, he shall know it evidently by the mark, which I will not forget to set throughout all mine examples. But he must also know, that the change into b. sharp, may chance in any their place, then upon descents. Also there resteth to consider, that in the ut, re, my, fa, sol, lafoy, my towards fa, doth bear but half a note, nor fa, towards my, that is to say, aswell in going upward, as coming downward, but both these in all other respects, and also all other notes do bear a whole note. Also every note taketh two stops upon the neck of the Lute, and the half note one stop only: but . A. hath been put and set forth for a mark, betokening a whole note upon every string opon, then B. in the first stop in the top of the neck, a half note . C. an other half note in the second stop . D. in the third . E. in the fourth . F. in the fift . G. in the sixth . H. in the seventh . I in the eight: which be the number of the stops, most accustomed upon the neck of this instrument, notwithstanding, that they do not let to go further toward the knot upon the bailie of the Lute, by the guiding and judgement of the ear.  
Having understood the manner how to set the Triple in Tablature, we must now in proceeding, see to the other parts, beginning at the high Tenor, called in Latin Contratenor▪ which is next to the highest, or Triple: whereof here followeth the example.  

¶ The joining of the Triple with the counter-tenor.  
  
Upon this beginning of joining the Triple with the counter-tenor in Tablature, is to be noted the excellency of the Lute above the Uirginalles, in the first accord of this song, in that the . F. there doth furnish the unison, filling so much the more the Harmony. In which accord, and the next following, because the Treble occupieth the place of the counter-tenor: we were forced to set the . F. upon the third string, where the unison of the . A. of the second string is. You must mark that in the eight distance in the Triple part, as it was first set out alone, there were marked two Minims: but in this second example, wherein is added the counter-tenor, we have been driven to change those two Minims into four Cratchettes, because of the answering of the prick, and the three Cratchettes, which meet there in the counter-tenor: and yet nevertheless, the two Minims keep their part still in the instrument. And in the thirteen distance, ye may see two Minims first together, that is to say, both of the Triple and counter-tenor, but the second Minim of the Triple, which was in the first example single, in this (which is as it were a second or double example) is necessarily converted into a Cratchet, because of the prick, and the Cratchet of the counter-tenor. Here must be noted, that where soever there chanceth a prick, it shallbe always best for the easiness of the Tablature, to turn that prick into the figure of the note of his Tune or value, to answer to the other notes, of the parts coming together: as is to be perceived that I have used in all this book. Likewise in the last note . A. of the Triple (which is in this example double of two parts) marked in the two distances, the last save one, and the last, because) as it hath been told already) of holding the end, the Semibreve is of necessity turned into Cratchettes.  

Examples of three parts.  
  
TO treat now in this example of the Tenor, as of the third part, we must first tell you, that where you see but two parts in the Tablature, that betokeneth so many rests in the Music of the Tenor: which beginneth to fill with the rest in the fourth distance, where you see, that besides the sembrieves of the Triple, and Countertenour, you must set a Minim, and two Cratchettes, because of the Tenor, that is to say, in the figure of setting in Tablature although that in the truth of playing, by the touching of the finger, the Sembrieve remain always whole, both here and in all other like places, as it hath been before declared in the parts, as they were set out severally: and note that the two distances, fift and sixth, which were before void, are here filled by the coming in of the Tenor: as the next space following, is perceived to be filled with a Minim by the Tenor, although in effect upon the Lute, he holdeth the time of a whole Sembrieve, Here, nor at any time hereafter in playing, is to be forgotten the skip, or leaving out, which must always be made of the notes between the two bars, and the place of repetition.  

The joining of four parts together.  
Quand mon mary.   
IN these four parts of Music now joined together in Tablature, this is to be considered upon the fourth distance, where the Base doth begin to come into the other parts, that although we see there but three letters, which can represent to the sight but three parts, yet in effect the● be taken for four parts: for so much as the first note of the Base beginning, is in an unison with the Tenor. True it is, that there might be an . H. put on the great Base, or last string (which maketh an v●isson with the present . C. but it is let pass in this, and all other like places, to make the play more easy, and to avoid much straining of the hand.  

¶ The former song finely handled.  
Quand mon mary.   

¶ Of the transposition of the first Tune.  
THere resteth for the clear ending of this first Tune, to beat a word or two of the transposition of this first Tune, which shall serve for a general rule to all other Tunes following: that is to say, always from . b. sharp, to . b. flat. The first in distance of a fourth, the second of a fift. The third of a fourth. The fourth of a fourth. The fift a fourth. The sixth of a fift. The seventh of a fift. The eight of a fourth.  
TO make this work in all points perfect, and to show you (as a man might say) not only the plain and rude Gramme●, but also further somewhat like to the eloquence of Rhetoric, I have thought good in this place of the first Tune ●to crown as i● were the work withal) to add an example of the same song, adorned with running points and passages, as we will likewise do in the example of every song, given for example: to the intent the scholar may learn to deck other songs or dances, with like flowers and ornaments: in which he shallbe forced sometime, for the better grace and pleasing of ●he ear, to leave out some one note of the accord, of some one of the parts: not so much for all that for necessity, as for the pleasantness of the sound: yea, and that with fall recompense of the lack of the note, which shallbe omitted, by the putting to of a running point or passage, wherein lieth all the cunning.  

¶ The ●eche or compass of this present song of the first tune, transposed or altered.  
The compass of the Base. Of The Tenor. Base. Tenor. Of the counter-tenor. Of the Triple. Countertenour. Triple.   

