Morley Canzonettes À2 Cantus 2v

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First Printing October 21, 1999
Second Printing July 11, 2000 underlay and melisma fixes
Second Edition (Lilypond) November 12, 2001 Lilypond conversion
Second Printing of Second Edition January 8, 2002 Accidentals and dropped notes
Third Printing of Second Edition February 22, 2003 Transcription error in La Caccia,
conversion to lily 1.6
Fourth Printing of Second Edition March 25, 2004 Conversion to lily 2.0
c 1999 – 2003 Laura E. Conrad lconrad@world.std.com

233 Broadway, Cambridge, MA 02139, USA
This information is free; you can redistribute it and/or modify it under the terms of the GNU
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without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR
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not, write to the Free Software Foundation, Inc., 675 Mass Ave, Cambridge, MA 02139, USA., or
look at their website at http://www.gnu.org .
Contents
Contents ii
Preface v
Foreward ix
Acknowledgements xi
Editor’s Notes xiii
The Argument xv
Cantus 1
I. Goe yee my canzonets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
II. When loe by break of morning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
III. Sweet nymph: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
IIII. Fantasie: Il Doloroso. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
V. I goe before my darling. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
VI. La Girandola. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
VII. Miraculous loves wounding. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
VIII. Lo heere another love. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
IX. Fantasie: La Rondinella. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
X. Leave now mine eyes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
XI. Fyre and Lightning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
XII. Fantasie: Il Grillo? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
XIII. Flora wilt thou torment mee. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
XIIII. Fantasie: Il Lamento? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
XV. In nets of golden wyers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
XVI. Fantasie: La Caccia? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
XVII. O thou that art so cruell. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
XVIII. Fantasie: La Sampogna? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
XIX. I should for griefe and anguish. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
XX. Fantasie: La Sirena? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
ii
XXI. Fantasie: La Torello? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Preface
My first encounter with really complicated Renaissance rhythms

was in my sophomore year in college, when a friend attempted
to organize a performance of the Monteverdi Vespers of 1610. I
had been singing in a chorus for less than a year at that point,
and this in combination with a few years of lessons on piano,
flute, and voice wasn’t enough to make reading Monteverdi easy
(if anything is). But I was fascinated by the polyphony, and tried
quite hard, and at some point got the inspiration “It’s just count-
ing. Ignore the bar lines, and just count however many eighth
notes there are for the note.”
I didn’t realize that there was any official sanction for this
point of view until a couple of decades later, when I joined the
Boston Recorder Society, which makes something of a specialty
of teaching people with a few years of music lessons to count
complicated renaissance rhythms. “Subdivide”, is one of the
watchwords of the instruction given, which means roughly what
I meant by “just count however many eighth notes there are”.
One year, I took a class with John Tyson where he stated it as
his goal to have us do all our playing from unbarred parts. “I
play better when I don’t have the other parts in front of me, and
so will you,” he promised. He didn’t do it for all the music all
year, but we did several very beautiful madrigals from parts he
had hand-written, and I came to believe that the modern score
with barlines was indeed a hindrance to playing this music.
Since then, I have done a fair amount of playing from facsim-
iles and have directed 2 recorder groups that have played a lot of
Renaissance Polyphony, so I know more about the benefits and
disadvantages of all these approaches.
The facsimiles are frequently very beautiful, but a lot of the
people I play with refuse to even try reading from them, and
even when you find people willing to try, you run up against:
I. Many parts are written in clefs which are unfamiliar
v
to most recorder players.
II. Frequently the unfamiliar shapes of the notes and rests,

and the uncertain state of the original from which the
facsimile was made, combine to make it difficult to
read the information on the page. “Is that a dot or a
rest or a speck?” “Does this note have 1 flag or 2?”
III. When you’re reading through a piece, you end up

having to start back at the beginning because it’s too
difficult to specify where the cadences are in each part.
The modern scores usually don’t have these problems, but

they introduce others of their own:
I. We’re trained to read a score “vertically”, and make

our part line up with the one above or below it. Re-
naissance musicians were all soloists (who listened to
the people they were playing with), and they thought
“horizontally”, and put the tune in their part across
the best way they knew how, without thinking about
whether the other person was playing exactly in sync
with them.
II. The bar lines mean that notes with the same number
of beats can look very different. This makes it hard
to see where one part is imitating another one, and
frequently introduces a false sense of syncopation.
For example, consider an exerpt from Il Doloroso. Here it is as

a modern score, with barlines:
Cantus
Tenor
8
As you see, the reader of the cantus part has to struggle with
the instinct to treat the part as syncopated, and it isn’t obvious at
first glance to either player that the figure is rhythmically identi-
cal in both parts.
And here are the parts as they appear in this edition:
Cantus:
Tenor:
Both parts look equally straightforward rhythmically.

