In God rejoice, With Instrument and voice.  
THE SCHOOL OF MUSIC: WHEREIN IS TAUGHT, THE PERFECT METHOD, OF TRUE FINGEring of the Lute, Pandora, Orpharion, and Uiol de Gamba; with most infallible general rules, both easy and delightful.  
Also, a method, how you may be your own instructor for Pricksong, by the help of your Lute, without any other teacher: with lessons of all sorts, for your further and better instruction.  
Newly composed by Thomas Robinson, Lutenist.  
LONDON: Printed by Tho. Este, for Simon Waterson, dwelling at the sign of the Crown in Paul's Churchyard. 1603.   

TO THE RIGHT VIRTUOUS, HIGH, AND MIGHTY PRINCE KING JAMES, OUR DRED SOVEREIGN, BY THE GRACE OF GOD, KING of England, Scotland, France, and Ireland, defender of the Faith, etc. long life, happy days, and most prosperous reign.  
AS there is not any thing in this world more acceptable unto God, (most gracious Sovereign) then a contrite heart: so I presume that there is not any thing in this world (next to the love of God) more acceptable unto your Majesty, than a true and loyal subject. Thus using this persuasion, for a sure argument of your Majesty's gracious acceptance, I presume to manifest myself, a most true and loyal subject unto your Majesty. In token whereof, I have gathered the chief of my treasury, the which in most humble and obedient manner, I present unto your Highness: beseeching your Highness not to mislike your subject, for the subject, sith it is for the good of all your Majesty's loving subjects. The Art is divine, the Jnstrument laudable, my Meaning good, my Skill drowned in the depth of Cato's words (who saith) Nec te collaudes, nec te culpaveris ipse. And yet I can say for myself, that once I was thought (in Denmark at Elsanure) the fittest to instruct your Majesty's Queen, our most gracious Lady and Mistress.  
Thus prostrating myself at your Majesty's feet, incessantly craving pardon for my bold attempt, I rest. Restless in prayer, for your Grace's welfare, both now and ever.  
Your Majesty's most loyal and obedient subject, Thomas Robinson.   