¶ Transposition or alteration of the first Tune.  
Si le bien qui au plus grand bien.   
IN this example of Trasposition, we must consider once for all, that although the end of this song of Aacadet (of which always the judgement is made) doth fall and end in Dlasolre, it is nevertheless, taken for like to the former example of Orlande, which endeth in Gsolreut. Also we make no difference of Tune▪ but make him end upopn the Lute, on the same second string open. There remaineth to prescribe, or observe in setting, that as oft as there is one, two, or more rests in any song, as in the first distance of the Triple of this present, that you begin always to set in Tablature, the mark of the Semibreve, because it shall be easy for you, if there happen any shorter measure in any of the other parts, to convert that mark of Semibreve, into a Minim, Cratchet, or Quaver.  

¶ The joining of two parts together: Triple, and Countertenour.  
  
IT is needful to take heed to the fourth distance of this example, of two parts: that is to say, of the Triple with the counter-tenor: that naturally the . F. which you see there, was an . A. in Semibreve (as it is to be see. ● in the former example of the single Treble) which it behoveth us to change, by reason of the counter-tenor coming to that place, which mounteth a third higher than the Triple, in the last half of the Semibreve: albeit the A. might have remained for this first half, but so had the other half lost his Tune. For this cause it was necessary, to go down from the second string, to the third, turning the . A. into . F. (which is his unison upon the Lute) which shall maintain the sound of the Semibreve whole: a thing necessary to be observed in all other like haps, that as oft as the proper and natural place of the one part, shallbe occupied by an other, you must of necessity have recourse to an other string, that maketh the unission with that, for the understanding of which unissons thoroughly, we will here underneath by way of example, give you a general collection of all the unison, which may be found on the neck, or beallie of the Lute.  

¶ A generality of unissons.  
  
IN this example of three par●e●, we will 〈…〉 particularly all the distances, in which the parts meet 〈…〉 an other, with 〈…〉 of the notes: as the Triple being a Semibreve, the counter-tenor 〈…〉 Cratchettes and Qa●ers: In which we have to prescribe 〈◊〉 a general rule, that as oft as that happeneth, the notes of each part, one after the other, which were set 〈◊〉 in their natural order (as you have been 〈…〉 before) must be changed and converted in all four parts severally: sometime it chanceth, that the counter-tenor hath a Semibreve, where the Triple against him hath Minims, and so likewise of the other two parts, which may happen in all diversities of value.  

¶ The joining of four parts together.  
  

¶ Moore finely handled.  
SY ●e bien bui tu plus grand bien.     

¶ The second Chapter of the second Tune.  
THis second Tune, which is called follower, or servant to the first master Tune, because he hath his reach or compass a fourth lower, therefore it behoved us to set him so much the higher, that is to say, in the Triple open which shall serve for Gsolreut, where it was in the second string open in the first Tune. In this example of the Triple, I have to advertise you upon the fourth distance, in which ye see a mark of the value of a Minim, without any other letter in the Tablature under it, that the same proceedeth because of the prick, which is in the Music joined to a Semibreve of the third distauce: and that following a rule, which we have given you before, that the Lute stricken out once, could not hold the sound above the time of one semibreve: which must be understood for the perfection of the more greater harmony: albeit that the sound of the string, might partly endure the value of a prick added, or of the half more, but the sound towards the end is always naturally of less force, as the second sound of an Echo in his doubling. So may the prick of the Semibreve (as it shall like him that setteth, be left out from being marked with any letter in Tablature, or else be marked by the discretion, and judgement of the ear. For it is certain that the sound is more strong, and of longer tarrying, according to the goodness of the Lute.  

¶ The rethe or compass of the song of Orland, le l'ayme bien.  
The compass of the Base. Of The Tenor. Base. Tenor. Of the counter-tenor. Of the Triple. Countertenour. Triple.   
IN this example of the counter-tenor joined to the Triple, in the first distance, there is an . F. twice upon the second string, which had their natural place in the Triple, where a learner smally exercised might have placed them. But because the . H. which must be in the place of . C. of the Triple, the placing of the two . FF. did come to better purpose, for the art and grace of the playing. Also because these two, A.A. had done wrong to occupy the place & tune of the . F. of the Treble which is in value a Minim and a prick, which must be observed generally in every like hap, upon what string so ever it be: which thing often use in setting diverse songs, will teach sufficiently.  

¶ The joining together of two parts, Triple, and Countertenour.  
  
HEre where three parts are joined together, we have to declare that in the fourth distance, in setting after them common sort, there is . B. and . D. on the second and third strings, in the first Minim, which if it should stand ●o would bring an inconvenience in the prick . B whose sound would be lost, in going to the next stop. To prevent which, we will amend them otherwise, in the example of four parts together hereafter, turning the . B. here into . G. upon the third string (which is his unison) likewise the . D. into . H. upon the fourth string▪ which being so brought to perfection▪ shall be in that order also more easy for the hand: besides the necessity it hath by reason of the stop of the next distance, of which also the two . D. D▪ of the third string be to be changed into as many . H.H. upon the fourth string. These be things that happen oft, so as to declare every one, it were almost infinite, if the judgement of the learner of this art, should not supply it by reason, aswell having regard to the grace in playing, as the ease and commodity of the hand. So I omit in this example to go over again many distances of like sort, reserving the correction, for the next example▪ where four parts are joined together.  

The joining of three parts together, Triple, Countertenour and Tenor.  
  
IN this present song of Orlande of the second Tune, beginning, je l'aame bien, which you may see here of four parts set in Tablature, all the distances which I had left in the former example of three parts, only in their natural and gross order, here I will deliver them unto you, brought into a more artificial sort: so that you do understand, that the first manner is always necessary to begin to set in Tabloture, because in setting (as we have showed you in all the former examples) one part after the other, we do not see at the first, the best form every stop is to be brought into. We know well that the same might be practised in an other sort, that is to say, to set first the Music in measures, assembling all the parts together one over the other, whereby there could be none occasion to race out, but than ye must after do as much to bring the same into Tablature for the instrument, which would be two labours for one, because that in our fashion, we shall assoon have set it in Tablature, as in the other ye shall only have done the Music.  