The hand-written unbarred parts avoided these problems, and
if written by a really good music writer would probably be a
good solution. Some of the ones I have were written in haste
and have errors. I don’t have a lot of training or experience at
writing music by hand, and the ones I tried to produce were not
successful at convincing the people I played them with that this
was a better way to read music.
My day job is being a computer programmer, so one of the
things I expected when I bought a computer for home was that
I would use it to write music with. I did use the MIDI play-
back features as a sophisticated metronome to practice with, but
I didn’t find the first notation programs I tried were suitable for
producing unbarred parts.
When I acquired a UNIX system at home in 1997, I was able to
experiment with a wider range of software, and I found that ABC
was easy enough for a touch typist to input and not impossibly
difficult to edit. At that point I started using ABC to produce
arrangements for my recorder groups, and was able to do the
arrangements as unbarred parts when that was the suitable way
to do it for the music. These editions have convinced many of
the people I play with that the unbarred parts are indeed easier
to play from and produce better playing than modern scores.
This edition is an extension of that work, and I hope it leads to
more people playing this music in something more of the spirit
in which Thomas Morley wrote it.
Laura Conrad
Cambridge, Massachussetts, USA
September 28, 1999
Foreward
Thomas Morley’s Canzonets for Two Voices are among my fa-

vorite pieces for introducing Renaissance polyphony. As a per-
former and teacher, I enjoy them frequently both as concert pieces
and as musical practice for students.
We know that the 16th century was a wonderful period of hu-
manism in which language was held in high esteem. We should
also know that one the greatest goals of this very artistic age
was to capture in music the imagined art of the ancient world
in which the greatest poetry (e.g.the Iliad and the Odyssey) was
typically sung.
This ideal of ”heightened speech” created a brilliant union
of words and music quite different from many of our modern
habits. In the 16th century, there is often no real difference be-
tween beautiful speaking and singing and herein lies one of the
keys to appreciating the deceptive simplicity of much of this mu-
sic.
The beauty of reading the music laid out like the original is
that we begin to appreciate the fact that we are dealing with lan-
guage (which is after all horizontal, unbarred, and full of rhyth-
mic freedom!). Putting the parts together then becomes not an
exercise in vertical alignment but rather of a musical understand-
ing of the imitation and cadences of interdependent phrases.
Using this clearly printed and well-thought-out new edition
will make it easier for all musicians to better understand these
musical treasures.
John Tyson
Cambridge, Massachusetts, USA
October 7, 1999
ix
Acknowledgements
I wish to thank first the many people with whom I have played
and sung this music, including John Tyson, Judith Conrad, Mar-
cia Anderson, Bonnie Rogers, Barney Gage, and May Daw.
I would not have undertaken this project without the people
who helped me learn ABC, and fixed bugs and added enhance-
ments so that it would accomodate this unforseen application.
The project would also not have been possible without the
people who develop and maintain the LINUX operating system
and its TeX, postscript, pdf, and email implementations.
Last, but not least, I would like to thank the people at Braude
Brothers who produce and sell the Performers’ Editions facsimile
from which I worked. Anyone who really wants to get close to
the spirit of Thomas Morley should do some playing from this
edition, which would not be possible without the availability of
a reasonably priced facsimile.
xi
Editor’s Notes
No barlines have been added.