To the Reader.  
RIght courteous Gentlemen, and gentle Readers, your favourable acceptance of my first fruits from idleness, hath eccited me further to congratulate your Musical endeavours. And in my conceit, I can no way better fit your good and willing minds, then in showing you how you may very soon, and very perfectly instruct yourselves to play (upon your best beloved instrument) the Lute, also the Orpharion, Pandora, and Viol de Gamba, any lesson (if it be not too too trickified) at the first sight. But be it as it be may, you shall have rules of reason, to overrule unreasonable odd Crotchets, giving you to understand, that what is beyond the true course of Nature, must needs be without all compass of Art; and withal, nothing outrunneth Nature but Follie: so much for that.  
Also (for example sake) I have set some lessons of all sorts: whereof some being old, I was requested to set them new after my fashion, some new out of the fat, some neither very new, nor very old, but yet all mine own setting, and the most of them, mine own invention.  
But Gentlemen, once more I will make you promise, that if these Masterlike rules, and Scholarlike lessons, do but any whit content you. I will come forth, With Crack me this Nut, (I mean) only lessons for one, two, and three Lutes, and some with ditties, wherein I will strive either (for ever) to win your favours, or starve in the dole of your disgrace. Vale.  
More for you, than for himself, Thomas Robinson.   
〈…〉 and Viol de Gamba, Dialogue wise, betwixt a Knight, (who hath children to be taught) and Timotheus, that should teach them. KNIGHT. 
YOU are heartily welcome into the country, and the better welcome, for that you come at the first sending for, for it is an old saying, that cunning men are curious, especially Musicians.  TIMOTHEUS. 
Sir, if I had thought I should not have been welcome, you might have thought me unwise to have taken all this pains: again, it was my promise to instruct your children, and am ready at your pleasure; but I pray you, why should Musicians be more curious than others.  Kni. 
In keeping your promise, you have done well, and so well as I can, I will answer your demand: in mine opinion, I think it impossible to be a good Musician, except a man be seen in all the seven liberal Sciences, for I know many great clerks in Divinity, Physic, Law, Philosophy, etc. that have small, or no knowledge at all in Music; nay, some that quite reject it. Now sith it behoveth a good Musician to be somewhat seen in all Arts, I conclude, that this all (with the help of an odd crotchet) is the reason why Musicians are so curious.  Tim. 
Truly sir, your concluding all, is both short & sharp, how be it I must grant you this, that it is behoveful a Musician that would be excellent, to be seen in all or the most part of the seven liberal Arts, and so near as I can, I will show you which, and how necessary those are, that a Musician ought not to be ignorant off. First he must be a divine, that is, he must be divinely given, he must above all things serve God, that God may bless him, in all his good endeavours; he must read the scriptures, for it is the fountain of all knowledge, & it teacheth the divine harmony of the soul of man: for Music is none other than a perfect harmony, whose divinity is seen in the perfectness of his proportions, as, his unison showeth the unity, from whence all other, (concord's, discords, consonancies, or others whatsoever) springeth, next his unity, his third: (which is the perfectest concord that is in all Music) representeth the perfect, & most holy Trinity; his fifth, (the most perfect consonance in all Music, for that it is the very essence of all concord's) representeth the perfection of that most perfect number of five, which made the perfect atonement, between God, and man; His eight, (which as it is, but as his unison,) representeth his Alpha and Omega: & as what is above his eight, is but as a repetition, as from his unison, as it were a new beginning; so it showeth our return from whence we came, as it were, in notes of Music, in a long or short time, sweet or sour composition, and thus, (I hope, without offence to that most holy Alpha and Omega) I conclude, the necessity of divinity in a Musician. Now that a Musician should be a Physician, I see no such necessity, But that Music is physical, it is plainly seen by those maladies it cureth. As it cureth melancholy; it much prevaileth against madness; If a man be in pains of the gout, of any wound, or of the head, it much mitigateth the fury thereof: and it is said, that Music hath a salve for every sore. But of necessity, a Musician must be a perfect Arethmatition, for that Music consisteth altogether of true number, and proportion, and thus, at this so chief, and necessary science of Arithmetic, I hold it best to stay the process of Music, as touching the necessity of other than these, which I have mentioned to be fit in a good Musician.  Kni. 
