Miss Mary Burwell's Instruction Book For The Lute

Miss Mary Burwell's Instruction Book for the Lute
Author(s): Thurston Dart

Source: The Galpin Society Journal, Vol. 11 (May, 1958), pp. 3-62
Published by: Galpin Society
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THURSTON DART
Miss Mary Burwell's Instruction

Book for the Lute
AMONGthe family possessions of Captain Anthony Hamond, of
Mousehold House, Norwich, is a fine folio volume of the seven-
teenth century, bound in full leather and enrichedwith gold. Its front
cover is stampedin gold with an armorialdevice, the stamp for which
is still in CaptainHamond'spossession.The volume containsabout two
hundred and seventy sheets of first-qualitypaper, watermarkedwith a
fool's cap, of mid-seventeenthcentury date, and probably of Dutch or
Frenchorigin. To CaptainHamond I should like to expressmy deepest
gratitudefor many courtesies:for allowing me unlimited accessto the
book by placing it on loan to the University Library,Cambridge;for
friendly letters about the book and his ancestress,Elizabeth Burwell;
for full detailsabout the genealogy of his family and the history of his
county; and for his generous permissionin allowing part of the con-
tents of Miss Mary Burwell's book to be printed in the Galpin Society
JOURNAL. This is the first notice of the manuscriptto appearin print.
It was brought to my attentionby Miss HelenJoy Sleeper,of Wellesley
College, Massachusetts,the authority on the life and music of John
Jenkins and a member of this Society;I am most grateful to her for her
kindness, and for her courtesy in permitting me to make this study of
her discovery. My thanks also go to the Libcarianof the University
Libraryand his staff,for their hospitalityto the manuscript,for making
microfilms, and for good advice.
The contents of the book fall into two parts. First, an elaborate
treatise on the lute, in sixteen chapters, occupying some sixty-eight
leaves of the book. Reversing the volume, the other part of the book
consists of 328 pages of medical remedies, with a three-page index to
them. Many of these are of the utmost interest; some are positively
alarming.This articlewill be concernedsolely with the instructionsfor
the lute, but a full descriptionof the volume seems called for, in view
of its importance as a document.
THE MANUSCRIPT
Ff. (not given in MS)
I The signature'ElizabethBurwell'
I'-23' Blank
24-25 The originof the Luteor the derivationof theLute.Chap:j:
25' Blank
26-26' The 2nd.Chap:of the Increaseof the Luteandits Shape
27-27' Blank
28-29 The 3rd.Chap:
29' Blank
30-31 The 4th. Chap:Of the Stringesof the Lute,and stringing
therof,andof the ffrettes,andTuneingof the Lute
31'-32' Blank
33-35 The 5th.Chap:Of the seuerallMoodesandTuneingsof the
Lute
35'-36 Blank
36'-37 [thechapterconcluded]
37' Blank
38-39 The 6th. Chap: of ffirstthe carriageof the handes/The
comelyposturein playing/Andthe strikeingof the stringes
40-47 The 7th. Chap:ffor to takeout a Lesson.ffigureand value
of the Notes
47' Blank
48-52' The 8th. Chap:of the way andmannerfor prickingLessons
to the Lute
50' Blank
51-52' The SecondSectionof the 8th.Chap:concerningthefinger-
ing of bothhandes
53-57 The 9th. Chap:Codcerningthe prickingof the Markes&
Gracesof the Lute
57' Blank
58-61' The Ioth. Chap:The way to teach& to learneto playwell
upponthe Lute
62-62' The IIth. Chap:of the progresse& how to attainethe per-
fectionof the Lute
63-64 The 12th. Chap:concerningthe Measure
64' Blank
65-66 The I3th. Chap: of the vsefullnesof the Lute and his
advantages
66' Blank
67-67' The 14th. Chap:of the Enthusiasmes and Ravishmentsof
the Lute
68-68' Blank
69-87 The 15th.Chap:Concerningtheartof settingLessonsvppon
the Lute
4
7I"
75'
77'-78 Blank
79'-80
8 I'-82'
87'-89' Blank
90-92 The I6th. Chap: Concerning Errours & Abuses that are
committed about the Llte
92'-99 Blank
Startingfrom the other end of the manuscript,turned upsidedown,

there is a collection of medical remedies,with contemporarypagination
in ink. [iii]-[v] Index: I-[328] Remedies. F. 99' of the lute instructions
is p. 328 of the remedies.
ELIZABETH BURWELL
Her signatureof ownership appearson f. I of the book, the greater
part of the instructionsbeing in a differenthand. She is to be identified
with Elizabeth Burwell, ne'eDerehaugh, daughter and sole heir of
Thomas Derehaugh of Colston Hall, Badingham, Suffolk. Born in
1613, she married Sir Jeffrey Burwell of Rougham, Suffolk, in 1650.
The arms on the cover of the book are those of Burwell impaling
Derehaugh. The only child of this marriage, Mary Burwell, married
Robert Walpole (1650-1700: of Houghton, Norfolk) at Rougham
on 25 April 1672. Among the several children of this marriagewere
(Sir) Robert Walpole (1676-1745: later, first Earl of Orford), an elder
daughterwho laterbecame Lady Turner, and anotherdaughter,Susan,
who marriedAnthony Hamond in 1707. SusanWalpole and Anthony
Hamond were the great-great-great-great-great-grandparents of the
present owner of the book.
The instructionsfor the lute were evidently copied by Miss Mary
Burwell from a manuscriptlent to her by her lute-master. Here and
there she misreadhis writing, or omitted a word, and these faultshave
been corrected in another hand, which also wrote out the many
examples in tablaturein the body of the instructions.There are more
than one hundred and forty such examples, and they are written in a
most professionalhand, similar to (but not identical with) the fluent
hand found in some of Lord Dalhousie'slute-books of the same period.
It has so far proved impossible, unfortunately, to hazardmore than a
guess at the identity of Miss Mary Burwell's lute-master.He was prob-
ably a pupil of 'old' Gaultier, for Chapter XVI of the instructions
5
includesmanyanecdotesandopinionsascribedto thismemberof that
illustriousfamily;andtherecanbe littledoubtthathe wasan English-
man, 'well-bred'and 'famous','not... too old nor too young' (see
ChapterX, section2).
DATE OF THE MANUSCRIPT

ChapterIIIof the instructionscomprisesa briefhistoryof the lute
andits players,in whichoccurthe phrases:'Maryof Medicis,wife to
Henrythe Great,grandfather to the king of England'and'Charlesthe
Second, now King England'.This narrowsdown to 166o-85the
of
dateat whichMissMaryBurwellwas havinglessonson the lute and
madeher copy of the instructions; her known datesof birth (1654)
and marriage (1672) narrow the period of the book's compilation still
further,sincethe text has severalpointedcommentson how good a
matchcanbe madeby aneligible,lute-playingyounglady.Thehandis
not childish,andI wouldthereforeproposea datebetweenabout1668
andthe end of 1671(to allow time to preparefor a springweddingin
1672).The prosestyle,musicaltasteandplayingtechniquesdescribed
in thetreatiseconformwitha datein the 1660s.Indeedtheoriginalcom-
piler, MissMaryBurwell'smaster,may well have writtenit a little
earlier-say, 165oor so-and broughtit up to datelateron. 'English
Gaultier'(i.e.Jacques)is mentionedtowardsthe end of the book in
termsthatmakeit clearhe wasno longeraliveat the time of writing.
Now 'EnglishGaultier'is known to have been still living in August
1649,whenhe was in correspondence with Huygensabouta Bologna
lute; but he was dead by 166o, when JohnRogerstook hisplacein the
reformedRoyal Musicof CharlesII (seeLafontaine, pp. I14, 117, 121,
127).Is it possible,indeed,thatJohnRogerswas MissMaryBurwell's
master?I havenot beenableto seea copy of his signature,butin 1674
(Lafontaine, p. 271) he is describedas a musicianin ordinaryfor the
Frenchlute, andthisis the instrumentwith whichthe'Instructions'are
concerned.He died,a fairlyold man,in 1676.
THE 'INSTRUCTIONS'
I do not know of any extanttutorfor the lute which is at once so
detailedyet so comprehensive,so entertainingly
writtenyet so factually
precise.The 'Instructions'
areprintedbelow, almostin theirentirety,
and they aretheirown bestcommentary.The originalspelling,con-
tractionsandpunctuationhavebeenmodernized.Forcomparison,the
first sectionof the openingchapteris also reproducedexactlyas it
6
stands in the manuscript.Editorial additions or remarksare shown in
squarebrackets.Omissions are shown by three or four dots, or by an
editorial comment. Certain original spellings are given in italics in
squarebrackets:e.g. [Huntsfrith]. ChaptersI-VI, IX-XIV and XVI are
printed in full. ChaptersVII, VIII and XV have been abridged; their
ratherrambling discussionsof the rudimentsof music, the Gamut and
kindred topics may be matchedin a hundredother sourcesof the time,
and they add nothing to our knowledge of the lute or of lute-playing.
I am grateful to Mr Brian Trowell for making a diplomatic working
copy of the original document, on which the following modernized
text has been based. A short paper on the manuscriptwas read at the
C.N.R.S. colloquium on the lute, Paris, September1957.
OPENING SECTION OF THE TREATISE