¶ The joining of four parts together.  
je l'ayme bien.   

¶ Of the transposition, or alteration of the second Tune.  
IN this song of Orlande of the second Tune transposed, beginning un deux Nennin, I have to advertise the reader, that he do not trouble himself, for that he seeth not the last note to fall in Dlasol upon the Triple open, as it hath been prescribed here before, because it is so, by reason of the draft of the last end, proceeding of the pleasure of the master Musician, being disposed as it were, to pass a career: although those that be expert, do know evidently this Tune, by the continuance of his other descents.  

¶ The compass of this song following, of the second Tune transposed.  
The compass of the Base. Of The Tenor. Base. Tenor. Of the counter-tenor. Of the Triple. Countertenour. Triple.   
HEre the scholar must be advertised, that in this transposition, there is no difference, as touching the letters of the Tablature, but only in the notes, for the first note of this song, which beginneth in Alamire is taken for D lasolre in this present song. which is a fift higher as touching the note, but as concerning the Tablature, he doth not change his place.  

¶ The joining of the counter-tenor with the Triple.  
  

¶ The joining together of three parts, Triple, Countertenour, and Tenonur.  
  
IN the present song given for example of Transposition of the second Tune, in the . F. which is the second Minim of the twentieth distance, we have to consider the lost Tune of the eight, of the . F. below, which happeneth often in our plain ordinary Lutes, which be but of eleven strings, and might easily be remedied by setting the song one note or two higher, but it would be harder for the hand, and the grace of the play would be woorsser. Truth it is, that it were possible to supply that lack upon our plain Lutes, by setting the base a note lower, but that would make the play a great deal harder, because it would 'cause a change of all the letters of the great Base. The Lutes of the new invention with thirteen strings, be not subject to this inconvenience, whereof the last is put be low: which according to the manner now adays, is thereby augmented a whole fourth: where here before it was used only to supply the lack of this one note, whereof we speak now. I will not here forget to tell you, that cunning Masters (to give remedy to this defect) heighten their play upon the Tablature, as many notes as they think good. Here resteth yet to consider upon that we have spoken of before, concerning the prick, how it is to be kept with his note: notwithstanding in the .83. distance of this example, we be constrained to loose him, by reason of the Tunes, which mingle and pass one among an other: which also may be found in some other distances following.  

The joining of iiij. parts together.  
 
VNdou● ne●nin.     

¶ The third Chapter, of the third Tune.  
THis third Tune is one of the four master Tunes, which endeth in my, as the fourth also his servant or follower doth, of the transposition of which Tune, I will give you none example, being therein no new difficulty to declare, besides that I have said before. Also because these two Tunes, be less used than the other, serving only for Melancholy and doleful matters. Seeing this song to end in A. of the second string, a man might take it to be his proper and natural Tune, although there do happen a change into B. sharp, for a grace (which is a third higher) but yet it is to be known by the other parts, coming together in the natural falling of the third Tune, which nevertheless endeth upon the same string: by this that in the first, the A. upon the second maketh re, and in the third serveth for my, It is true that in this example I have set the Tablature one note lower than ordinary, for the ease of the hand, having also regard, that the Music was kept altogether as it aught, which is a thing much to be considered in setting, if it may be done, that there be nothing drowned of any of the parts.  

¶ The compass of the song following of the third Tune.  
The compass of the Base. Of The Tenor. Base. Tenor. Of the counter-tenor. Of the Triple. Countertenour. Triple.   
HEre let not the reader think it strange, to see all four parts at the first show put together, to avoid the debating of a thing already spoken and done, as I will always do from henceforth, not omitting for all that to explain hard points, which shall chance in any of the Tunes following, where peradventure we shallbe constrained to go over some of them again, if it be needful, either in the transposition of the Tune, or in any other accident.  

ENespoirvy.   

¶ Moore finelier handled.  
ENespoirvy.    

¶ The fourth Chapter. Of the fourth Tune.  
IN this fourth Tune, of the which I give you for example, the song of Orlande, beginning Du corpse absent, a man ●ight think it strange that this Tune, which following the order of the rest, aught as a follower or servant to be set ●ower notes higher than the third Tune, his master before, but we be constrained to set him only but one note higher, by reason that this present song, doth go but one note lower than his master: together with that it agreeth better with the natural Tune of the Lute, which in this sort is handled with more ease and perfection.  

¶ The compass of the four parts of this song following.  
The compass of the Base. Of The Tenor. Base. Tenor. Of the counter-tenor. Of the Triple. Countertenour. Triple.  
DV corpse absent.   
IN the 23. distance of this song, Du corpse absent, we have to show the reader, that in place of an . F. in the last Minim of that measure, in the second example of the same song, garnished with running points, ye shall find the same . F. changed into . D. with a double passage, keeping the fall, which was corrupted in . F. nevertheless the Tune self of the same . F is found in the same company, and eight of the great fift string: which reason could not be in Lutes, tuned after the manner of Fabrice Dentice the Italian, and of other his followers. Where those strings that stand two and two together, be set in one Tune, and not by eights, which they do for a perfection of harmony, in avoiding many unissons, which those eight would 'cause. In the .27. distance likewise it will be to be considered, that the letters which be set, according to their natural order upon the last Minim (making the accord of Music) do bring a hardness of play, beyond the power of the hand, in the greater sort of Lutes, although upon less instruments, or to a very great hand well exercised, it might be possible. For this cause our scholar, which will not content himself of this plain and naked Tablature, may have recourse to the same distance in the Tablature following, where he shall find the same accordin his perfection, notwithstanding the changing of letters.  