I like you well, & love your Music the better, for your good discourse thereof, and my hope is (in a manner) already satisfied, but notwithstanding, there remaineth in me, a little spark of fear of an evil that may happen, after all your pains taken, and my cost bestowed.  Tim. 
Why sir, it may be you fear least your children should die, when you have brought them up well, and bestowed great cost upon them, or if they should prove unkind hereafter, or if they should set light by that good quality, which cost them so little, and you so much.  Kni. 
You say well good Timotheus, all this is to be doubted, but I fear none so much as the last, which is, that they will be careless and forgetful, of so excellent a quality as is playing upon the Lute; and my fear is the greater, for that it was mine own fault, that in my youth could have played so well, as any in those days, and now it is as clean forgotten, and which is more, I have no willing mind in the world, either to practise (to recover that I lost,) or to learn a new: for the play that is now, and the lessons (that are now a days) are so curiously set, that we of the old mine, are smoked up like to sea coal, and this age, hath the golden ore, and sparkling diamonds of divine Musicians, that for mine own part, I am content, to give place both to youth, and the time, only content to be an auditor, and lover of the best,  Tim. 
Sir, it is very true, that many, both men and women, that in their youth could have played (for that kind of play) passing well, in their age, or when they once have been married, have forgotten all, as if they had never known what a Lute had meant: and the reason I find to proceed (in the beginning of their learning) from the ignorance of their teachers, for in older times they strove (only) to have a quick hand upon the Lute, to run hurry hurry, keeping a Cat in the gutter upon the ground, now true then false, now up now down, with such painful play, mocking, mowing, gripeing, grinning, sighing, supping, heaving, shouldering. labouring, and sweeting, like cart jades, without any skill in the world, or rule, or reason to play a lesson, or finger the Lute, or guide the body, or know any thing, that belongeth, either to skill or reason.  Kni. 
Now truly Timotheus, I am persuaded you have hit the mark, and when it went so hard with them in such easy, and simple stuff, as than they used, what shift would they make to play at the first sight (in these days) an indifferent lesson set, if they were now living, but I pray you can you play any lesson at the first sight, and also teach others to do the same.  Tim. 
Yea Sir, that I can, or else I were not worthy to be a teacher, for it hath been the most part of my study to bring the Lute, Citharen, (and other instruments of Music) into a method by general rules, most perfect and easy, so that with my instructions, one (that cannot use the Lute, or other instrument) may very readily attain to a good habit thereof.  Kni. 
Well Timotheus, the very truth is, I have hard so much as you say, & therefore in the name of God, begin with my children when you please, and God willing) you shall be pleased for your pains, but I will make this condition with you (good Timotheus) that you shall give me leave to ask you some questions, by the way, in your instructions, for it doth me good to hear your reason, how say you Timotheus, are you content it shall be so?  Tim. 
With all my heart Sir, for by so doing, I shall daily enjoy your good company, and with all, it will greatly further the profit of your children, and with the more ease, and comfort pass over the tediousness of teaching.  Kni. 
I thank you Timotheus, but what if you did first write down all such rules (as you use for instruction) that they may from the beginning, (having them by heart) do nothing but that they may have it in memory and grounded by reason.  Tim. 
You say well it shall be so, and at your pleasure ask what questions you please, and I will show you the reason for it to the full, and I hope such as shall satisfy you fully, wherefore in the name of God I thus begin. First it behoveth a scholar to have a very good instrument very well strung, fair to the eye, and easy to reach any stop whatsoever, and very well-sounding.  Kni. 
Why, me thinks it were no great matter what instrument a beginner hath, considering that for the most part, young beginners, soon make old instruments, as young scholars soon make old books.  Tim. 
Indeed to have a good instrument lieth as much in the ability of the parents or friends, as also in their good wills to have it so; but why I think it good to have (if it were possible) even the very best instrument for a learner at the first, is this: a good instrument will please a learner every way, for it delighteth them to look and behold it now & then, likewise they love easy and smooth instruments, and although they can do but little, yet it will sound well, and so encourage them to learn with delight, whereas chose, a bad or dull instrument will quell their spirits quite, so that in a long time, or never, will they profit in their forced labours.  Kni. 