Original spelling, punctuation, and capitalization have been
retained, as far as practical. When the original spelling, in the
judgement of the editor, would present a barrier to an educated
singer for understanding the words (such as the interchangeable
use of J and I, or V and W), this has been modernized. Also titles
and first lines have been regularized.
The underlay has been written explicitly throughout, as mod-
ern singers don’t have the training Morley’s singers did in real-
izing the underlay of a repetition on the fly.
No pieces have been transposed. All clefs in this edition are
treble; where an incipit does not appear, Morley used a treble
clef as well.
Morley did not use beamed notes; neither does this edition.
If the lack of editorial grouping is a problem, the performer is
encouraged to pencil in his or her own groupings.
Accidentals are as in the original. That is, there is not a “rule”
that states that they last for one “bar”, but at the performers’
discretion, they may be considered to apply to a nearby note as
well as the note they are attached to.
The software used was at the time of printing incapable of
printing a note or rest longer than a whole note, so longa and
breve notes and rests are written as combinations of shorter notes.
There are mistakes in the original. All editorial changes to
notes have been footnoted.
I have marked at least the first major cadence point with a re-
hearsal letter. This is information which was not available to the
performers of Morley’s time, but is a considerable aid to modern
musicians in the sightreading phase.
MIDI files for the pieces in this book are available, either
from the author or from the webpage http://www.world.std.
com/˜lconrad/can2v.html . These MIDI files are not intended
xiii
to be artistic performances; they were used in proofreading the
music, and are provided so that people who would like to use
them to practice with, or to prepare their own style of printout,
can make use of the author’s data entry.
The software used in the preparation of this book is all free
software. It includes LINUX, TeX, ghostscript, abc2ps, abc2midi,
and The GIMP.
The Argument
Many people seem to view these pieces as pretty tunes with no

relationship to each other. To me, there are three characters, and
a plot at least as well defined as the ones in Schubert’s song cy-
cles.
The way I see it, the point-of-view character in all but one
of the songs (Leave now mine eyes lamenting) is male, and at the
beginning of the cycle he is in love with Flora. (When lo by break
of morning, Sweet nymphe come to thy lover)
Then, he meets Phyllis, and goes off into the woods with her.
(I goe before my darling, Miraculous loves wounding, Loe heere another
love)
Flora finds them together and is upset. (Leave now mine eyes
lamenting)
She dumps him, and he spends the rest of the book complain-
ing about how cruel she is. (Fyre and lightning, Flora wilt thou tor-
ment mee, In nets of golden wyres, Thou that art so cruell, I should for
greife and anguish)
When I was first playing these pieces, it occurred to me to
wonder what Shakespeare was doing in 1595, the year they were
published, and the answer turns out to be that that was the year
A Midsummer Night’s Dream was first performed.
xv
Cantus The First Booke of Canzonets to Two Voyces
http://www.laymusic.org 1 c Serpent Publications, 1999 – 2004

The First Booke of Canzonets to Two Voyces Cantus
I. Goe yee my canzonets.

Goe yee my can- zo- nets to my deer dar - ling, goe yee my

5

can- zo- nets to my deer dar - ling, Goe ye my can- zo-
A

10

nets to my deer dar - ling, to my deere dar - ling, and with your gen- tle

16

dain- tie sweet ac- cent- ings, de- sire hir to vouch- safe these my la - ment -
21
B
ings, de- sire hir to vouch- safe these my la - men - tings And with a
c Serpent Publications, 1999 – 2004

2 http://www.laymusic.org

27

crown- net, of hir rayes su- per- nall, t’a- dorne your locks

32

and make your name e- ter - nall, t’a- dorne your locks and

36

make your name e- ter - nal And

41

with a crow- net of hir rayes su- per- nall, t’a- dorne your locks

47

and make your name e- ter - nall. T’a- dorne your locks and

51

make your name e- ter- nall.

II. When loe by break of morning.

When loe, by break of morning, when loe by break of
5

morning, My love hir self a- dor - ning, My love hir self a-

10

dorn - ning, When loe, by break of mor - ning, When loe by
15

break of morning, When loe, by breake of morning, My love hir selfe a-
20
A

dor - ning, My love hir selfe a- dor - ning, Doth
B

25

walk the woods so dain- tie, Gath- ring sweet vi- o- lets and Cow- slips plen- ty,

30

Gath- ring sweet Vi- o- lets and Cow- slips plen- ty, sweet Vi- o- lets and Cow-

35

slips plen - ty, The birds en- a- mour’d, The birds en- a- mour’d sing and

40

praise my Flo- ra, Loe heere a new Au- ro- ra. Loe heere a new Au- ro-

45

ra. Loe heere a new Au- ro - ra. The birds en- a- mor’d,

50

The birds e- na- mor’d sing and praise my Flo- ra, Loe heere a new Au- ro-

55

ra, Loe heere a new Au- ro- ra. Loe heere a new Au- ro - ra.