IN ITS ORIGINAL FORM
If wee considerthe excellencyof the Lutewherofwe shallmakea
whole discourseheerafteror if wee trustpiouslythe Devineswee shall
easilybeleevethat the Lute hath his deriv-confrom heavenin effect
thathadthehappinesto be presentat thebirthof the Incarnatewordand
that heardthe admirableConsortof Musickewhich the Angellsmade
forto manifesttherejoy andthe Interestthatheaventookein thehappines
of Mankindor thosewho by spetiallfavourssincehaueheardCelestiall
melodies:or theholy Souleswho by thecontinuallComfunication which
they haue with there heavenlySpouseI mind the sacredInspiratons
hauelearnedthe leastparticulars of the adorableMisterieshaueleft vs
in writeingthatthisadmirableMusickew:ch warmedthe heartsof the
Sheppards in the deadof Winterandlightnedthererudevnderstandings
amidstthe thickeCloudsofJudaismewascomposedof Lutesandvoices
and thatit raisedtherevnderstandings to soe perfecta knowledgeand
kindledthereSouleswith soe ferventand soe devouta zealethat they
did runnewithoutwaveringto the Mangerasif it hadBeeneto a royall
palacethereadoreda Childborneamongstpovertyandallsortof misery:
they gave him all the helpe wherof they were capableand lay at his
feete the guiftes which lov&and presentnecessityaffordedthem to
testifytherefaithandthereobedienceto thereGod andCreator
THE TEXT OF THE TREATISE
for the Lute]

[Instructions
CHAPTER I
THE ORIGIN OF THE LUTE, OR
THE DERIVATION OF THE LUTE
rFwe considerthe excellencyof the lute, whereofwe shallmakea

wholediscoursehereafter,or if we trustpiouslythe Divines,we shall
easilybelievethatthe Lutehathhis derivationfromHeaven;in effect
that [it] had the happinessto be presentat the birthof the Incarnate
Word and that [it] heardthe admirableconsortof musicwhich the
angelsmade,for to manifesttheirjoy andthe interestthatHeaventook
in thehappiness of mankindor [of] thosewho, by specialfavoursince,
haveheardcelestialmelodies:or the holy souls,who by the continual
communication whichthey havewith theirheavenlySpouse-I mind
the sacredinspirations-havelearnedthe leastparticulars of the ador-
ablemysteries,[and]haveleft us in writingthatthisadmirablemusic,
whichwarmedthe heartsof the shepherdsin the deadof winter,and
lightenedtheirrudeunderstandings amidstthe thickcloudsofJudaism,
was composedof lutesandvoices;andthatit raisedtheirunderstand-
ingsto so perfecta knowledge,andkindledtheirsoulswith so fervent
andso devouta zeal,thattheydidrunwithoutwaveringto themanger,
as if it had been to a royalpalace,[and]thereadoreda Child born
amongstpovertyand all sort of misery:they gave Him all the help
whereoftheywerecapable,andlay at Hisfeetthe giftswhichlove and
presentnecessityaffordedthem,to testifytheirfaithandtheirobedience
to theirGodandCreator.
2. The imperialHeavenopenethitselffor to attendthisbirth,so great

andso noblein His humility,eclipsedthe stars,andproducedthe day
in the midstof thenight;by the helpof thislightthe humanspectators
did discoverthe beautyof the celestialmusicianers, andsaw the shape
andfigureof the instrumentwhich they didjoin so agreeablyto the
sweetnessof theirvoices.It wasthe melodyof thesestrings,angelically
sounded,that inspiredfaithin theirhearts,and madethem perfectly
believethattheheavenlymusicwouldnot descenduponearthamnongst
darknessbut for to celebratethe birth of God and enlightenmen's
understandings; thereforefides (in Latin) signifiethboth 'faith'and
'the stringsof a lute', with a differenceonly thatfidesis in the plural
8
numberwhen it signifiesthe stringsof the lute, andis in the singular
numberwhen it signifiesfaith-for to teachus that thereis but one
truefaith,but thattherebe manystringswhichcomposethe heavenly
harmonyof it, and [it] does inspirefaithin thosewhose earsarenot
absolutelystoppedto the nobleaccordsanddelicatemotionsof those
preciousstrings.
3. The Church,afterthe imitationof thisdivineexample,madeuseof

musicto celebratethe praisesof God;andin Italy,wheremusicis in its
perfection,theyusenothingbutlutesandvoicefor to answerandagree
the betterwith the musicof the angels.Judaism,whichwas the figure
of the law of graceandof the truereligion,sanganthemswith instru-
mentsof music;butastheirlightwasbutgrossandrude,so the musical
instruments werethenbut in the infancyandimperfection.Webelieve
thatthewordcythara, whichwasaninstrument thatDavidcommanded
us to makeuseof in praisingGod,wasa kindof lute,whichhasgot his
perfectionaccordingas the lights of Heavenhave spreadthemselves
upon the earth.
4. The paganantiquity,who throughthecloudsof ignorancehasnot-

withstandingcastsome feebleraysof the knowledgeof the trueGod
andof the Sunof Justicewhichwas to riseuponthe earth,hathmade
godsof thosethathathbeenthefirstinventorsof thelute,andwill have
us believethatOrpheusdeliveredhis wife Euridicefromthe captivity
and the painsof Hell by the charmsof his lute. But 'twasslowly and
with darknessthat God made [known]to us the draftsof the future
harmony,as do testifyand representthe Latinwords testudo,which
signifies'a lute', andtortu,whichis an animalthatcreepsslowly;and
if the lute resemblesthe tortoiseshell,'tisbut a littlenow thathe is in
his perfection.The neck of the shellrepresentsthe neck of the lute,
andthebodyof it thebackandbellyof thelute.We readalsothatthey
haveattributedmarvellouseffectsto the sweetnessof thelute.Orpheus
stoppedthe courseof riverswith hisplaying,causedthe treesto dance,
tamed the wild beasts [and] made them sociableand kind one to
another.There is nothing that bringsmore the wild natureof the
Indiansto a gentle constitutionthan music,and especiallythe lute;
nothingmakesthemmoresensibleof thefelicityeverlasting. Therefore
do we feel in churchesthat music raisesup our souls, softensour
hearts,anddrawsfromustearsofjoy whichareveryproperto dissolve
those of our contrition.And why shouldit not be possiblethat, as
Amphionmadethe stonesto move by his harmony,gatheredthemin
orderthe top of one anotherroundaboutthe city andso buildedthe
walls of Thebes, is it unlikely said of that music may contribute much
to move our stony hearts, to place them in good order, and build in
the end the walls of the temporalJerusalemagainstwhom all the forces
of Hell shall not prevail?Arion being in a ship was cast into the sea by
personsthat did not love music; yet, for all that, his trustwas in his lute
(which he held fast in his arms). The gods engaging themselves in this
quarrelprocured him a deliverer; a dolphin sliding between his legs
carriedhim, playing all the while upon his lute, to the shore.
CHAPTER II
OF THE INCREASE OF THE LUTE AND ITS SHAPE
'Tis to be believed that at the firstthe body of the lute was of one piece;
but since, to give him the figure of a pear, they have made it of several
pieces which they call ribs, as of a musk-melon. Notwithstanding,
there is a great dispute amongst the modems concerning the shape of
the lute. Some will have it somewhat roundish,the rising in the middle
of the back and sloping of each side, as we see [in] the lutes of Monsieur
Desmoulins of Paris, which are very good and were sold at first for
20oand [are] sold still for ten or twelve. The reason is that the lute
so framed is capable of more sound becauseof his concavity, and that
the sound not keeping in the deep and hollow bottom but, contrari-
wise, being put forth by the straitnessof the sides towards the middle
and so to the rose, from whence it issues greater and with more im-
petuosity. The other have for their defence and reasonthe handsome-
ness of the figure of the pear, [and] the comeliness of it-because,
being more flat in the back, they lie betterupon the stomachand do not
endangerpeople to grow crooked. Besides, all Bologna lutes are in the
shape of a pear, and those are the best lutes; but their goodness is not
attributedto their figure but to their antiquity,to the skill of those lute-
makers,to the quality of the wood and [the] seasoningof it, and to the
varnishing of it. The Bologna lutes are known by their shape and
varnish, which -is darkish red. Laux Maler [Mauller]and Hans Frey
[Huntsfrith] have been the two chiefest lutemakersthat have lived at
Bologna, who have renderedtheir names immortal by the melodious
sound of that famous instrument, and will still make them resound
through all the earth as long as it will please God to maintainthe har-
mony of the universe.
2. The lutes of Padua are something roundish and like those of