I promise you, it now seemeth to me very good reason that it should be so, and again it is an old and true saying, that one good thing is ever worth ten bad, also there is small loss in a good thing, it ever yieldeth money with profit: well here is a Lute according to your desire in all points, I pray you go forward good Timotheus.  Tim. 
Now you have a good Lute, it behoveth you to love it and use it well, for by the usage you shall show your love, therefore mark how you ought to use your Lute, above all things, keep it from wet, for wet will spoil the strings and make loose the ribs, and when you have done playing upon it, put it up into the case, putting the Trebles a little down, but first you shall learn to handle your Lute with a comely grace, ready to play with delight, and to this purpose in the name of God, do as I shall instruct you.  
GENERAL RULES.  
FIrst sitting upright with your body, lean the edge of the Lute against the table, and your body against the Lute, not too hard for hurting your Lute, neither to softly for letting of it fall, for the table, your body, and your right arm, must so poise the Lute, that you may have your left hand at liberty to carry to, and fro, at your pleasure, letting the middle part of the neck of the Lute, slide up and down the brawn of the thumb which is against the nail of the said thumb, holding out the wrist of the hand, and always carrying your thumb against your forefinger in any stop whatsoever, for so shall your hand be the more comely, the more ready, and with the more ease, stop any stop the cleaner, now for your right hand, called the striking hand lean upon the belly of the Lute with your little finger only, & that, neither to far from the Treble strings, neither to near, and although you ought to lean lightly, yet carry your hand steadily, not sliding out of his place, also remembering, to lean lightly upon your arm upon your Lute, for otherwise it will pain the sinews and hinder your play. All the aforesaid had, both in memory and practice; (the holding of your Lute, carrying of your hand, and sitting upright with your body, I mean) then (in the name of God) holding the Lute (as is aforesaid) comely with your thumb against your forefinger (as it were ready to stop, yet but only holding your Lute then with the thumb of your right hand (holding the rest of the fingers strait forth before your thumb (neither to near the strings nor too far off, begin to strike the first string downward with the thumb only, and also striking with your thumb behind your fingers say: Base, Tenor, Contra-tenor, Great Means, Small means Treble. This done: then begin at the Trebles and so go upward viz. backward, striking them string by string with your forefinger before your thumb, that is, holding down your thumb behind your fingers, and name them in order saying, Treble Small Means, Great Means, Contratenor, Tenor, Base, this doing so oft, downward and upward, naming them, and also striking them with the thumb behind the fingers, that you have it most perfect and ready both in mind & fingers. This perfectly had: learn to know your frets in order, and in stopping them comely, cleanly, & strongly, the first string or Treble, stopped in the first fret, by the head of the Lute with the forefinger, is in the Treble, and so stopped in the small means, great means etc. The first fret is the second fret is the third fret is and so forth until you come to which is the last fret about the neck of the Lute, but you may glue on more frets in fit place and space (until you come to . Again if you have 14. 16. or 18. strings, those bases are called Diapasones, now having the names & knowledge of the strings and stops perfectly by rote, you shall also learn to know them by book (called Tabulature.)  Kni. 
Now truly Timoth: I like this method very well, for I perceive, great reason in it: But we (in old time) have been taught with rigour, not by reason, & that made us then run, now unregarded; for I see, that the holding of the thumb always against the forefinger, giveth (not only a great ease, & grace to the player) but also, it determineth a certain limitation to the hand, as of necessity it must be so: proceed good Timotheus.  Tim. 
Sir, by this you see, how necessary a thing it is, to know how to hold an instrument, before it is to know how to stop it, and likewise, how fit it is to know (both how to hold, & what to stop, first by rote, before it were fit to learn by the book: for quell the spirits, & quail delight. Now you know how to hold your Lute; also, what the strings and stops are, without book: Now you shall learn what they be by the book; look how you name them upon the Lute in order, upward, and downward, so these lines, by the like denomination, shall signify unto you what strings they be by Tabulature. Example.  