DV corpse absent.    

¶ The fift Chapter of the fift Tune.  
IN this example of the song of Orlande of the fift Tune, beginning, Trop endurer, we must declare, that the play is much constrained, and the hand forced, and the notes of the same all contrary to ordinary, because that the . C. which for the most part in other Tunes serveth for my, here serveth for sol, and so consequently of the other letters. For this cause I have put an other song after this of the same Tune, a note lower, to show the easiness of the one, in respect of the other. Notwithstanding, the constraint is so much the more perfit, because of the loss of some note in the Base of the other. It remaineth to show here, that in the 64 distance, the prick of the Minim of the Base is there lost, and it cannot be done otherwise, but by the flourishing of them that be cunning, as may be seen in the second Tablature of the same song.  

¶ The compass of the four parts of the song following, of the fift Tune.  
Base. Tenor. Base. Tenor. Countertenour. Triple. Countertenour. Triple.  
TRop endurer  
TRop endurer.   
IN the example, which we give for the more easy of the fift Tune, in the song of Orlande beginning Vray dieu disoi●▪ in the 34, distance, there is a place in the Tenor following the Music, in the which there is found a great difficulty, and straining of the hand, so as it cannot be played, without taking the hand of, which causeth the sound of the other parts to cease, which is one of the greatest faults and inconvenience that can happen to the player on the Lute, which error the common sort for the most part do fall into, except such as be excellent doers in this art, wherefore it is better to make that place all plain, without taking of the hand, although it be marked double in the Music: because so there is nothing lost of the perfection, seeing it is not doubled, but for pleasure and joy of the heart, more than for any occasion of the accord, or of the harmony: So shall you find how to use this place in the example following, more cunningly set forth.  

¶ The compass of the four parts of the song following.  
Base. Tenor. Base. Tenor. Countertenour. Triple. Countertenour. Triple.  
VRay-dieu disoit. Vray-dieu disoit. Moore finelier handled.    

¶ The sixth Chapter of the sixth Tune.  
THis sixth Tune, which is servant or suffrigan of the first Tune before, hath his compass or reach a fourth lower, than his master in Music, as also all the rest of the followers have. Of which Tune I give you here for example, the Song of Orland, beginning, En un am ou l'on ne voit goutte, which endeth in Ffaut, to the which the great Base of the Lute serveth open, notwithstanding, that in many of the other Tunes, it serveth for Gsolreut, and for other also, whereof I will not make you a certain rule, and special determination, because the same passeth by the discretion of the master, who to make himself sport in his play, or to join with some other Instruments, whereof he would make a noise, doth set him high or low, without making any scruple for the losing sometime of some little note. We will not repeat here the rule for Tripler, whereof this song is full in many places, that there three must be observed for two under one measure, because we have sufficiently declared it in former chapters. The scholar may not think it strange, if while the Treple dure, he findeth but Minims marked in the Tablature in stead of Semibreves. The reason is, for that where there should be so many Breves, they must be stricken twice, which were but a foolish manner. For we have already told, that a good Lute will hold his sound, as long as a Semibreve, and his prick, and the Brief in Triple is no more in value, wherefore to make plain this hardness, I have marked the Semibreves into Minims, which for all that, shall go no faster nor slower, then if they were Semibreves, being no difference nor perfection, more in the one, then in the other.  

¶ The compass of the four parts of the song following, of the sixth Tune.  
Base. Tenor. Base. Tenor. Countertenour. Triple. Countertenour. Triple.  
EN un am.   

Moore finelier handled.  
EN un lieu.    

¶ The seventh Chapter of the seventh Tune.  
WE will frame an example in Tablature, for this seventh master Tune, upon the song of Orlande, beginning je ne veux rien q'un baiser de sa bouche. Which to them that should be overmuch scrupulous for the loss of certain notes (which notwithstanding, do recompense themselves upon the eights, as it is to be seen in the end of this song) such would set it two notes higher, to save those notes: but they would because of great difficulty, much unpleasauntnesse, and constraint, so that we think it better to leave it in his natural Tune, then to change it otherwise. Because that this Tune of his ordinary property, is not accustomed to extend to those two lost notes, so low as the Musician would here for the poursuite and excellency of his pastime. Now is there in this song present, many things worthy to be noted, in certain distances of the same, albeit that in the example better poolished following, there is remedy to be perceived for all the difficulties, but the reader could not perceive them, because the knowledge could not be had but in the setting. The first is in the seventh space, where the highest C. must hold a whole Semibreve for the counter-tenor, if the division in the Treble did not take away one quaver from him which thou shalt find the means to save unto him in the .22. distance following. In the .16. distance there is a running point which is made to observe the letters with the Music: whereby both the Tenor and the Base be letted, wherefore it is better there to make that point all plain, then so much to hinder those two parts, although it be not to be seen so in this distance (already by me amended there) as it is set out in the Music. In the .31▪ distance is last the prick of the counter-tenor in the beginning of the measure, where there is place to have set him, but we have told before that the prick is not stricken, wherefore it is better left out then stricken again. In the .65. distance, the second Minim loseth half his valour, by reason of a Cratchet in the Triple, and cannot be otherwise done, for the constrain of the other parts.  

¶ The compass of the song, je né veux rien.  
The compass of the Base. Of the Tenor. Base. Tenor. Of the counter-tenor. Of the Triple. Countertenour. Triple.  
IE ne veux rien. je ne veux rien. Moore finelier handled.    

¶ The eight Chapter, of the eight Tune.  
OF this eight and last Tune (after the common use) servant or follower of that before, we give you for example the song of Orland beginning, Ce faux amour. which taketh his Tune natural, that is to say, his Gsolreut in the Triple open, wherein you shall find no difficulty for the Tablature, which hath not been declared in the chapters before, and which the learner of the Art hath not sufficiently learned, if he have practised all the songs and examples of the Tunes before set forth.  