Monsieur De[s]moulins; therefore their sound is greaterthan those of
I0
Bologna, which are very sweet. Those of Florenceand Venice are
between both of these shapes,but some nothing near to those of
Bologna.Forthe modernlutes-that is, thoseimadein our days-they
are madeonly in France,and very few are good for anything.The
neck of the lute at firstwas not broaderthanthat of a mandora,and
had but sevendoublestrings,but hasbeen madebiggerby little and
little, and the headof it so extremelyincreasedthat the best masters
of the lutehavebeenenforcedto takeoff someof the strings,to bring
it to a moderateuse,aswe shalldemonstrate hereafterin its own place.
[3]. The lutes of Bolognaand the other good lutes are to have but
sevenribs,andat the mostnineor eleven,notwithstanding therehave
beensomeDutchwho insteadof followingtheseexampleshavemade
lutes with six-and-thirty,and 38 ribs,more or less. The reasonwhy
the fewerribsmakethe bestlutesis thatmanyribsmustneeda great
dealof glueto bejoinedtogether,whichmakesthe lutedull.We have
lutesthat they call 'cut'lutes-that is, when of a greatlute they will
makea littleone,whichis donein cuttingoff somethingof the breadth
andlengthof everyrib, andthenjoining them togetherupon a little
mould. A lute of twenty pound,lessenedso, is not worth 5s.The
lutesof gold, silver,ebony,ivory,or adornedwith motherof pearlor
suchlike,areworthnothing,becausea lute mustbe madeof a wood
that is porous[poorest].And crabwood is the bestwood; it mustbe
sawnin thinribsandkeptdry [for]manyyearsbeforeit be fit to make
lutes.The pegs [biggest] commonlyaremadeof ebony,but thoseare
not the best;no moreis ivory, becauseit is too hard,and thosepegs
are neverfast to the lute, chieflyin dry or frostyweather;they fly
fromthe headof the lute,whennone meddlewith it. Thoseof plum-
treewood arethe best;'tis hardenoughto endurethe turningof the
pegs,andstickslikewiseso well to the hole wherethe pegsarethatit
neverfliesfromit.
[4]. The flatpartof the neckof the lute andthe bridgeareto be made
of ebony;but to coverthe head [and]the backof the neckwith it as
some do, 'tis improperbecauseit makesthe lute too heavy upon the
left hand,the neck cold and slipperyfor the thumb,and the fretsare
neverfast.A neckmadeof a light wood, with a finevarnishasnearas
may be to the colourof the lute, is better;but you mustkeepit clean.
[5]. The nut mustbe of ivory, very well compassed;it mustnot be

gluedto the lute, [so]thatyou mayraiseit whenyou please,puttinga
little pieceof paperunderit. If the distancebetweenthe fifth andthe
II
sixth [courses]is a little bigger than the other 'tis the better, because
in stopping a d or a e or any other letter upon the sixth with the little
finger or the fourth [marriage] finger, you are like to smother the fifth
string.
CHAPTER III
[OF THE MASTERS OF THE LUTE]
The first and most famous lute masters,we confess, were the Italians,
who were the first authorsof the lute, as all the world must acknow-
ledge, and that the French have been the most famous in that [art].
And although there is some confusion in the French to acknowledge
that they have been subdued by the Romans, yet they must not be
ashamed to acknowledge that they owe their skill to their conquest.
For the Romans did polish their language by the mixture of the Latin
tongue, [and] taught them several arts. The French, being of a lively
spirit and fit to receive those fine impressions,were conquered again
voluntarily by the love of those raresciences,and charmedby the fine
parts of their conqueror, Julius Caesar, chiefly by his culture and
eloquence. Besides, moved by a desireof revenge againstthe Senateof
Rome that'it brought them into slavery, they persuadedJulius Caesar
to make himself Emperor. So that they might subdue those that had
subdued them, the stoutest of France went back with him [to] Italy,
renderedhis coming formidable, and got a great deal of glory in that
famous battle of Pharsalia,where the great Pompey was defeated;and
Caesar became the master of the Roman Empire by the help of the
bravest French and English that he brought along with him. The
ingenious French, taking rest at the shadow of their laurels,fearing to
fall into a gross idleness [and to fail] to exercise the liveliness of their
spiritsnaturalto their nation, they cast their eyes upon the fine artsthat
flourishedthen at Rome-the mathematics,and the partsof it that best
become a gentleman (as fortification, music, picture-drawing, sculp-
ture, the artsof riding, fencing and dancing). The Frenchthen ravished
from the Romans their liberty and those fine sciences, in which they
have so much refined [themselves]since that they do excel in it at the
present above the Italians (excepted picture-drawing and cutting of
figures [i.e. sculpture]and music, which the Italiansreservedfor them-
selves, those artsbeing more proper for their speculativespirits).
T2
2. Of all the instrumentsof musicthe lute pleasethmost the French,
thoughit was not framednor touchedas [it] is at present,everyeye
having contributedto the perfectionof that famousinstrument,as
we see by the shapeof the ancientlutesandby the compositionof our
lessons.Thelutehathhada long time butthirteenstrings,thenfifteen,
thenseventeen,thennineteen,wherehe hathremaineda long time-
thatis, nine doublestringsand the treble(for 'tis but of late thatwe
usebut one second).All thatwhile the lute hadbut one head.
[3]. Lorenzini[Vomigny], Perrichonand the Polack[i.e.JacobReys]

arefurthestlutenistsin the memoryof man thatdeservedto be men-
tionedand to have a statueupon the mountof Parnassus, for having
given us the rudiments of the lute and clearedthe firstdifficulties
that
hindered production of this masterpiece.AfterwardsMonsieur
M6zangeau[Mezangeot] appeareduponthe stageof musicand,using
the lute with nineteenstrings,hath so polishedthe compositionand
the playingof it that,withoutcontradiction, we must give him the
praise to have given to the lute hisfirstperfection.Thecloudsof ignor-
ance havingbeen so dissipatedby this worthy son of Apollo, many
musicallights have risenin France,amongstwhom a singleone-as
the sun amongthe stars-hath drawnthe admirationand the praises
of all the world.It is the firstGaultier(who is named,in regardof his
age and his merit, 'old' Gaultier);to which Fortune,not so deaf as
blind,hearkenedand,throughthe liberalityof kings,queensandother
princes,crownedwith honourandfulfilledwith riches.But, as if the
heavenlythingswereinseparable fromthe lute,Maryof Medicis,wife
to Henrythe Great[HenriIV], grandfather to the king of England
[CharlesII], did not find a recompense more proportionable andmore
conformableto the meritsof the greatlutenistthanchurchlivings-
thoughhe wasanilliterateman-giving him a prioryand other bene-
fices that do not requirea man to be a priest.But his free and con-
scientioushumourmadehim forsakethem. So trueis it thatwhen a
man takespleasurewith this heavenlyharmonyof the lute his heart
cannotendurethe discordsof passions,nor any actionthat entangles
the spiritanddo breakthe sweetsacredaccordsthatthey areto have
with the Will of God andhis holy Ordinances. The old Gaultierwas
sentinto Englandby his good mistress,the saidqueen,to testifyto the
king and queenthe joy that she took for the birthof the Princeof
Wales,Charlesthe Second,now King of England.1He playedof the
lutebeforethekingandqueen.Theirmajestiesmadehimpresentsboth
1 No;
Gaultiercame over with the Duke of Buckinghamin 1617, eight
yearsbeforethe marriageof CharlesandHenriettaMaria.
13
worthy of kings and of the king of the lute, and the late duke of
Buckingham(beforewhomhe playedalso)in embracingof him made
slide in his pocket five hundredpoundsof gold, to stop him-as
Atalantadid her sweetheartwith the golden apples-some few days
longerin the courtof Englandwith this preciousburden.Fromthis
famous Gaultierare issuedthree other Gaultiers,his sons and his
imitators:Gaultierof England,Gaultierof Paris,andGaultierof Rome.
All threeexcellentmen;but chieflyGaultierof Englandfor the good-
nessof his hands-the mostswift,the neatest,andmosteven thatever
were. Gaultierof Paris[was] excellentfor his composition,and his
play extremelypolished,and his touchingvery delicate.Gaultierof
Rome was esteemedfor his learningand the gravityof his playing.
Then came Pinel, whose play was very gay and airy; he made his
lessonswith a greatdealof facility.ThenDufault,whoseplayis very
graveandlearned;Dubut;Vincent,whoseplay is almostlike that of
Pinell; [and]Mercure,who hath lived a long time in England.His
hand was very good-he composed lessons full of good airs-
but there was somethingunpolishedin it. We had Blancrocher
[Blanrocher],L'Enclos[Landas], who for the hand and gracesof the
lute have been admiredof all the world, with severalothersthatare
issuedfromthoserarestocks,whom it wouldbe too long andneedless
to enumerate.By thisit is easyto seewhatvastcapacitiesthelutehath,
whatabundance of music,whatvarietybothof thingsandmanners,of
fashionsof playingand composing,the lute being like an oceanthat
cannotbe emptiedbut is full of so muchrichesthatthe morewe take
fromit the moreremainsto take,andin suchsortthatall his beauties
aredifferentaccordingto the geniusof the lute masterthatcomposes
our plays,anddivesin thatspringof scienceandcharms.It is easyto
find by this discoursethatthe Frencharein possessionof thelute,that
it is their instrument-asthe viol is the instrumentof England,the
guitarthat of Spain,the theorbothat of Italy,the virginalor harpsi-
chord [harpsicall] thatof Germany,the harpthatof Ireland,andso of
othersaccordingto the geniusof eachnation.
[41.It is a gift of God andnatureto be an excellentlutenist,asto be a