Treble.  
Small Means.  
Great Means,  
Contra-tenor.  
Tenor.  
Base.    
SOme in the steed of ay put y and although you, here see but six single lines, and upon the Lute every string double, you shall understand, that two strings are in one tune, & also bear the name but of one string: as Base, not Bases, Tenor, not Tenors. Now let us proceed, to learn a lesson by the book. But first take this lesson by the way, offer not rashly to stop or strike, but be well advised, with what finger to stop, & with what to strike, and for that purpose, mark what figure standeth under the letter, whether the figure of 1. 2. 3. or 4. for these figures represent the 4. fingers of the left or stopping hand. The figure of 1. representeth the first or forefinger. 2. the second. 3. the third, and 4. the little finger. Also that letter which is to be stricken downward, and if there be a prick under the letter, that letter must be stricken upward: this well noted, begin to play these stops and strokes following, striking them by 4. and 4. all in one length of time, until you can play it a pace, or run it quick.  
Do these points perfectly, not striving at it, but with such ease, as if you did it carelessly, observing the carriage both of hand & body; & when you are weary, leave it, and to it again, but go to it with a willing mind.  Kni. 
How would you have them learn this lesson, not knowing the times over head? were it not necessary to teach them that first?  Tim. 
No, for the time without stops or tune, is but an abstract, & my purpose is, first to teach them the stops, & then the times with all afterwards: & therefore, I have set it with all one time over head, as you see, until the lesson be perfectly had, & both the name & nature of that time well committed to memory, and this lesson had, than will I instruct them in all the varieties of times: as followeth.  
A young beginner (although this were Semiquaver time) shall in the despite of his heart, make every stroke a Semibrefe, & then as he multiplieth in perfectness, so he shall multiply in fastness of time, whereby is to be noted, that from one time all other are multiplied & doubled, as for example. This long stroke here is in Tabulature, a Semibrefe, which by adding of one dash to the top, as thus, maketh it double his time, that is twice as fast a time as it was before. And by adding one dash more to that dash thus, maketh it yet as fast again as the second: & by adding a third dash thus, maketh it yet as fast again as the same. And by adding the fourth dash thus, doubleth the time before him: whose names are as followeth. A Semibrefe. A Minim. A Cratchet. A Quaver. A Semiquaver.  
So that you see two Minims go to a Semibrefe, as thus; two Crotchets to a Minim, as thus, two quavers to a Cratchet, as thus. And two Semiquavers to a Quaver, as thus, All which multiply the Semibrefe, as here you see.  
here you see, two Minims make a Semibrefe. Likewise, four Crotchets make a Semibrefe. Also, eight Quavers go to a Semibrefe. And lastly, sixteen Semiquavers go to a Semibrefe. This is sufficient for the knowing of the times; only, that if there be a little prick, beside any one of them, thus, that then that prick doth make the time he standeth by, half so long again as it was before; as a prick by a Semibrefe maketh it a Semibrefe & half a Semibrefe: & so of all the rest; & this learn by heart.  Kni. 
Well when they can run this point or triple (as you call it) by 4. and 4. together in order, a Quaver or Semiquaver time, what is thereby to be noted, or learned, as a profit attained towards the ready playing of a lesson at the first sight, which they never see before.  Tim. 
It is a very necessary question which you demand, and you shall understand, how necessary, true, and perfect a rule it is, which not known, it is impossible that ever one should play a lesson, either at the first sight, or cunningly: For first, where you see a letter or stop without any prick under it, you shall for ever in the like stop, strike it downward, for two reasons, the first is, if it stand alone, that is, if it be a and the next a or the first a and the second a the first a the next a going so inseverall times, as thus. These are said to stand alone, that is, not being accompanied with fellows, all of one time, either Crotchets, Quavers, or Semiquavers: as thus,  
And also being of a long time, as Semibrefes and Minoms, for it is a general rule, that every stroke, is more natural to be stricken downward, than upward; but the swiftness of time, is the cause of striking upward, and the farnesse off, of seconding a point, as thus: for here in the treble being the first of a point, is stricken upward, which if the point were all of one string, or still the next unto it, thus: Going in 4. and 4. then for ever, the first is down, the second is up; so that if the pricks were away, this is a general rule. Now by this rule, you may by occasion, strike twice down together; as if you have a point begin thus, here the first is downward, because it stands alone; And the second, is stricken downward, because it is the first of a point; this is one necessary rule, and also profitable. The second rule is, you see in the first point, how you use but two fingers in all the whole lesson, that is, the forefinger & the second always holding your thoumb against your forefinger. Now, it is a general rule, that where you leave no stop, leave no finger; and where you leave a stop, leave a finger, as this example following showeth.  
 