¶ The compass of the four parts of the song following, of the eight Tune.  
Base. Tenor. Base. Tenor. Countertenour. Triple. Countertenour. Triple.  
CE faux amour.  
CE faux amour. Moore finelier handled.   

¶ An accessary or incident.  
WE do yet further present here unto you one song, by way of accessary, which is of Orlande, beginning Las voulez vous qu'une person chante. Although it might seem superfluous to put it in Tablature, to them that would in this follow the common opinion, which place is under the second Tune, but to many it seemeth otherwise. For so much as this Tune, of the which there be found sundry songs and ballets, doth end in Alamire, without transposition, and being transposed in Dlasolre, by b. sharp. In this example here set forth unto you, there is seen in the 13. distance (which hath been often seen in some other of the former examples) that is to say the last half of the Minime of the Base, by reason of the coming of a certain passage traversing, as it is ordinarily found in all Music. In the .35. distance there is found a like difficulty in that, that of necessity, the half of the last Minim must be lost of the Triple, or of the counter-tenor. But the best is to leave out the last Cratchette of the counter-tenor, which is cause of this trouble, as you may see that I have left him out in the second Tablature of the same song, more cunningly set forth. In the .82. distance is lost the prick of the first Minim of the Base, but the place of this prick is void, which I will account a fault to strike again, as ye shall perceive by the last handling of this present song, that is to say, that in place of the accord on high, we have put him in the eight beneath. For end and conclusion of this work, we have none other thing to hold you with, but that it hath not been by negligence, or not taking heed, that we have not added yet more examples of songs and ballets of three, five, six, seven, and eight parts. But I have done it by reason, that who shallbe diligently exercised in the Tablature of four parts only: which I have set forth in this book, shall not find any new difficulty, in that he would set more parts: that is to say, that there is no further thing to be considered and observed, but the rules largely set forth and deciphered by our chapters, as above all, the change and alteration of the value of notes of one part, in the coming in and joining with the other parts Also that there must be excused some leaving out of accords, sometime for the necessity of the bearing of the instrument, which is not for all that, to condemn the Lute alone of imperfection: the Harp, Uirginals, and other made of like harmony, having all need of like excuse.  

¶ The compass of the song, Las voules vous.  
The compass of the Base. Of the Tenor. Base. Tenor. Of the counter-tenor. Of the Triple. Countertenour. Triple.  
'Las voulez vous. Las voules vous,     

¶ The ninth Chapter.  
TO put the last hand to this work, I will not omit to give you to understand, how to know strings, whereof the best co●e to us out of Almaigne, on this side the town of Munit, and from Aquila in Italy: before ye put them on the Lute, it is needful to prove them between the hands, in manner as is set forth in figures hereafter pictured, which show manifestly on the finger, and to the eye, the difference from the true with the false: that is to weet, the true is known by this that in striking him between the fingers, he must show to divide himself just in two, and that for so much as shall reach from the bridge below, to the top of the neck: because it maketh no matter for the rest of the strings, that goeth among the pings, notwithstanding ye may not be satisfied in assaying the string, holden only at that length, but that you must also prove him mistriking him, being holden at shorter lengths to be well assured of his certain goodness and perfection. Also the false string is known by the show of many strings, which it representeth, when it is stricken between the fingers: so must you continue the same trial in striking the string, till you perceive the token of the good, to separate him from the ●adde, according to the figures following.  

A good string.   

A false string.     

❧ A brief instruction how to play on the Lute by Tablatorie, with certain easy lessons for the purpose: gathered together: to the great commodity and pleasure of the learner of the same. By A. R▪  
 

¶ The first Rule.  
First thou must understand, that the Lute is commonly strung with six strings, I say six strings, although there be eleven because the five first, accounting from the Base, be doubled, which make ten, and the Treble is only single and alone, which maketh the eleventh, as thou mayest perceive by the figure of the Lute, which I have here represented unto thee.   

¶ The second Rule.  
These six strings be figured by five strait lines, of the which, the first do●oth signify the highest string, called the Triple, the second line is the second string, and so consequently all the other unto the sixth, the which sixth line, is not noted in our French Tablature, because it may easily be judged to be the last.  

Triple.  
Small mean.  
Great mean.  
Countertenour.  
Tenor.  
Base.    

¶ The third Rule.  
And because these six cords be not sufficient of themselves, to express many and diverse sounds, it is necessary to find means, whereby every string may give many and diverse sounds, and the means and way thereof, is the invention of the frets, which thou seest about the neck of the Lute here figured.  
FOr to speak of the frets, I will not here declare the proportions, that aught to be observed, to say, the space or distance betwixt fret and fret, which we do call stops, for to compass them justly, nor the greatness of the fret strings, which must be also observed, these things shallbe declared an other time, thou shalt content thyself, to mark what I will now say unto thee.   

¶ The fourth Rule.  
WE call the frets, the strings that be tied about the neck of the Lute, which be ordinarily eight in nom●er, represented and figured by the letters . b.c.d.e.f.g.h.i. and be called stops, because that whereas those said letters be found, following the order of our Tablatorie, the spaces betwixt the frets must be stopped with the left hand. In the French Tablatorie is used the letters of the Alphabet, and the Italians and other nations, in stead thereof, use Sciphers and other Carecters.   

¶ The fift Rule.  
THe first stop is signified and marked by the letter b. the second c and so consequently the rest, unto the eight and last stop, with the letter i As thou mayest see by the figure of the Lute, which I have before represented unto thee.   