poet or a rarepicture-drawer or excellentin anyotherartsthatdepend
the
upon imagination; for if the geniusof a manis not fit for it, all the
will andpainsthathe maybestowwill not makehim a perfectlutenist,
as we see by the differentfashions,every masterplayingand fitting
lessonsconformableto his humourand fancy where the spiritsare
quickandairy.Likewisethe climateis mostfit to producemastersand
'4
playersof the lute,but for all thatvariouslyaccordingto the diversity
of tempersandthe degreeof heatthatis in everyperson.
CHAPTER IV
OF THE STRINGS OF THE LUTE, AND STRINGING THEREOF;
ANDOFTHEFRETS
ANDTUNINGOFTHELUTE
Beforeone playsof the lutehe musthavehislute well strungandwell
tuned, as it behovethto get good ink, good paperand a good pen
beforeone undertakes to writewell. Thereforeto follow good order
we shallbeginby thisdiscourse,sincethatit is impossibleto playwell
unlessthelutebe well strungandsetin tune.Thegood stringsaremade
at Rome or aboutRome andnonethataregood aremadein anyother
place,exceptthe greatstringsand octavesthat are madeat Lyonsin
Franceandnowhereelse.They attributethatto the climateandto the
waters.The stringsaremadeof sheep'sandcat'sguts,andaretwisted
with a greatdealof art.To be good theymustbe clearandtransparent,
smoothandwell twisted,hardandstrong;andnew they arepreserved
in a whitepaperdippedin oil of almonds,or in a hog'sbladder.They
endureno moisturenor any excessiveheatno morethanthe lute, but
they will havea temperateairandplace(butof the two the moisture
is the worst). When they are open their goodnessis known thus:
holdingthe two ends in each hand and strikingthe stringwith the
middlefinger,if they partin two only; or if beinglaid uponthe lute
they do notjar. If the two stringscanbe madeof one bunchthey will
agreethe better;but it is hardto find two good stringsof a length,
thereforeyou mustchoosethemasnearasyou canto the samebigness.
The stringmustnot be full of knotsor goutyor rugged,nor be bigger
in one placethanin another.
[2]. You mustkeep alwaysthe neck of your lute and the headvery
clean.The fretsmustbe good andnew, andtiedvery fast;to thatend
when you tie them (becausethe neck is not so broadbelow as it is
above),tie them higherthanthe placewherethey muststandand so
bringthemdown perforce.The fretthatis next to the nut mustbe the
biggestand have more room and distance;the next musthave lesser
distanceand lesserbigness,and accordingto this observationto the
numberof ninefrets,fill up the neckof the lute to the bottom.If any
stringis anythingfalsein someplaceyou mustremovethe frethigher
or lower so thatthe stringmaysoundtrue.Thisis to be donewhenwe
will not loosea string,or whenwe havenot the leisureto put another.
15
[3]. For the tuning of the lute one must be very exact; for as there is
no perfect harmony in a family, in a city nor in a Commonwealth if
there be not an union, a sympathy and good accord, likewise if the lute
be not perfectly in tune it is impossible to play well; and instead of a
sweet symphony we shall hear nothing but a rude and hurtful caco-
phony (that is, a disagreeingnoise) which discreditsthe best hands,and
turns the truest lessons into a vicious composition and full of faults,
againstthe principlesand rulesof music. Now one cannot well tune his
lute unlessit be well strung and have good frets. You must then have
always by you a pretty good store of good stringsand be very exact in
preserving them. You must put them to the lute with curiosity.
Observe the bignessesof them and put no false ones; they become false
several ways-if they be old, if they take air, if they be yellow, and
(in one word) if they do not come from Rome. According to the
several tunings they must be put smaller or bigger; upon the sharp
tuning or upon the trumpettuning, the stringsthat rise of a note or two
must be smaller. And so of other tunings, for when you strike all the
stringswith your thumb you must feel an even stiffnesswhich proceeds
from the size of the strings.
[4]. For the frets,they must be nine in number and so make the Gamut,
every fret making half a tone. For example, strike a string open and
sing 'Ut'; then skipping one fret and laying the finger upon c of any
string you shall sing 'Re'. Then skip a fret again and stop on e; it will
sing 'Mi'. The next fret where you shall stop on [f] will make 'Fa';
then skip two frets and stop upon the h, it will make 'Sol'; and two
frets more, stopping upon the k will make 'La'. Some make use of a
compassmade for the nonce that one may have from the lute-makersto
place the frets at the right distance;but the best way is to place them
by the ear, singing the Gamut as was said even now, for you must
sometimes remove a fret if a string sing too high or too low. Some
make use of a pipe to fit a lute in his right pitch; for, as one cannot show
their ability except we do set them upon the discourse of their one
calling (for as a fine and great spirit being overcome with misery or
sorrow seems sometimes to be dull and heavy; whereas if it were in
prosperity we should discover nothing but mirth and wit); likewise
when a lute is not in its pitch (that is, when it is set too low or too high)
it seems to be naught, [even] when it is an excellent lute so that it were
in his pitch. The little lutes must be set high and the great lutes not so
high, for it is impossible to play well-I mean, to use all the graces-
if the stringsbe too stiff.The hand is soon weary and the playing cannot
i6
be, as we term it, full of pearls:that is, the shakes,the falls, the pulls, the
sighs, the roulades,the stings.
[5]. The bow that is too much bent breaketh;mediocrity is to be used