here you see betwixt and no stop between, therefore you leave no finger between; again you see, that in the next stop where you have and you leave a stop which is , and consequently you leave a finger between the first and the third, which is the second, and this is in general, in playing of any Treble whatsoever. Now you have a general rule for striking, downward and upward, and also for leaving a finger and no finger. Now you shall have a general rule to grace it, as with pashionate play, and relishing it: and note that the longer the time is of a single stroke, that the more need it hath of a relish, for a relish will help, both to grace it, and also it helps to continue the sound of the note his full time: but in a quick time a little touch or jerk will serve, and that only with the most strongest finger. Passionate play is to run some part of the squares in a Treble (that is four and four) first loud, then soft, and so in a decorum, now louder, now softer, (not in extremity of either) but as company of other instruments, or farnesse off giveth occasion. And to the better instruction of all scholars for the Lute, I will (God willing) set down some, Trebles, which shall contain all manner and kind of points for the fingering, in their due place of my book, and the grounds also to be played with them, when they please, (and can have the ground played to them.) And now (God willing) I will proceed to instruct my scholar how to play, a full lesson, what strange invention soever it shall seem to have in it. Notwithstanding, I have known some (which have been more curious, than either cunni●● or wise,) who have striven to find out stops, both unnatural, unpleasant, and unusual, (forsooth to be thought great bugs) that have in all their lives, not been able to play even but an easy lesson (in comparison) at the first sight. But rob, and run by guess, seem gay, & goodly etc. But let such look here; and they shall find reason to guide them, and truth in Arte. And so let them take heed of thould saying, Art hath no enemy but Ignorance. Now to the purpose, before: I have taught you, how to behave yourself in all single stops, now be as diligent in all sorts of full stops: for in this lieth all the whole skill: for that in a full lesson, all manner of stops, full or single, swift or slow, are contained; therefore know this, and know all, all which I will show you in brief and general rules (God willing,) with all such examples as shall seem fit.  
First, you shall understand, that we term the forefinger, and the little finger (of the stopping hand) two extremes: for that they be the outmost parts thereof; & that in going downward with a point, (from the head of the Lute) the point is always begun with the forefinger, as thus:  
But chose, from the body of the Lute, to the head, the point must be begun, with the other extreme, as this example showeth.  
All such points, I will set down in a fit place by themselves, but by this example of the two extremes, you see the first governeth the upper part or frets, and the other, the nether part, or next lowest: and thus the forefinger always, in any stop where (b) is, full, or single, except there be in one stop, 2. (bees,) and an (a) between) is to possess the stop (b) as this example maketh plain:  
Note also, that in any of the Bases in a full stop, wherein is an (& in the more Treble strings is the lowest of the stop) that that is to be stopped with the second finger always: but if there be (in stead of with in one of the Bases) an than must be stopded with the forefinger, as thus:  
But in any full stop whatsoever, wherein there is never an there lay your forefinger along in the highest of the stop, flat upon the neck of the Lute; as thus:  
here lay your forefinger along, in the first stop, in in the next, in in the next, in in the next, in etc. Always noting this, that in any stop whatsoever, that you pluck away no finger, until you needs must. And as before I have taught you how to relish in a single stop, with that finger which is the strongest, so take this for a general rule, that you relish in a full stop, with that finger which is most idelest, in any string whatsoever: either a strong relish for loudness, or a mild relish for passionate attention.  Kni. 
In mine opinion, you have spoke so much as may be spoken, for the left hand in all points: but I pray you, are there not the like rules for the right hand, called the striking hand.  Tim. 
Yes Sir, that there be: for what availeth it to stop never so neat, fine and clean, and if it be flubberd with a bad touch, or stroke: therefore, let these rules following, be observed diligently, without the which, all fine play of the Lute is spoiled, and nothing worth. Note, that you strike clean, plump together in a full stroke of many parts or strings, sometimes loud, sometimes soft, letting your right hand, answer the left hand at the instant, striving with no stroke: and to conclude, the touch of the one hand, to answer the stop of the other hand, in the full harmony of consent, (called a Sympathy,) and then to know what strings to strike, with what fingers, mark all these rules following, and let them not be forgotten.  
You have heard, that every stroke is more naturally to be stricken downward then upward, which is very true, but above all, the Bases are to be stricken downward, and for the same purpose, you see how aptly the thumb fitteth that office, and likewise the fingers remain as ready to strike upward and meet the thumb with their troops of notes, as who should say the one were ready to aid the other; and so they be, yet sometimes several, one afore the other, as sometimes first the thumb, and the fingers after, sometimes the fingers first, and the thumb after, and sometimes both together, as here underneath you see.  
here, the Tenor beginneth the point with open stricken downward with the thumb, and in the Treble follows stricken upward with the third finger, next in the Contratenor stricken downward with the thumb, & last of the 4 follows in the small Means, stricken upward with the second finger. And now the reason why in the Treble and in the small Means, are stricken upward with the third and second fingers, is this, the more strings are between the Base and Trebles, the more fingers are left between the the thumb and little finger, and likewise the fewer strings the fewer fingers, as you see above mentioned.  
Again where you see three pricks under any letter as thus you shall strike that letter upward with the third finger, and so when you see two pricks thus upward with the second, and one prick with the forefinger as thus . It skills not what letter, or strng it is, but if a point begin with two letters together, although it follow the point either in the Trebles, Means, or Bases, yet shall the second of the point be stricken upward as for example.  
 