¶ The sixth Rule.  
AS touching this letter . a. we have not comprised it among the number of the eight stops, because that where the said a. is found, it must be strooken open, that is to say, you must strike or gripe as many strings, as there be marked A●● with the right hand, not stopping with the left.  
¶ Example.  
  

¶ The seventh Rule.  
AS for the letters that come after the . I (which we have set last) they have no frets, notwithstanding those that be exercised in the same art, stop the strings justly, where they should be stopped, that is to say, where the letters be marked, which be ever above the number of eight, as cunningly as if they had frets.  
¶ Example.  
 
Having now spoken of the strings, letters, frets, and stops, thou must also understand, how, and with which fingers the strings of the Lute must be stopped.   

¶ The eight Rule.  
NOw seeing the letters do signify the stops (the which do only appertain to the left hand) if you should not strike the said strings beneath on the beallie, the Lute would give no sound: you must with the thumb, and the fingers of the right hand, gripe or strike as many strings, as shallbe found letters marked in the lines, signifying the said strings▪ I mean, that shallbe one above an other in the same stop: and if there be but one letter, you must stop but one string, if there be two, you must only stop two, and so consequently to the number of six, which maketh six parts in one stop, because every letter doth his part, and there must be two letters at the least, one above the other, to make the accord.  
¶ Example.  
  

¶ The ninth Rule.  
WHereas thou dost find but one letter to be stopped, thou shalt strike him downward with thy thumb, be it first, second, or other, the string signified by the line of the Tablatorie, upon the same line that the letter standeth on, so that there be under that letter no point or prick. For if there be one, it must be stricken upwards with one of the fingers, as shall best fit it.  
¶ Example.  
  

¶ The tenth Rule.  
IF you do find one, two, or three letters, having no prick or point underneath, you shall strike upwards as many strings, as you shall find letters upon the lines of the Tablature, signifying the said strings, with as many fingers as there be letters and strings, and you must also note, that although there be but one point or prick under one, two, or three letters, they must be all stricken with the fingers, without the thumb, as if every letter were marked severally with his prick or point.  
¶ Example.  
  

¶ The eleventh Rule.  
IF under two, three or many letters comprised in one stop, be found no prick or point, than you must gripe, or draw as many strings, as there be found letters: gripping, or drawing▪ is to be understood, when the thumb and the fingers of the right hand play together. Because in the eight Rule, we have spoken of six parts, the which will not be full, except all the six strings be sounded, and yet having but five fingers to each hand, accounting the thumb for one, and yet of the five, the little finger serveth but to keep the hand from upon the beallie of the Lute: some would think it hard to be done, and almost impossible, to play five or six parts upon the Lute, but when it shallbe understood, in what sort it may be done, it will not seem so strange.   

¶ The twelfth Rule.  
BEcause it shallbe hereafter necessary for the understanding of the Tablature, to know the division of the hand and the fingers, and with what names I will surname them, I will advertise thee, that after the thumb, the next following shallbe the first, next unto that shallbe the second, the third to be the third, and the little finger to be named the little finger.   

¶ The thirteen Rule.  
AND to the end thou shalt not be abused by these terms, to strike downwards, to strike upwards, or to gripe, you shall understand, to strike down the strings, is when the thumb playeth alone, which striketh the string downward, or lift or strike upwards, those be the fingers that striketh the strings upwards, when the letters be marked with points or pricks to gripe, is when the thumb and the fingers play together, the which notwithstanding, doth not lose their office to strike upwards, or downwards, that is to say, to strike downwards with the thumb, and upwards with the fingers.   

¶ The fowertene Rule.  
WHen thou wilt play six parts upon the Lute, thou must strike downwards, the sixth and the fift string, with the thumb only, training it upon the two strings, or two parts, as if thou wouldst shut thy hand, and strike upwards the third and fourth parts or strings, with thy first finger, as if thou wouldst join, or shut it to thy thumb, which finger and thumb, after that sort striketh four parts, and to strike upwards the second part, with the second finger and the first, which is the Triple with the third finger, which maketh the full six parts.  
¶ Example.  
  

¶ The fifteen Rule.  
IF it so happen, thou have but five parts to play, thou mayest as in the foresaid Rule, strike downwards with thy Thumb, the sixth and fift string, or the fift and fourth, and to strike upwards the three other strings, with the four other fingers, so that the Counter Base, and the next part be ne●e one to an other. Otherwise it were necessary, that the first finger should strike upwards, the third and fourth strings or parts, to make the fowerh and fift part. As for the example.  
¶ Example.  
  

¶ The sixteen Rule.  
FOr to play four parts, it is easily to be understand, that the thumb and the three fingers together, serve easily to strike the four strings or parts, each doing his part, striking upward and dounewarde.  
¶ Exemple.  
The ten Commandments.   

¶ The seventeen Rule.  
FOr to play three parts only, the thumb will serve, as we have already taught thee in the Rules aforesaid, to strike the Counterbase dounwardes, the first and the second finger, to strike upwards the two other, which make the three parts.  
je ne veux plus a mon mal consentir.   

¶ The eighteen Rule.  
FOr to play two parts, the thumb, as of custom shall strike downward the Base string, and the first, or other finger, the other string.  
¶ Example.  
 
NOw that we have spoken briefly, the disposition of the right hand, and with what fingers we aught to gripe, strike upwards, and strike downwards the strings, we will come to the left hand, and speak thereof, how it aught to be disposed, retaining the self-same names of the fingers, that we have used, in speaking of the offite of the right hand.   

¶ The nineteen Rule.  
AS we have in the fowertene Rule made answer to the doubt, that might have been made, as having but five fingers, of the which four serve only to gripe, draw, or lift up the strings, that it should be impossible to play five or six parts. Even so we might answer them that would ask, how one might stop with ●ower fingers of the left hand, five or six strings, the thumb being occupied to bear up the Lute, and to guide the hand: when the first finger alone (I mean that next to the thumb) might easily stop all the strings, in couching the said finger, a long overthwart the stop, which is a thing ordinary and common, to serve two or three parts, and that is done, when there be many letters a like, to play in one stop, as three . BBB. three . CCC. and so of other.  
¶ Example.  
  