in fitting the pitch of the lute. For the placing [of] the second string
(or the small mean, as we call it) I would have but one cut in the nut
and one hole in the bridge at an even distancebetween the treble and
the third. For since we put but one second, we must fit it with as good
a symmetry and comeliness as we can. The reasonwhy we use but one
second is that two secondswill seldom agree, that the sound of the two
squeaking [doth] smother the other strings. Besides, the cadence that
is made upon the treble and the second is not so clear if there be two
seconds. Concerning the eleventh string, which is the last bass, the
good mastersof the lute do use only the octave (that is, the little one),
becausethe eleventh bass is a superfluousstring that has been added to
the lute of late to give easeto the hands;for the d of the sixth is the same
thing [i.e. in unisor] with the eleventh, and if we must stop a string
below the neck with the d of the sixth, 'tis hard and sometimes im-
possible to do it; then we use the eleventh insteadof the d of the sixth.
Therefore it were necessary to discharge the lute of that burden.
Making the bridge and the nut smaller and taking from the head the
superfluouspegs, the lute would sound the better and the handswould
find more ease. That eleventh string being alone ought to be something
bigger than if it were an octave; her bigness must be between the size
of the fifth and the great sixth. The lute-mastershave taken away that
great string becausethe sound of it is too big and smothersthe sound of
the others.
[6]. For the tuning of the lute you must begin by the fifth [string].
String it in a pitch proportionable to the lute; then from that string
you shall tune all the others by thirds or fourths as the tuning requires
(that is, so that you have a musical ear; otherwise you must tune your
lute by unisons--stopping several letters as the tuning runneth. That
way is good, besides, to try whether your stringsare true and to place
well your frets). You must use severalmeansfor the accomplishmentof
so important a thing as the tuning is. If your strings be all new set on,
or the most part of them, you must not expect to play upon your lute
so soon; but you must tune your lute now and then and let the strings
stretchat leisure. When they be settled,and that your lute is well tuned,
you shall feel it by some strokes.
17
CHAPTER V
OF THE SEVERAL
MODESAND TUNINGSOF THE LUTE
The lute affordsan infinite variety of things not only in the composi-
tion but also in the several modes and tunings. Upon the same tuning
without alteringany string we have severalmodes.
First,all the tunings have the B flat and B natural, which difference
is made by half a tone, the B naturalbeing half a tone higher than the
B flat. For the other modes, they have their denomination from the
bassthat concludesevery lesson.
If the lesson ends by the a of the sixth, that mode is called 'the mode
of the a of the sixth'; and so of all the others. There is five modes: the a
of the sixth, the a of the seventh, the a of the eighth, the a of the tenth
[nynth],the a of the eleventh.
Demonstration of the most ordinary tuning called B flat:
9.ZLa
a aV -
. , ,
j,•/a. a./a.
The reason why we have no mode upon the ninth is because it is a
various string and hath no octave. For example, upon the mode of the
a of the seventh the ninth must be tuned half a note lower-that is, it
must be tuned to the b of the fifth. The demonstration of the most
ordinary tuning, called the French B natural. (You may play flat or
sharp without altering any string, but this alteration is made for to
render the lessons more easy.)
Lettersonly to be changed from one tuning to another:
A.a. 010- 1k * EW
_
,,k, - 1
i,.1 _
.9 -.
You set the fifth at the pitch as you please, and with the fifth you shall
tune all the other stringsas followeth:
18
The a of the fifth tuneth the tenth, and makes an unison.
The c of the fifth tuneth the ninth, and makes an unison.
The d of the fifth tuneth the eighth, and makes an unison.
Thef of the fifth tuneth the seventh, and makes an unison.
Then the little eighth is an unison with the fourth and tunes it.
The e of the fourth tunes the sixth, and makes an unison.
The little sixth makes an unison with the third, and tunes it.
The f of the third tuneth the second, and makes an unison.
The d of the second tuneth the treble, and makes an unison.
The d of the little sixth tuneth the eleventh and makes an unison.
So that every letter that hath a point or a dot in the demonstration
aforesaid tuneth the letter opposite to it.
Those that have a musicalear or a long habit upon the lute may tune
it open-that is, without any stopping-although it is good to try the
tuning by stops, to be better assured.
You shall tune [the lute] by the ear as followeth:
The fifth tunes the tenth open, and makes an unison.
The fifth open tunes the ninth, raising the ninth a tone higher so
that the fifth shall sing 'Ut' and the ninth 'Re'.
The same fifth shall tune the eighth, raising the eighth a tone and a
half higher, so that the fifth open shall sing 'Re' and the eighth 'Fa'.
The a of the fifth again shall tune the seventh, raising the seventh two
tones and a half, so that the a of the fifth shall sing 'Ut' and the seventh
'Fa'.
Now for the small play-that is, the small strings from the fifth
down to the treble (which maketh five rows of stringsin all).
The a of the fifth tuneth the fourth, raising the fourth a tone and a
half higher, so that the fifth shall sing 'Re' and the fourth 'Fa'.
By the fourth you shall tune the third, raising the third two tones
higher so that the fourth shall sing 'Ut' and the third 'Mi'.
The third open tuneth the sixth, and makes an unison.
The fifth open tuneth the second, and makes an octave; that is, the
second must be eight notes higher than the fifth.
The fourth tuneth the treble and makes an octave; that is, the treble
must be eight notes higher.
The third tuneth the eleventh, raisingthe eleventh a note and a half
higher than the third, so that the third'shallsing 'Re' and the eleventh
'Fa'. Then try all this by several unisons and stops; for example:
Try whether the eighth agree with the fourth: stop a c upon the
fourth and try whether the seventh agreeswith that c.
Then compare the sixth with the fifth and see whether there be three
notes and a half difference.
I9
The sixth must be three notes and a half higher than the fifth, so
that the fifth shall sing 'Ut' and the sixth 'Fa'.
Stop a d upon the seventh and a b upon the third and see whether
they agree (for those two stops are unisons).
Try all the other strings by the rules of the former demonstration;
for this way of tuning the lute open, every one may contrive a way of
their own, accordingas his ear is used to compare two stringstogether,
or to hear or understandthe following of the strings.
As, for example, beginning at the eleventh you shallfind the Gamut
going from string to string, down to the sixth.
[example omitted in MS.]
The Demonstration of the French tuning of the lute in B natural.
Every fret of the lute makes half a tone; [consequently] the French
B naturalis made out of the FrenchB flat in raisingfour stringshalf a
tone apiece: (viz.) the eighth, the fourth, the treble, and the eleventh.
That is, the eighth and the fourth must be tuned to the e of the fifth,
the treble to the e of the second, and the eleventh to the d of the sixth,
as you may see here demonstrated.
[demonstrationomitted in MS.]
Lettersonly to be changed from one tuning to another; the eighth,
the fourth, the treble and the eleventh, as it is representedthe leaf
before this, or three folios before.
The trumpettuning: this tuning is called so becauseof his loud effect.
It was invented by the famous old Gaultier. Demonstration of the
trumpet tuning:
d61
SL c Ar
%w
I0
You [shall]have this tuning from the FrenchB flat in alteringonly four
strings:the ninth, the sixth, the seventh, and the third.
The ninth is to be tuned to the b of the fifth.
The seventh, to the e of the fourth.
The third, to the f of the fourth.
The sixth, to the third open.
(Observethat, when your lute is tuned so, if it chance your lute go out
of tune you must tune it to the c of the sixth.) From this tuning are
sprung many other tunings, where more or less strings are altered.
Monsieur Mercure does not meddle with the seventh string, and
sometimes does not alter the sixth.
20
MrJenkinsaltersall the bassesaftera way of his own, becausehe
usesa stringmore thanthe French(whichis the twelfth).He tuneth
the twelfth agreeableto our eleventh,the eleventhlike our tenth,
andso the rest,to the sixth-which is tunedlikethe ordinarytrumpet
tuning. For a better and plainerexpositionof Mr Jenkins'tuning:
when you have your lute upon the ordinarytuning (which is the
FrenchB flat)you shallalterthe stringsasfollows:
The a of the fifth tuneththe eleventh.
The b of the fifth tuneththe tenth.
The d of the fifth tuneththe ninth.
Thef of the fifth tuneththe eighth.
The d of the fifthtuneththe fourth.
The e of the fourthtuneththe seventh.
Thef of the fourthtuneththe third.
The thirdtuneththe sixthopen.
The fifth open tuneththe second.
The fourthtuneththe treble.
Demonstrationof MrJenkins'tuning:
& OIV;
4rcL ~ c
A& A &
d
Old Gaultier'snew tuning, called 'the goat tuning', because the first
lesson he made upon that tuning is called The Goat (and indeed repre-
sents the leaps and skippingsof a goat):
All the little play is like the ordinarytuning. The bassesare tuned as
follows:
The fifth tuneth the tenth open.
The c of the fifth tuneth the ninth.
The e of the fifth tuneth the eighth.
The g of the fifth tuneth the seventh.
The e of the sixth tuneth the eleventh.
The sixth is not altered,nor any of the small strings.Demonstration
of the 'goat's tuning':
ilai
X~. 0t 14
x-7-
tC a a-(
t l
-*ct
__ 4-4.-C
21
Thereis severalothers,inconsiderable tuningsinventedby inconsider-
able masters,some alteringonly one string,some two, some three,
somemore,someless.But for to play uponseveraltuningsyou must
havemorethanonelute,for two reasonschiefly;the firstreasonis that
the lute must be strungaccordingto the tuning (as, in the trumpet
tuning,the thirds,the sixths[and]the seventhsmustbe smallerthanin
othertuningsbecausethey areset higher).The otherreasonis thatif
you changethe lute from one tuningto anotherit will neverstayin
tune,the stringsreturningalwaysto the pitchthey were before.
Demonstration of Mr Mercure'stuning:
7R'P- -
4cq 11latr'-a 1 -i F 8
iJ//u
a
CHAPTER VI
OF, FIRST, THE CARRIAGE OF THE HANDS;
THE COMELY POSTURE IN PLAYING; AND THE
STRIKING OF THE STRINGS
Thosethathavesaidthatthelutemakethpeoplecrookedhavesaiditto
avoidthe chargesin learning,or the painsor the troublewhich they
have fanciedto be in gettingthatart,or (beingcrookedbefore)they
havelearnedto playof the lute, to covertheirinfirmitywith thatrare
quality.The crookedspiritsare afraidthat theirinfirmityshouldbe
seenupontheirback,andunderpretenceto maintainthestraightness of
their shouldersdo shamefullydiscoverthe crookedfigure of their
brains.Thereis almostno humanactionthat will not makea body
crookedif we do [not] takeheed, even in doing nothing.If one can
give any reasonfor it, 'tis becauseof the lute thatwe embrace.But if
we usenot too big a lute,and [one]thathathnot a risingbackwe shall
stop the mouthsof thosethatcomplainof the dangerof thelute.'Tis
sometimesthe faultcomesfromthe master,thatdoesnot takecareto
makehis scholarsit upright.Thosethat are short-sighted,or have a
shortmemory,areboundto havealwaystheirnoseon theirbook,and
so they may fall into that inconveniency.Thereforewe must be
diligentto takethemout by the book,andpracticethemso well aswe
may playthemby heart,andlearnthe time andhumourof the lesson
22
by the ear,thatone mightlook cheerfullyuponthe companyandnot
stoop (the graceand cheerfulness in playingnot being less pleasing
thanthe playingitself). One mustthensit uprightin playingto show
no constraintor pains,to have a smilingcountenance,that the com-
pany may not think you play unwillingly,and [to] show that you
animatetheluteaswell asthe lutedoesanimateyou. Yet you mustnot
stiryourbodynoryourhead,norshowanyextremesatisfaction in your
playing.You must make no mouths,nor bite your lips,nor cast your
handsin a flourishingmannerthat relishesof a fiddler.In one word,
you mustnot lesspleasethe eyesthanthe ears.
[2]. Forthecarriageof thehands,'tisa thingof greatimportance when

you beginto learn;that we calledthe placingof the handsupon the
lute, thatis ratherthe work of the masterthanof the scholar(if he be
obedient).Forthe righthand,it mustbe placedbetweenthe roseand
the bridge,butnearestto the bridge.Yourhandmustlie uponthe belly
of the lute with the littlefingeronly, whichmustbe as it were glued
untoit; andkeepthe thumbasmuchasone canleaninguponthe bass.
It mustbe beforeall the restof the hand,marchingasthecaptainof the
fingers.Thathandmustbe risingin the middlein the formof anarch,
[so] thatyou may not smotherthe strings.Forthe left hand,the pos-
tureof it is moredifficult.The thumbmustbe placedunderthe neck
of the lute betweenthe forefingerandthe middlefinger,andbetween
the brimof theneckandthemiddleof it, walkingwiththehandupand
down the neckof the luteso thatthe handbe liftedup andthrustedby
the wristin the form of an arch.And thereinconsiststhe graceof the
hand.The fingersmust be bowed inwardlyand the fingers'ends as
nearthe lute as possiblythey may be, and nearone anotherwithout
touchingone another,so that the handcoversfour frets.When you
begin to play the handmustcover &c d e. If you mustgo lower, the
thumbmustbe as usefuland as nimbleas the fingers.I haveno need
to expressthe handsmustbe keptwhite andclean.It is the markof a
gentlemananda lady,andit werebetterneverto playof the lutethan
to playwithnastyhands.Forthenails,theymustbe shortandsmoothly
cut (whichsome do with a littlefile).
[3]. Forthe strikingof the lute, that.concernethratherthe perfection

thanthe beginningof learning;yet in the beginning'tisto be observed
to strikehardand nearthe bridge.But takeheed that you neverlay
the littlefingeruponthe bridgeor behindthe bridge,neitherstrikethe
stringswith the nails,nor so hardas if you would tearthemin pieces.
But neverleave fingersupon the strings(the thumbas muchas you
23
pleaseupon the bass).When you begin to play somethingwell, you
mustalteryourway of strikingandflatter(aswe speak)the lute-that
is to strikeit sometimesgently.For as the lute is a kind of language,
you mustimitatethe orators,who now raisetheirvoice andthenabate
it; now theyget asleepthehearer,andnow theyawakenhim;now they
charmhim andnow they amazehim,andwith the sameorgando ex-
presstwo sortsof sounds.Likewise,in playingof thelute,in someplaces
you muststrikehardandin othersso gentlythatone may hardlyhear
you. Thatvarietyis pleasingand producesattentionof the hearer.It
belongsonly to the lute to touchso the sameinstrument,that,if one
did not see you, he would think that you playedupontwo several
lutes.
[4]. Forthe left hand,you cannotstop too harduponthe stringsand

as nearthe fretsas you can. For the shakes,they ought to be a little
softlytouched,andthe fallsandthe roulades.Thereis somethat, [to]
fortifytheirhands,bathethemin a basinfull of wine a long time.But
othersbelievethatthe wine would [have]the sameeffectif one should
drinkit; yet the excessof wine is very prejudicial
to the playingof the
lute, because it hurtsthe sinewsand makes the hands to shake.
The model of a Corantof Mr Du But, as it is dissectedin this
7th chapter.
4o 20-
I LL ii C,
k C
00'0'
C aI c,
r?_I anIaL\
..-
MrIumN~t
Coramhr,
IL- U.
Turntwo leavesfor the dissectionof thismodelof allsortsof measures.