here you see the forefinger possess his due place, as is above mentioned, always observing the distance of strings, and this is sufficient for all such points or places whatsoever.  Kni. 
Although this at the first, seem hard to understand, yet it standeth with very good reason, and it must be won with labour and diligence, and when a man hath said never so much, or all that he can say, yet there will somewhat remain for a learner to find out and consider upon by himself. Yet is there remaining (to speak of two especial points behind, which is, when and how to use a fall with a relish, and also a rule to tune the Lute.  Tim. 
You say very true Sir, and one more than you think off, not less needful than any of the rest, and that is this: remember always to keep your hands clean, and your nails short, and also early and late to practise, Quia Labor vincet omnia. Now to your fall with a relish, or a fall without a relish: take this for a general rule, that all falls in what stop soever, in a flat note, must be performed with the nearest finger to the half notes, and in a sharp note or stop, with the nearest and strongest finger to a full note. As here you see underneath for example.  
here the stops where is placed, must have his fall from in the same string where is placed, (the finger laid along in .) must have his fall from in the same strings, in the next where is in the Treble, because is sharp, must have his fall from the full note , and having had his fall, may so be held still without moving the forefinger, and the relish continued (with the little finger) in which is under half note, and so of all the rest.  
Now you shall learn to tune your Lute, and for a general rule, first set up the Treble, so high as you dare venture for breaking, setting them both in one tune or sound called an unison; then in the like sort set up the small Means, stopping them in , and making them in agree with the Trebles in , which is likewise an unison. Likewise make the great Means in an unison with the small Means in , the Contratenor in an unison with the great Means in , the Tenor in with the Contra-tenor in , and likewise the Base being stopped in to agree with the Tenor in in the unison, as appeareth in the form following.  Kni. 
Now I thank you Timotheus, for all your pains, I like it passing well. Now set down some lessons, for now there remaineth only them behind.  Tim. 
I hope I have not erred very much in my endeavours, and for lessons, you shall have some of all sorts, but yet (besides lessons) there is this that followeth remaining, to be spoken off.  
When you have learned all the rules spoken off before perfectly, and can give a good essay of any lesson at the first sight. Yet this one rule more, shall fully conclude, what hath or can be said concerning the playing of a lesson at the first sight. Therefore whensoever there is a lesson given you to play at the first sight. First look it over before you offer to play it, for these reasons following.  
First see what manner of lesson it is, whether it be a set Song, Innomine, Pavane, Galliard, Almain, jigue Lavolta, Coranta, Country dance, or Toy, whatsoever, according to the nature of the lesson, to give it his grace with gravity or quickness. Secondly by looking it over, you shall see the fastest time in all the lesson contained, that accordingly you may so begin as you may go through without check. Thirdly by looking it over first, you shall see whether it be fair & true pricked, without blots. Lastly, by having once seen it, you may the better remember it when you see it again. All these reasons well considered, you shall find in them such necessity, such truth, such ease, with such content & delight, as you will confess, that it were impossible to play well with out the knowledge thereof: For true Art maketh hard things easy, labour maketh hard things perfect, or (to speak more truly) ready. Now, when you can play upon the Lute, I will (God willing) show you how your Lute shall instruct you to sing; in somuch that you may be your own teacher, and save the charge of a singing man, and then what by your skill in playing upon the Lute, and the knowledge you have in the pricksong, you may very easily attain to play upon the Viol de Gamba, either by Tabliture or by pricksong notes. For the carriage of your left hand upon the Lute, is likewise justly to be observed upon the base Viol, as shall be more plainly declared in his due place after the Lute lessons.  
And thus for a last farewell (for this time) I give you in general charge, to use all instruments with a good grace, comely play, without antic faces, or shoulderings, except such (which of necessity) the nature of the instrument doth require; as, reaching stops upon the Lute, where you lay your finger along & stretch out your little finger along at length, as from to , and in coming from the Trebles of the Viol, to the Base, where of necessity you must, somewhat thrust the neck of the Viol from you, and shrink in the bow hand, to come fitly unto it. And now it makes me somewhat shrink, to think that:  