¶ The twenty Rule.  
IF it happen that the first finger stop two or three strings, according to the letters signified in the Tablature, and signified by the stops, the other fingers next, as the second, third, and fourth, shall stop the others every one in his rank, according to natural order and degree, as I will show thee hereafter very plainly.  
AND for that in few words, thou mayest understand, how thou shalt dispose the fingers of the said left hand, I have chosen for thee certain stops, or familiar accords, common, and difficult, the which I will teach thee, showing thee with what fingers thou must stop, and those well practised, will easily make thee understand all others that shall come to thy hand.  
NOw follow the stops, diverse and common, the which be interpreted, one after an other, and with what finger of the left hand you must stop, and for the better understanding, you must note, that if there be two, or three letters of one sort, upon one stop, as two . BB. two . CC. or other letters, be it the first . B. or . C. it shallbe understood of that letter, that standeth uppermost, be it . B or . C. or other letter▪ as touching the . A. call to remembrance what I have before taught thee, because it is not stopped, but is played open.  

¶ Common accords.  
 
THE first . C. of the first stop, that thou seest here figured, must be stopped with the second finger, and the second C. with the first finger. The . B. of the second stop, with the first finger, the . D. with the third, and the . C. with the second. The first . D. of the third stop, with the little finger, the . B. with the first, the second . D. with the third. The first and second . B. of the fourth stop, with the first finger, couching it a long overthwart the stop, and the . D. with the third. The first . D. of the fift stop, with the little finger, the . B. with the first finger, the other . D. with the third finger: the . C. of the sixth stop with the second finger, the first . D. with the little finger, the other with the third. The . B. of the seventh stop, with the first finger, the . C. with the second. The . B. of the eight stop, with the first finger, the . D. with the third. The first . E. of the ninth stop, with the third finger, the . F. with the little finger, the other . E. with the second, and the . C. with the first. The first . C. of the tenth stop, with the second finger, the two other . CC. in ●ouchyng your fore finger, all a long overthwart the stop. The . D. of the eleventh stop, with the little finger. the . B. with the first finger, the . C. with the second. The first . C. of the twelfth stop, with the third finger, the . B. with the first, the other . C. with the second finger. The . B. of the thirteenth stop, with the first finger, the . C. with the second, the . D. with the third. The first . C. of the fowertenth stop, with the third finger, the two other with the second finger, touching it alone. The fifteenth stop as the twelfth, The . E. of the sixteenth stop, with the little finger, and the . C. with the first finger. The first . C of the seventeenth stop, with the second finger, the . D. with the third, the other . C. with the first finger. The . D. of the eighteneth stop with the little finger, and the . C. with the second. The . B of the ninetenth stop, with the first finger, the . C. with the second, and the . D. with the third finger. The . D. of the twenty stop, with the little finger, the . B. with the first finger, and the . C. with the second. The first . D. of the one and twenty, with the little finger, the second with the third finger, the . C. with the first. The two and twenty stop, is like unto the seventeen. The first and second of the last stop, with the first finger, couching it a long, the . E. with the second, and the . F. with the third finger. All the above said stops, be stopped, as I have taught thee here before, if sometimes thou do not find thyself forced to change them, to do some passage.    

¶ The one and twenty Rule.  
OTher stops, which for the most part be played with the finger chouched all a long, and for the better understanding hereof, you must note, that when I speak of laying the finger all a long, that is to be understood of the fore finger, which must be couched overthwart the six parts or strings of the Lute, or at the least to stop the letter which thou shalt be constrained to chouche, that happeneth when there be many letters of one sort, as two . BB. two . CC. or other. Always observing the order that I have given thee in the former article, touching the first and second letter, and when I shall speak of a natural stop, thou shalt note, that this stop cannot be done, nor played, but after a sort, following the natural order of the fingers, or of the hand.  
¶ Example.  
 
THe . D. of this first stop, must be stopped with the second finger, the . F. with the little finger, the . E. with the third finger, and the . C. with the first. The first . C. of the second stop, and the second, must be couched all a long with the first finger, the . D. with the second finger, and the . E. with the third. The three . GCC. of the third stop, with the finger couched all a long, the . D. with the second finger. The . E. of the fourth stop, with the second finger, the first . F. with the little finger, the second with the third, and the . C. with the first. The two . FF. of the fift stop, with the first finger the . H. with the little finger. The . E. of the sixth stop, with the second finger, the first . F. with the little finger, the second with the third finger, and the . C. with the first. The two . CC. of the seventh stop, with the first finger, the . D. with the second, and the . E. with the third. The two . CC. of the eight stop, with the finger couched all a long, the . D. with the second finger, and the F. with the little finger▪ The . B. of the ninth stop, with the first finger, the two . CC. with the second finger, and the . E. with the little finger. The tenth touch naturally. The eleventh touch as the first. The two . CC. of the twelfth touch, with the finger couched along, the . D. with the second finger, the first . E. with the little finger, the second with the third finger. The thirteen stop is natural. The fowertene stop like the sixth: The fifteenth like the first. The fift . H. of the sixteenth stop, with the little finger, the two . FF. with the first finger, the . G. with the second, and the . H. with the third finger. The . K. of the seventieth stop, with the little finger, the two . FF. with the finger couched a long, the . H. with the secende finger. The eighteneth stop, like the sixteneth: The two . FF. of the ninetenth stop, with the first finger, the first . H. with the little finger, and the second with the third. The twenty stop like the sixth, and the fowerteneth. The one and twenty, like the seventh. The three . CCC. of the two and twenty stop, with the second finger, the . D. with the third finger, and the . E. with the little finger. The three and twenty stop, like the ninth. The three . CCC. of the last stop, with the finger couched a long, the first . E. with the little finger, the second with the third, and the third with the second finger. All the abovesaid stops be down naturally, as it is taught thee, if thou be not constrained to dispose them otherwise, to make some passage.   