24
This Corantis uponthe ordinarytuningcalledB flat.The tuning:
gxio
a-
CHAPTER VII
FOR TO TAKE OUT A LESSON
Thisis whatthe mastershavenevertaughtnorneversetin writing,and

whereofthey would nevermakeno rules.The chapteris the golden
key that openeththe cabinetof Apollo, the want of the knowledge
whereofmadethe scholarsnecessitated to continuetheirmasterswith-
out profitor pleasure,the [masters]neverwritingthe lessonsas they
mustbe played,thatthey may by word of mouthtell themone thing
thisdayandtomorrowanother,thatwhichtheymightwriteuponthe
book and whereofthey might perfectrulesand sureprecepts.For if
they shouldgive this secret,or markall upon the book so that the
scholarof himselfcould learnany lesson,the masterwould be con-
siderableonly by fittingnew lessons,and thanked[only] for giving
them,so thatpne scholaramongtwentylearningfr6mtheirmasterit
were enough;andthe mastershouldlose all his scholarsbut one.
(2). This matterhave severalbranches:the measure,the mannerof

striking,the strokes,with whatfingera singlestringmustbe stricken;
for theleft hand(whichis the greatestdifficulty)you learnwhatfinger
you must stop withal every string;then how to make the tenues
[Sennes],the roulades,the falls, the sighs [Sightes],and the shakes.
We shalldiscourseof all thesepointsin particular, andthen makethe
demonstrationof them. [Thenfollows a bar-by-baranalysisof the
Corant,explainingthe rudimentsof tablature:the significanceof the
rhythm-signs,how the up-beatbar and the last bartogethermake
up a full bar, how a rhythm-signholds good until it is cancelled
by anotherrhythm-sign,how thereis no need to repeata bassstring
sinceit will soundon afterit hasbeenstruck,andso on. Thisdiscussion
is too elementary,verboseand repetitiveto deserveprinting;Miss
Burwell'steacherhad declaredthat he was expoundingthe greatest
25
secretin all lute-music,andhe seemsto havebeendeterminedthatshe
shouldget hermoney'sworth.A secondCorant(ex. iI1;in fact,thisis
the secondhalf of Du But's ex. 9) is given for analysis,and also an
example(12)of two 3/4 barsmakingone 3/2 bar.]
? 1 pa I I. r t
-.---p C
1. e ecaC 3oIi
.
&cD I..1F! CC CCC t
.IOD a-o CC C .
a. c
C ,
_, ! "D " c ?
a, e •' e
ae
06 p -
",
ca be_ a.
d '
•
a_
Cl laI o
r0Cab I C ? a
OI C. . '
c. .
I
T F!
P F: 4
LA.1 .;R
--wa
It
1 1
.TI i r -I
L T' I. I
•,.•i
e*.tL
0a
•• -b C
'
26
CHAPTER VIII
OF THE WAY AND MANNER FOR PRICKING

LESSONS
TOTHELUTE
[Once again,a verboseand repetitiveexplanation-thistime of the
principlesof Frenchtablature-the significanceof the six lines, the
notationof diapasons,and so on. Few pointscall for remark,but the
followingextractsareimportant:].... We neverstop uponthe last
threebasses(thatis to say, the tenth bass,the eleventhbassand the
twelfthbass)becausethe left handcannotreachthem.Therearesome
thatmarkthe bassesby numbers,asthe tenthwith 3, the eleventhwith
4, [and]the twelfthwith the figureof 5.
Lessonsfor the demonstration of the eighthchapter:A Sarabrand
wherethe seventhbassis stopped:Sarabrand of EnglishGaultierupon
the ordinarytuning,calledthe FrenchB flat,or B mol. The mode of
thisfollowingSarabrand is the eighthbassopen [i.e.F].
I I. r'I I I. 4I
9L
e, - '- e. , b I
. .0 a
....
a. o 9 a ,
• '
6 ob
al
"% ao a, a, a"
,, C. C to0 6
0--•6
sooOR
a-.
r 'r o*-E?X
/'06
ASIM a I
~nc~f
Fri -28
27
Example of the c upon the eighth: Corant of Mr Pinel upon the
trumpet tuning:
o C. o9L
9L o a, ,
CCIP%_c
4? a
c
ad a .
, ;o L, .
? b b
, 4,
SCL a.
, G,.
D # a
1+ ?C , 5 o : a : n,
, •:-
a : IA
.i I,
' tL-
/,. (/,2 I•a
E"%
wm
? % ?• -'af
k i AMPi f lo
Aa J
,*7,
I.. _x rJI
r...7" . ; . ..
IF . : : lJ " • I Id
I ,sm,- I V6
. .
i.
Allemand of Mr Gaultier,wherein there is an example of the b stopped

upon the ninth bass
[example omitted in MS.]
28
[2]. The second section of the 8th chapter, concerning the fingering
of both hands.The left hand useth the four fingers, not the thumb. The
right hand useth the thumb and the two next fingers to the thumb
only; the little finger ought to be always fixed upon the belly of the
lute, between the bridge and the rose, but nearestto the bridge. If you
chance to raise the little finger, it must be to reach a bass the better;
it must be set on again presently. You may raisethe little finger when
you strikea whole stroke with the thumb, strikingas you do upon the
guitar. When you nip one string, [or] two or three strings,with a bass
it will be good to strikethe bassa little before the smallstringor strings;
and if there be three small stringstogether you must not strikethem as
people did formerly with three severalfingers, but with the forefinger
only, sliding from the treble upwards over the stringsand repeating
sometimes the treble with the middle finger. The reason why we do
not play with three severalfingers is that strikingthus we miss half of
the strings; that is, of every couple of strings we can strike but one.
We [seldom] play twice with one finger, [but] one time with the
forefinger and another time with the middle finger (except when we
nip a bass and a small string, we must always use the thumb and the
middle finger). Although several such strokes should follow one
another, so that the letter that precedes such strokes must always be
struck with the forefinger; as when you slide the forefinger upon a
great stroke the letter that is set before it must be struck with the
middle finger. As for example: The sliding stroke.
* sr
9L I
.& _'
19
?
_.4-•-,
The nipping stroke.

U
,3.1l ' 3..
•1, . L• .
-is. • , ,•
If a master give you a lesson, desire him to give you the fingering.
There is no string (except of the treble) but is sometimes struck with
the thumb. That is, if the fourth and the third are to be strucktogether,
the fourth is to be struck with the thumb. If the third and the second
are to be strucktogether, the third is to be struckwith the thumb; ifthe
second and the treble are to be struck together, the second must be
struck with the thumb. Likewise the fourth, the fifth and the sixth are
29
sometimes struckwith the forefinger, [and] sometimeswith the middle
finger when a bigger bassis joined with it. As for example:
ex1I7
.-A.- -
For the left hand, the forefinger serveth to stop a b, the middle finger
for to stop the c, the third finger to stop the d, the little finger to stop
the e and thefand the other frets [Stringes]beneath: as for example:
CA.
i . - w2 "
I• - -
But if you must stop a c with an e orf then your hand must slide down,
and the c must be stopped with the forefinger or else you cannot reach
the f; as in this example:
And so if there be strokesbelow the neck of the lute, your hand must
go down, and sometimes the forefinger must stop an f, g, or an h;
as for example:
c*.2O.kk..
k,, .k,#.
[It hasbeen explainedearlierthat the lowest fret is k, but that sometimes

an I 'beneaththe frets' is called for.]
So that the highest note must be stopped with the little finger, and
the lowest or deepest note with the forefinger. And when you stop
any letter you must consider what notes follow and [set] your hand
in a frame or place fit to reach the next stops, whether it be above or
beneath the neck of the lute, that you may make the tenues-that is
the holding of the fingers upon the stops-and [not] be bound to skip
upon a sudden from one end of the neck to the other. You must set
your fingers as near as you can to the frets, and stop very hard, and
raiseyour fingers as late as you can; for as soon as the finger is taken off
the sound is gone. Therefore you must observe the tenues, or holding
of the fingers, very exactly, for a string sometimes is a bass to a great
30
many other strings.As in this example:
ew.21.
21.
a,
The d of the sixth .... is a bass to all the six letters following; if you
raise the finger from that d you rob all those parts of their bass, [and
indeed] it were rather fitting to repeat it. As, for example, here the
bassis repeatedthree times, the a of the eighth twice [and] the a of the
fourth once, for they are unisonsstopped or unstoppedon the samefret:
22 a
4WD
You must keep the thumb always upon the basses-that is, take it off
from the bass as late as you can. That gives a stay to your hand, and
makes you find the bassesmore easily. The evennessof both handsis a
most necessary thing-that is, one hand must not strike before the
other (as in rowing of an oar; if you strike one hand before the other,
the boat does not advance but turns about).
CHAPTER IX
CONCERNING THE PRICKING OF THE MARKS AND
GRACES OF THE LUTE
Some do markthe fingers of the left hand with ciphers,using the figure
of I for the first finger, the figure of 2 for the middle finger, the figure
of 3 for the marriagefinger, and the figure of 4 for the little finger.
As in this example:
M.
L..
[2]. Of the marks of the fingers
-1
o. of the right, hand. For
_,
the forefinger
of the right hand we mark one dot; for the second finger, two dots.
The two other fingers we do not use. As for example:
a. 1 23'
Of sliding of the forefinger of the right hand. When you have a stroke
of three strings with a bass you slide the forefinger beginning at the
treble and so upwards. The mark of sliding is this I . As for example:
If in such strokesyou repeatthe treble, it must be done with the middle