III. Sweet nymph:

Sweet Nimphe come to thy lover, to thy lo-

A
5

ver, sweet Nymphe come to thy lover, Lo here a- lone Lo

9

heere a- lone. our loves wee may dis- co- ver, Sweet Nimph come to thy

14

lover, to thy lover, Sweet Nimph come to thy lover, lo
B
19

heere a- lone, lo heere a- lone, our loves wee may dis- co- ver, Wher the sweet


C
24

Night- in- gale with wan - ton with wan- ton glo- ses, hark hir love

29

to dis- clo - ses to dis- clo - ses, hark hir love to dis-
D

34

clo - ses dis- clo - ses, where the sweet Night- in- gale with wan -

E
39

ton with wan- ton glo - ses, hark hir love to dis- clo - ses to
44

dis- clo - ses. hark hir love to dis- clo - ses to dis- clo- ses.

IIII. Fantasie: Il Doloroso.

11

17

A

22

29

36

41
B


49

57

64
C

72

79

85


V. I goe before my darling.

I goe before my darling, I go be-

5

fore my dar - ling, I goe before my dar - ling, I

10

goe before my dar - ling, I goe before my dar - ling,

A

15

I goe be- for my dar - ling, Fol- low thou to the

20

bowre in the close al - ley, ther wee will to- geth- er, sweet- ly kisse each ey-

24

ther, And like two wan- tons, Dal- ly dal- ly dal- ly dal- ly
28

dal- ly dal- ly dal- ly dal- ly dal- ly dal- ly dal- ly dal- ly

32

dal- ly dal- ly dal- ly. There wee will to- ge- ther Sweet- ly kisse each ey- ther, And
36

lyke two wan - tons, Dal- ly dal- ly dal- ly dal- ly dal-
41

ly dal- ly dal- ly dal- ly dal- ly dal- ly dal- ly dal- ly dal- ly.

VI. La Girandola.

8

15

A

22

27
B

33

C

39


45

50


VII. Miraculous loves wounding.

Mi- ra- cu- lous loves wounding loves wounding, mi- ra- cu- lous

6

loves wounding, mi- ra- cu- lous loves wound-
11

ing, Mi- ra- cu- lous loves wounding, Mi- ra- cu- lous loves woun-

17

ding Mi- ra- cu- lous loves woun-
A

21

ding Even those darts my sweet Phil- lis, even those darts my sweet Phil- lis,

25

So fierc- ly shot a- gainst my hart re- bound- ing, re- boun-
31

ding, Are turnd to Ro- ses, Vi- o- lets and Lil- lies, Vi- o- lets and


37

Lil- lies, with o- dour sweet a- boun- ding, sweet
41

a- boun- ding, With o- dour sweet a- boun-
47
B

ding, Mi- ra- cu- lous loves wounding mi- ra- cu- lous loves woun-

53

ding Mi- ra- cu- lous loves wound- ding, Mi- ra- cu-

58

lous, loves wounding, loves wounding, Mi- ra- cu- lous loves woun-
63

ding Mi- ra- cu- lous loves wounding.

VIII. Lo heere another love.

Loe heere a- noth- er love, loe heere a- noth- er love from heaven
6

de- sen - ded, from heaven de- sen- ded. Loe heere an- oth- er
11

love, Loe heere a- noth- er love, from heaven de - sen-
A
16

ded, from heaven de- sen - ded, That with for- ces a new and with new
21

dar - ting, doth wound the hart, doth wound the hart and

26

yet doth breed no smar - ting, doth wound the hart and yet doth

31

B

breed no smart - ting no smart- ing that with forc- es a new and with new dar -

36

ting, doth wound the heart, doth wound the

41

heart and yet doth breed doth breed no smart- ing doth wound the hart and
45

yet doth breed no smar- ting.

IX. Fantasie: La Rondinella.

7

13

19
A

25

B

31

36

41
(1)

46

51

56

61

1 original has quarter note.