Perhaps, there may some Chriticke Satire sad,  
(Fraught with the Froth of vulgars' excellent)  
Hunt for a praise, and say how that is bad,  
Which he doth know so much as jack a Lent,  
Such Hounds I say, when they their mouths have spent,  
Let them take heed their hunting be not spied,  
Lest that the Glover hang them for their hide.   

I know, the Envious, Idle, Ignorant,  
Will spit at me the poison of their spleen,  
Again, I know 〈…〉  
Will not mislike, when they my works have seen,  
An Honest mind will soon know what I mean.  
For Country's cause a Soldier spends his Blood,  
And I my Talon for my Country's good.   

Now I have led the Way and broke the Ice,  
Cast out the Lumps and left the Water clear:  
If any one to follow make it nice,  
And yet that they can Better it will swear,  
To such I speak Aloud that they may hear,  
Except they Do't they will not be Believed,  
And being Cast, 'tis hard to be Repreeued.   

I do not Rob the Skilful of their due,  
Nor Patch my Bad, with other Good invention,  
For if Old grounds False set, I do make True,  
Therein I show of Art the true intention,  
And this (I hope) deserves no reprehension.  
But yet I know, how Well I ere intend it,  
Some will far sooner find a Fault then mend it.   

Some Mandrake Mome, disposed to pick a Quarrel,  
(Ass. if he do, it is a thing that dreamed I on)  
Will say I speak too much upon the Barrel,  
And so I do, but yet it is an empty one,  
How ere it is, yet so it is that tempt I on,  
The Wise, to work his everlasting Fame,  
The Fool, to work his everlasting Shame.  
T. R.  
FINIS.    


THe Queen's good Night.  
here followeth the Ground.   

TWenty ways upon the bells  
here followeth the ground.   

ROw well you Mariners. here keep your forefinger along in   

A Galliard.   

A Galliard   

A Plain song for two Lutes.   

A Plain song for two Lutes. Laborant,   

GRisse his delight.   

PAsser●ezo galyard.  
here followeth the ground to this Treble.   

A Fantasy for two Lutes. All in unisons.   

A Fantasy for two Lutes. All in unisons.   

A Toy for two Lutes.   

A Toy for two Lutes.   

A GALLIARD.   

MErry Melancholy.   

robinson's Riddle.   

Go from my Window.   

A TOY.   

AGIGVE.   

AN ALMAIGNE.   

AN ALMAIGNE.   

A TOY.   

A TOY.   

RObin is to the greenwood gone.   

ATOY.   

THe Queen's Gigue.   

VT Re Mi Fa Sol La 9 sundry ways: for one Lute.   

MY Lord Willobies welcome home.  
  

BELL VEDERE.   

THe Spanish Pavin.   

AGIGVE.   

AGIGVE.   

WAlking in a country town.   

BOny sweet boy.   

AGIGVE.   

LANTERO.   

THree parts in one upon an old ground.   
here endeth the Tabliture for the Lute.   

Rules to instruct you to Sing.  
FIRST, you shall understand, that all that is to be done in song, is within the compass of an eight, called a Diapason, for what is above an eight, is but a repetition of the same notes which you uttered before, in the eight notes of your gamut.  
As for example.  
here you see, that from gamut to Gsolreut in space, to Gsolreut in rule above, are the same in number, quantity and quality: which according to the Alphabet, from G. a. b. c. d. e. f. and then G. again by rule and space, are expressed in the Diapason, by five terms, words, or notes, as thus. Vth for ut, re, mi fa, sol, la, and so still the higher you go, fa, sol, la, mi, fa, sol, la, etc. which is thus expressed in tablature.  
Now you have gotten the way to tune your voice, (note for note) with the Lute in the unison, (that is: all in one tune or sound, or eight under) than you may rule your voice to the Viol also: First knowing the quantity of times, and their rests; for the which purpose I have set out some Psalms, both to the voice, and Lute, and voice & Viol, in the Unison, for your sure guide. Also, I have set them full to the Lute, so that you may use which you please it your pleasure. The times of pricksong, you may know by the times of the Lute: as followeth.  
Hold your Viol somewhat strongly between your legs, and in all points, carry your left hand upon it, as you do upon the Lute.  
Hold your bow or stick, hard by the Nut of it, with your forefinger, above the stick, your second and third finger (in the hollow of the Nut) between the heir and the stick, and your little finger beneath the heir, slack quite from it.  

UALE.  
VT Re Mi Fa Sol La La Sol Fa Mi Re Vt Re Vt.  
ut mi re fa mi sol fa la la fa sol mi fa re mi ut.  
ut fa re sol mi la fa fa fa fa la mi sol re fa ut  
ut sol re la mi mi fa sol sol fa mi mi la re sol ut.  
v s r l l r s v f f l l f l   

A Psalm. s l s f s f l s s s f l s f f f l f s l f l s s f l l s s  
s f f s l l s l s f s s f f f f l s s f l f s f l l s   

 
A Psalm. s m l m s l m f f m l s s l l  
l m l s s f s m l s s f s   

A Psalm.   

A Psalm.   

A Psalm.   

A Psalm.   

For the Viol by song.  
FOr the Viol by Tabulature   

A Psalm.   

SWeet I E S V who shall lend me wings.   

A Psalm.   

O Lord of whom I do depend.   

O Lord that art my righteousness.   
Finis