finger; as in the following example:
S Play this as ?
if it were
written so:
For a stroke of continuance-that is, when all the letters are closed
together, as this stroke:
L or this:
S
These strokes you must strike with the thumb downwards to the last
string (which must be struck with the second finger, which string is
heardlast), becauseit is a rule that the thumb must marchfirst. If three
single notes are upon one string, where some are of the nature of a bass,
you strikethe first with the thumnb,the second with the forefinger,and
the last with the thumb; as in this example:
4e.30.
this is the thumb's mark. Although the three notes or letters are not
upon the same string as those above written are, yet they follow the
same rule; as in this example:
Sometimes you make a whole passagewith the thumb and the finger,
beginning at the sixth and ending at the treble; such passage must be
32
doneswiftly;as in thisexample:
. C.
~' -
Sometimes we do strike only the great bass and sometimes only the
octaves;for all bassesarecompoundedof two strings,a greatone and
a little one. This is only done in a gallantry.As, for example,in this
Ciacona:.
'Cacona.'
ex.3.
a a a. "
S . a. a.
,"
3•. a
2Z3 3 323
Thisyou mustplaytwice;thefirsttimeplayonlytheoctave,thesecond
time playonly the greatbass.
OF THE CADENCE OR TRILLO
Thecadencesformerlyweredoneonlyin theendof alesson,butin our
daysold Gaultierhathintermixedthemin all the partsof a lesson,and
thatwith a greatdealof grace.The cadenceis made [in] two several
ways,althoughbotharecompoundedof threenotesonly. An example
of the firstsortof cadences:
) 333
"0" 44 3h •
, a, a. -
Somedo markit so:
•• 36P
or with two dots, thus:
33
Thiscadence,compoundedof an a of the third,a c of the fourthand
anothera of the third,is madenimbly with the forefingerand the
middlefingerof the right hand.The two firstlettersof the cadence
arestruckwith the forefingerslidingupwards;the thirdletteris to be
struckwith the middlefingeras fastafteras possiblymay/be.
The secondsortof cadencediffersfrom the first [in] that it begins
with the biggeror deeperstring;andthe firstletteris to bestruckwith
the forefinger,the secondletterwith the middlefinger,andthe third
with the forefingeragain,as in the followingexample:
C '
The cadencesarecommonlymadeaftera shake,but nonealways.One

cannotdo a cadencetoo nimbly.If the cadencebe neat,nimbleand
even,'tis one of the greatestgracesof the lute, andsome say the per-
fectionof it.
Cadenceaftera shake:
Il I f l /r -
.3
Cadencewithouta shake:
OF A SHAKE
On our daystwo viciousextremitieshave been practisedconcerning
the shakes,some shakinga long time and as often as they can, some
makingtwo shakesat once, some shakingwith both handsupon the
same string.This abuseof the shakehath been condemnedby the
learnedGaultiers,amongstwhom Gaultierof Pariswould have no
shakeat all. Now, as in singingthe trillo made with the tongue is
ridiculousandthatof the throatverypleasing,likewisethe shakeupon
the lute done with moderation,sweetnessandjustnesscannotchoose
butbe agreeable,sincethatall the worldplacein it the principalgraces
of the lute. Manyhold that for makinga good shakeand the other
graces(whichis calledthe 'pearled'playing)the stringsuponthe lute
34
mustnot be too stiff;besides,thatweariesthehand,and'tisgood only
to fortifythe handof a scholar.You mustkeepalsoyour nailsshort,
for it is not good to shakewith the nails.The graceis in the flesh,and
in the touchingwith it.
OF THE FALLS
Therebe two sortof falls:the singlefall,andthe doublefall.Thesingle

fallis twofold:the firstis madewhenyou strikea stringopen and let
falla fingeruponit. As in thisexample:
ex.to
This'is the markof a fall .. The othersinglefallis whenyou stop

a letterandfalluponthe next, or uponthe next letterbut one;thatis,
you falla tone or halfa tone. As in thisexample:
A fall A fall of
of a tone half a tone
The doublefall is madeof threeletters,an a and two otherletters
(or else threelettersstopped).As in this example:
OF THE ROULADES
The rouladesdifferfromthe fallsin thatthe fallsbeginwith a low note

andend upona higherone; contrariwise, the rouladesbeginat a high
note andend at a low one.
The rouladeis singleor double:the singlerouladeis of two letters,
the doublerouladeof threeletters.
An exampleof the singleroulade:
(43
?3U4A r
~-et
An exampleof a doubleroulade:
ex44
C.a'44.
•-V
OF A SIGH, OR A PULL
A sighor a pullis madein pullingthefingerfromthe stringandsetting
the fingeruponthe stringagainforthwith[presently].The pullis two-
fold:the openpull andthe stoppedpull. The openpull is madewhen
you stopa stringandtakeoff thefingerpresently,asin thisexample:
The stoppedpull is whenyou stopa string,and pull it off presently,

and put on the fingeragainuponthe samestringandletter,as in this
example: e*.46.
The stingis no morein use;it is madein stoppingthelittlefingerupon

a stringandswingingthe handuponit.
OF THE HAMMERING OF THE STRINGS OF THE LUTE
Hammeringcomesfrom the word 'hammer'.It is done [by] beating

the stringsseveraltimeswithouttakingoff the fingervery muchfrom
it. But all thesethingsmustbe done withoutlosingthe measureand
with moderation,andnot so oftenasit maybe loathsometo the ear.
CHAPTER X
THE WAY TO TEACH AND TO LEARN TO
PLAY WELL UPON THE LUTE
Cicerosaiththatwe havenaturallyin us the seedsof all virtuesand
vices. If we were to get them andplantthem in our soulsas we do
plantsin the earthit would be costlyandpainful.Godhathgiven us
freelytheseseeds;but to exerciseour faithandour obediencehe hath
lodgedpromiscuously in ourheartsthoseseedsof virtueandvice. This
is the opinionof a paganthathadno otherlightbutthatof nature;but
we thathave the light of the writtenLaw and of the Law of Grace,
we seethatall good comesfromGodandall evil fromthe corruption
36
of nature.Besidesthat,the Saviourof the Worldhathgivenus several
examplesof all virtues,butnot one of vices.Aboveall He hathtaught
us obedience,when He submittedHimselfto the Will of His Father
even in suffering,death, and the ignominiousdeath of the Cross.
Obediencethen to the will of our parentsis the firststepthata child
mustdo to attainto anyscienceorvirtue.Butit belongethto theparents
to seek out and find the inclinationsof theirchildrenand for what
sciencesthey aremostfit. If they haveanyinclinationfor a scienceit is
a greatindex that they arefit for it; then theirdispositionsand their
facultiesbothof soulandbody will consent.
2. Besidesthe obedienceto theparents, thereis thecomplacencyto the
master-that is, a desireto be directedby him, without which it is
impossiblethe scholarshouldlearnanything.It behoveththenthatthe
parentsput the mastersin authorityin giving them respect,making
muchof them andrewardingof them liberally.To thatpurposeit is
good to choosemasterswell bredand that are famous.If the master
does his duty, thatwill bringrespect.Gravitybecomesthe master,to
be gentlein his wordsandseverein performinghis duty. The respect
of the mastertowardsthe scholarwill causerespectfrom the scholar
to the master.A mastershouldnot be too old nor too young. The
young one is foolishandhathlittleexperience;the old one is peevish,
distasteful,knows not or slightsthe new mannerof playingandthe
new lessons,hath a bad hand, and hath neithera good voice nor a
good actionin playing,which is very dangerousfor young scholars.
Scholarsarelikeapes,or like wax: they takeanyimpressionby imitat-
ing theirmasters.
[3]. The voice for a masteris very necessaryto teach well to play
upon the lute, becaLsewhile the scholarplays his lesson 'tis good
the mastershouldsingthe same,to give him the humourandthe time
of the lesson.Thatmethodis betterthanto play togetheron another
lute, becauseone confoundsthe other.It hindersthe masterto hear
the faults,and makesthe scholarnegligent,hiding the faultsof his
playing under the good playing of his master.Yet it is requisite
that the mastershouldplay well, becausehe must sometimesplay
beforethe scholar.That formethhis ear, and gives him the air and
humourof a lesson.The artof musicis ratherinspiredandcommuni-
catedthantaught,aswe seein birdswheretheyoungoneslearnsinging
from the old ones. Moreover,set a canarybirdneara nightingale,it
will learnthe tunesof a nightingale;andas the canarybirdsingsallthe
year long and the nightingalein the summeronly, havinga canary
bird so taughtyou may have in your chamberall the yearlong the
song of a nightingale.Likewisethe scholarmustalwayspractise,and
37
the mastersometimes,havingthreethingsin all to do: the settingof
lessons,the teaching,and [the]playing.
3. A scholarmustbegin at sevenor eightyearsold;andlook whether
his handbe fit for it. Forit mustbe neithertoo shortnor too long but
full enoughand,aboveall, handsome.Forit werebetterneverto play
of thelutethanto playwith an ugly hand,especiallythosewho having
naturallya fine handwill not preserveit. You mustkeep your nails
short,withouta brimof blackvelvet (aswe callit). Youshallpareyour
nails-not with your teeth,whichis a greatnastinessandbesidesgives
a shapeto your nailsand makesthem grow thicker.Some say that
scissorsdo the same,becausethey nip the nail. A penknifeis betterif
you canuse [it], but a littlefile is bestof all.
4. The firstandchiefthingis the placingwell of the hand,whichwe
havetaughtbefore.We mustnot teacha scholarallthingsat once,but
give him atfirstanyeasylesson.Firstbeginwith a lessonwherethereis
nothingbut nipping.Then a lessonwherethereis nothingbut great
strokes.Next lesson,let it be mixed with greatstrokesand nipping.
Thenlearna lessonfit to teachthe varietyof the fingers.Now a swift
passagewith the thumbandthe finger.At firstaneasycadenceor trill,
then a hard one. As, for example,in the lesson following there is
nothingbut nipping:
Y at al t so
be"7 a, I
the middle finger. For the single strings, where there is one dot, strike
1 ?F
4Ai4
1---
be nipped,the basswith the thumb,the superius(or smallstring)with
38
38
it with theforefinger;whenthereis two dots,strikeit with the middle
finger. Now for the last measure,which is compoundedof several
strings:strikeit as followeth:this last stroke-c of the second,with
e of the third and e of the fourth-must be struckthus:the two ee
with the thumb downwards,the c with the middlefinger. And so
are all strokesto be struckthat hathno greatbass,when the letters
arealljoinedtogether.Asyou shallseein thefollowingdemonstration:
-4
.- 1
-
ba
4. b ?, ?. I - -
A saraband[in margin:
firstSaraband]
e [*, pJ I (.N'
I.
hir I h
a.
o' t &
a. a aC C C. o C b, o
a? , cA a0 a...
3.9
I3 I2 I
Thereis an exceptionin Sarabands[Salabrands] that must be played