X. Leave now mine eyes.

Leave now mine eyes la- men - ting, your teares, your
5

teares do but aug- ment aug- ment this my tor- men - ting, Leave now mine

10

eies la- men - ting, your teares doe but aug- ment this my tor- men-
15

A

ting, this my tor- men - ting, Death death
20

come thou, death come thou re- lieve mee, death come thou re- lieve
26

me Death come thou re- lieve mee, A- las to
31

live for- sa- ken thus doth grieve mee, ah see now wher hee ly-
36

eth, Ah see, see now where hee ly - eth, hee ly - eth, Then fare- wel

41
B

false un- kinde, fare- well thy Flo- ra dy - eth, Death, Death come thou, Death come
47

thou re- lieve mee, Death come thou re- lieve mee, Death come thou re- lieve
54

mee, A- las to live for- sa- ken thus doth grieve
59

mee, Ah see now where hee ly- eth, Ah see, see now where hee ly -
64

eth, he ly - eth, Then fare- well falce un- kinde, fare- well thy Flo- ra dy - eth.

XI. Fyre and Lightning.

Fyre and lightning from heaven fall, fyre and lightning from heaven

5

fall. And sweet - ly en - flame that hart with love a- right-
10 A

full, Fyre and lightning from heaven fall, fyre and lightning from heaven fall,

15

And sweet- ly en - flame that hart with love a-
B

19

right- full, of Flo- ra my de - light- full, of Flo- ra my de -


24

light- ful of Flo- ra my de- light - full, So faire but yet so spight-

29

ful, of Flo- ra my de- light- full, of Flo- ra my de - light-
34

ful, of Flo- ra my de- light - full, so faire but yet so spight- full.

XII. Fantasie: Il Grillo?

A
8

B

14

C

20

25

30

D
36

42

48



53

58


XIII. Flora wilt thou torment mee.

Flo- ra wilt thou torment mee, And yet must I content mee,
A

6

Flo- ra wilt thou to- ment mee, And yet must I content mee, And shall I

11

have no plea- sure, And shall I have no plea- sure, Of that thy beau- ties trea-

16

sure Lo then, Lo then I dye and dy- ing thus com- plaine mee, Lo

22

then I dye and dy- ing thus com- plaine mee Flo- ra gen- tile and

28

faire, A- las hath slaine mee, A- las hath slaine mee, a-

34

las hath slaine mee, a- las hath slaine mee a- las hath slaine mee, Flo- ra
41

gen- tile and faire, a- las hath slaine mee, a- las hath slaine
47

mee, a- las hath slaine mee, a- las hath slaine mee, a- las hath slaine mee.

XIIII. Fantasie: Il Lamento?

10

A

17

24
B

30

C

36

D

44



51

56

61
68


XV. In nets of golden wyers.

In nets of golden wy -
8

ers, in nets of golden wy - ers, With Pearle and
15

Reu- bie span- gled, with Pearle and Reu- bie span- gled, My heart en- tan- gled,
21

A

My heart en- tan - gled, Cries and help re- qui- ers,
27

cries and help re- qui- ers, Cries and help re- qui- ers, Cries and help

33

re- qui - ers Sweet love, from out those bry- ers, But thou vouch- safe to
39 B

free mee, Ere long a- live, Ere long a- live a- las
45

thou shalt not see mee. a- las thou shalt not see mee, A- las
C

51

thou shalt not see mee. Ere long a- live, Ere long a- live
57

a- las thou shalt not see mee. A- las thou shalt not

62

see mee a- las thou shalt not see mee.

XVI. Fantasie: La Caccia?

8

A
15

21

26

32

40

46
B

51

55


60


XVII. O thou that art so cruell.

O Thou that art so cruell, My dain- tie love- ly jew -
6

ell, My dain- tie love- ly jew- ell, O thou that art so cru - ell, My dain- tie
12
A

love- ly jew - ell, my dain- tie love- ly jew- ell, Why thus in
18

my tor- men- ting, Dost thou still use re- len - ting? Dost thou still use
B

23

re- len - ting? A- las right out come slay


30

mee: doe not thus still from time to time de- laye mee. do not thus still from

34

time to time de- lay mee: doe not thus still from time to time de- lay mee. do not
38
C

thus still from time to time de lay mee. A- las right out
44

come slaye mee: doe not thus still from time to time de-

48

lay mee. do not thus still from time to time de- lay mee. doe not

52

thus still from time to time de- lay Mee. do not thus still from time to time de- lay mee.