¶ The two and twenty Rule.  
IT is also necessary to give thee to understand, to what purpose the bars that be drawn bias. under the letters or passages do serve for, and for thy better understanding, I have here under drawn thee an example at large, and very familiar, in the which thou shalt not find one example, trimmed or measured, that thou shalt need to remove any of thy fingers from the said measure: The knowledge of the said bar is so necessary, that having found out, and exercised the same, thou shalt not need to remove, but those fingers, which thou shalt be forced, which we call close, or covert play, as for the other bars, which come strait overthwart the lines, that signifieth unto us the six strings, serve for no other purpose, but to make a distinction, and to enclose the measures, sometimes one of a Semibreve, an other whiles of two, according to the discretion of him that bringeth Music, into the Tablature for the Lute.  
¶ Exemple.  
  

¶ The three and twenty Rule.  
ALL the other signs or figures, that is found within, or without the Tablature, be practised as in Music, that is to say, the point of repetition is thus figured signifying that you must repeat twice one thing: the point of rehearsal signifying▪ that when you be toward the midst, or toward the end, you must return to the said point of rehearsal, which is figured thus▪ As touching the organ point thus figured it is applied sometime to the midst, sometime to the end, and it hath this signification, that where it is found, you must pause, or rest without discretion. You must also understand what the two bars do signify, figured in this sort which doth serve sometimes to save you labour, from writing one thing twice: it hath moreover this signification, sometime to make you leave some measure, as coming to some point of repetition, or to an end, but when thou shalt find it before the point of repetition, repeated the second time, thou must leave that, which is betwixt the said two bars, and the said point of repetition. Contrariwise, when they be found in the end, the first time you must, coming to the two bars, leave that which is betwixt them and the end, and you must play that, which is beyond the end, than returning to the point of rehearsal, thou shalt make and end of that, which thou didst leave at the first, that is to ●aie, that which is betwixt the tweo bars, and the end, As for example.  
¶ Example.  
Ce n'est bien ne plaisir.   

¶ The four and twenty Rule,  
FInally, you must now know the marks, long, strait, crooked, and forked, which be over the letters of the Tablature, is no other thing, but a certain valuation of the notes of Music, trimly invented to keep measure, without the which, this art were unprofitable, or worth nothing, and if thou findest but the first letter, marked with one of these figures, between two bars, thou shalt understand, that the rest of the letters be all of the same time, that the first letter is measured withal, it would have been but labour in vain, to have marked them all with one figure, some mark them with the Music itself, or with other Ziphers, according to the manner of the Country, when thou dost find any of these figures marked with a prick or point, that point doth signify the augmentation of half the time more of the figure or measure, where unto it is joined, as commonly is practised in Music. As touching this figure it hath never no point nor prick, and it is called a Semibreve, which is a note of the longest measure, that is practised upon the Lute, for if there be longer, of force they must be divided.   

¶ The five and twenty Rule.  
TO tune your Lute well, although it be hardly to be showed, being subject to the delicateness of a string, either to the greatness, or to the smallness of the Instrument, thou must therein follow nature, who will be by no means be forced, a good ear is there unto also a good help, to have consideration to the extreme highness, and the extreme lowness, and thy beginning shallbe at the great Base, which shallbe unto thee a very good guide, to conduct thee to his companion the next string, the which must be higher eight notes. Then the fift being the second Base, to set higher by four notes then the great Base, and the second Bases companion, to be higher by eight notes: the next unto that, being the fourth part, called the counter-tenor, shallbe set higher four notes above the first part or second Base, and his companion to be set higher by eight notes. The third part called the great means, shallbe higher by three notes▪ then the counter-tenor, in unity: The small means, ●ower notes higher than the great means: The Triple or last part, four notes higher than the small means, which thou shalt truly do, having a good ear withal, notwithstanding, a thing not easy to all men, but to them only that have been doers in this art, and that long time have as it were, married their ear to the sweetness of the string, notwithstanding, such as have a good will, and are desirous to learn, may have recourse unto the examples and rules, which I have here under written.  

¶ The tune of the Lute.  
Par unissons. Par octaves.  
Hereafter doth follow, the diverse accords of the Lute, which be represented or marked unto thee in Music by B. car, or by B. mol.   

Accord du Leur par B. car.  
  

Accord du Lut par R. mol.  
    

❧ The third book for the Lute, containing diverse Psalms, and many fine excellent Tunes, set forth by A.R. the author thereof.  
LE ciel qui ●uit.  
QVand ce beau.  
'Las que nous.  
QVand ●esto.  
MAi● voy●z.  
QVand le.  
OR voy-je bien.  
HAs tu.  
LA terre.  
AH dieu.  
'Las je neusse.  
AVtant qu'on voided.  
TAnt que j'estoys.  
DE mandes tu.  
DOuce maitresse touch.  
I'Estoys. Otherwise.  
I'Ay bien mal choisi.  
CE n'est point.  
D'Vn grosier.  
I Trust in God.  
O Lord give ear to.  
I Lift my hart● to thee.  
THe wicked with his.  
Give thanks  
Lord to thee.  
MOn coeur.  
Heart oppressed.  
PRaise ye the lord.  
WHen as we ●at in Babylon.   

❧ Imprinted at London by John Kyngston, for james Robothome.  
Anno. 1574.