XVIII. Fantasie: La Sampogna?

8

16

A

22

29

36

43

B

49

55


61

67

73

79


XIX. I should for griefe and anguish.

I should for greife and anguish dye re- cure - les, I
6

should for greife and anguish dye re- cure - les, I should for greife and an-
11

guish dye re- cure - les, I should for greif and anguish dye re- cure -
A

17

less. that day I mist my Flo - ra faire and sight- ly, cleer- er then is the

23

Sunne, that shines so bright - ly. Cleer- er than is the sunne that shines

28

so bright- ly, that shines so bright - ly. that shines so bright-
B

34

ly. That day I mist my Flo - ra faire and sight- ly, cleer- er then is the

40

sunne, that shines so bright - ly. Cleer- er then is the Sunne that
45

shines so bright- ly. that shines so bright - ly. that shines so bright- ly.

XX. Fantasie: La Sirena?

7

14

19

A

25

30

36


42

48

53

58


XXI. Fantasie: La Torello?

7

14

A
20

26

32

B

38


44

50

55

61

67

0 Original has C clef on second line, but retains key signature of one flat on 4th line.



Morley Canzonettes À2 Cantus 2v

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c 1999 – 2003 Laura E. Conrad lconrad@world.std.com

Editor’s Notes xiii

My first encounter with really complicated Renaissance rhythms

I. Many parts are written in clefs which are unfamiliar

II. Frequently the unfamiliar shapes of the notes and rests,

III. When you’re reading through a piece, you end up

The modern scores usually don’t have these problems, but

I. We’re trained to read a score “vertically”, and make

For example, consider an exerpt from Il Doloroso. Here it is as

Both parts look equally straightforward rhythmically.

Thomas Morley’s Canzonets for Two Voices are among my fa-

No barlines have been added.

Many people seem to view these pieces as pretty tunes with no

http://www.laymusic.org 1 c Serpent Publications, 1999 – 2004

can- zo- nets to my deer dar - ling, Goe ye my can- zo-

c Serpent Publications, 1999 – 2004

make your name e- ter- nall.

http://www.laymusic.org 3 c Serpent Publications, 1999 – 2004

c Serpent Publications, 1999 – 2004

http://www.laymusic.org 5 c Serpent Publications, 1999 – 2004

Sweet Nimphe come to thy lo- ver, to thy lo-

ver, sweet Nymphe come to thy lo- ver, Lo here a- lone Lo

c Serpent Publications, 1999 – 2004

http://www.laymusic.org 7 c Serpent Publications, 1999 – 2004

c Serpent Publications, 1999 – 2004

http://www.laymusic.org 9 c Serpent Publications, 1999 – 2004

V. I goe before my darling.

I goe be- fore my dar- ling, I go be-

fore my dar - ling, I goe be- fore my dar - ling, I

I goe be- for my dar - ling, Fol- low thou to the

c Serpent Publications, 1999 – 2004

dal- ly dal- ly dal- ly dal- ly dal- ly dal- ly dal- ly dal- ly

lyke two wan - tons, Dal- ly dal- ly dal- ly dal- ly dal-

http://www.laymusic.org 11 c Serpent Publications, 1999 – 2004

c Serpent Publications, 1999 – 2004

http://www.laymusic.org 13 c Serpent Publications, 1999 – 2004

loves woun- ding, mi- ra- cu- lous loves wound-

c Serpent Publications, 1999 – 2004

a- boun- ding, With o- dour sweet a- boun-

ding Mi- ra- cu- lous loves woun- ding.

http://www.laymusic.org 15 c Serpent Publications, 1999 – 2004

love, Loe heere a- noth- er love, from heaven de - sen-

c Serpent Publications, 1999 – 2004

http://www.laymusic.org 17 c Serpent Publications, 1999 – 2004

1 original has quarter note.

http://www.laymusic.org 19 c Serpent Publications, 1999 – 2004

c Serpent Publications, 1999 – 2004

mee, A- las to live for- sa- ken thus doth grieve

http://www.laymusic.org 21 c Serpent Publications, 1999 – 2004

fall. And sweet - ly en - flame that hart with love a- right-

And sweet- ly en - flame that hart with love a-

right- full, of Flo- ra my de - light- full, of Flo- ra my de -

c Serpent Publications, 1999 – 2004

ful, of Flo- ra my de- light- full, of Flo- ra my de - light-

http://www.laymusic.org 23 c Serpent Publications, 1999 – 2004

c Serpent Publications, 1999 – 2004

http://www.laymusic.org 25 c Serpent Publications, 1999 – 2004

c Serpent Publications, 1999 – 2004