looselyafterthe mannerof the guitar;not altogether,but sometimes
with the thumb only, sometimeswith the forefingeronly. As for
example:
SecondSaraband
a..
39
Dissectionof the first Saraband;the second,and all other Sarabands,
areto be playedas the former.
The first strokeof this lesson,compoundedof three aaa and the
tenth bass,is to be struckthus: the three aaa with the forefinger
upwards,slidingas it were upon the strings,and the basswith the
thumb(a///); allthefourstringsmustbe struckaltogetheratonce.The
restof the strokesthatarecompoundedof threeor four lettersclosed
togethermustbestruckwiththethumb;andwhenanystrokeiswritten
twice, the firsttime the strokemustbe struckwith the thumbdown-
wards,the secondwith the forefingerupwards.These long strokes
signifysliding:
The markwhich is underthe strokesignifiesthe thumb;the mark

that is by the side of the strokessignifiethit is to be struckwith the
forefinger.The singlestringsof thislessonareto be struck,the basses
with the thumbandthe smallstringswith the firstandsecondfinger,
usingfirstthe one, thenthe other(therebeingthe sameinconvenience
in playingalwayswith one finger,as therewould be in walkingwith
one foot).
A demonstration of a lessonwith nippingand greatstrokes,called
a Corant:
9L
C, oA.
aC, .....
00,
MIL .
aAI
-f
" 11. r
.
W- 4
40
You see this lessonis compoundedpartlyof greatstrokesandpartly
of nippingstrokes.If you follow the rulesthatwe havesetdown in the
formerlessonsfor each in particular-thatis, for nippingand great
strokes-you shallplay thislessonwithoutdifficulty.
A demonstration for the useandvarietyof fingers,calleda Jigg:
Sd .
. .,. l .
.
of fingers.
variety a This mark () is for the thumb.
414
I MIV 1
The first
first stroke
stroke is for sliding
sliding a the three
three single letters are for the
The
?the single letters are for the
varietyof fingers. a Thismark()) is for the thumb.
A demonstrationof the thumb and the finger:
on the right hand.
the marked,
passageis to be done with the thumb and fringer as it is
Thienues
exactly.
A demonstrationof an easy cadence:
C " , I
I ,
first letter with the forefinger,the second

This cadenceis to be done the
midle finger, and the thirand
letter with thmore letter with the forefinger
on the right hand.
A demonstrationof the new cadence, harderthan the former.
The first two letters of this cadence is to be struckwith the forefinger

and the last
and the the middle
with the
letter with
last letter middle finger.
finger. There is but
There is but three to aa
letters to
three letters
cadence, so that here is three demonstrationsfor a cadence.
4. You must not learn without understandingand skill, but have your
always upon
eye always the book
upon the when you
book when you play, to observe
play, to the fingers,
observe the the
fingers, the
eye
tenues (that is, to hold your fingers on the strings) and the measure
(that is, the time), and never be mistaken in the letters nor in tlE
strokes. When you can play a lesson perfectly you may venture to
play without book, especiallybefore company, that you may keep a
fairer and more pleasing countenance; and play walking, and cast
your eyes where occasion requireth. For the air and humouring of a
42
lesson,it will hardlybe got by book, or the measureeither;therefore
it is good to hear one that playsyour lessonwell, and to sing and
ruminateis to haveit in yourfancy.I wouldnot havea beginnerplay
in the absenceof his master;thereforethe mastermust come to the
scholaras often as he can, at leastonce a day, becauseof the tuning
of his lute, andthe keepingit well strung.Forit is prejudicialto play
on a lute thatis in disorder;that spoilsthe earof the scholar.As you
mustnot play when the handis weary,so you mustnot neglectyour
lute. Likewisethe masteror the scholaroughtnot to be in passion;the
mastermustuse the scholaraccordingto his capacity.It will be good
alsoto learnmanylessons,to 'break'(aswe speak)the hand;for it is a
deceitto makea scholarplay some few triflesto plPse the parents.
It is betterto renderoneselfcapableto playhereafterthan to satisfya
presentcuriosity.To practicein the morningis betterthanat anyother
timein the day,becausethe handis at restandthe sinewssofterandso
more apt to be brokenand receivegood habits.The lessonsthat are
best to practicein the morningare preludiums,passages,andlessons
full of hardstrokes.Doing thus you plough and sow with hopes to
have a good crop. The scholarmusttakeheed to learngood lessons
of his-own choosing,andnot to learnof any but his master,because
he will neitherplay them well but will contractevil habits.Besides,
the severaldifferentmannersof playinghindersthe attainingof a good
one, andthereis nothingmoredispleases a good master.
[5]. It is good the scholarlearnsmusicanddancingand singing.The

musicwill makehim playgood time,anddiscoveruntohim the faults
of anylesson;dancingwill give him the humourof a Corantandof a
Sarabrand; andsingingwill give him the gracesof the lute,for instru-
mentsare the images [leapes]of a voice, andthe morean instrument
comesnearto it the more perfectit is. As the lute, to which we
attributethe facilityof speaking;for we say that other instruments
soundwell, butof the lutewe saythat [the]lutespeakswell.
CHAPTER XI
OF THE PROGRESS, AND HOW TO ATTAIN
THE PERFECTION OF THE LUTE
When the handis well brokenupon the lute, thatis when one have
playedtwo or threeyearsall kindsof hardlessonsandupon all kinds
of tunings,to attainthe perfectionof playingyou mustnot runfrom
one masterto another,neitherbe persuadedby the masterthat you
havebegunwithalthathe is the bestmasterin the world.He may be
43
the best masterindeed,but you mustunderstand how. For as [with]
picture-drawers some are excellentat the draft (whichis the founda-
tion of all), somearegood for the mixtureof colours,somefor drap-
ery, some for nakedness,some rareat one thing, some at another;
likewisein the lute, some poor players(andworsesetters)arebetter
to begin a scholarthan the rarestlutenists.Some are good for the
progress,someonly for the perfection.A scholarmusthavethejudg-
ment to choosethesemastersaccordingas he improveshimself;and
never believe that a man is capableof those three degrees,for an
excellentplayerwill scornto take the painsto begin a scholar.Next
to thatyou mustbe desirousto play well a good suiteof lessons(or
two suitesat the most) and not play a varietyof otherlessons;but
practisethreeor four monthsthose suites,and entreatthe masterto
play them often before him, and hear his best scholarsplay those
lessons.For to makeyour handnimble,it will be good to play one
hourin the morningsomepassageswith the thumbandthe forefinger;
somepreludiumshardandquick,andsomedivisions;andthatupona
lutesomethinghighin strings,andthe stringssomethingbig.Practising
upon sucha lute, it will strengthenthe handsand makeyou play ad-
mirablywell whenyou cometo playupona moreeasylute;yet when
you haveattainedthe perfectionof playing,it is good to play always
upon the samelute well strung,becauseone playethbestupona lute
that one usesto play on. Then you mustabstainfrom teaching,and
bestowyourselfuponsomegreatpersonif you arenot ableto live of
yourself.Thereis nothing that spoilsmore the ear and offends the
humourof a good masterthanto heara scholarscrapea lute.He must
give himselfto the settingof lessons,andplayingnothinghe makes,if
his lessonsare [not]esteemedby understanding persons.In the mean-
time he mustconversewith raremastersof music,the good settersof
lessonsandrareplayers,andpickthe bestfromeveryone of them;and
of all that together[will] makea methodof your own thatwill re-
semblenevera one of the methodsthatyou haveimitated.If you do
find that your composingof lessonsis not esteemed,you must not
fall in love with it as mothersdo with theirlittle ones (althoughthey
be ill-favoured);but according[to] that[ad]viceof knowingmenthat
arenot flatterers,he mustforsakehis compositionandbetakehimself
to thoseof excellentmasterswhom he mustcourt,to hearthemplay
andget theirlessons.In thatalsohe mustshakeoff self-love,in playing
thoselessonsasthe authordoes,withoutalteringor addinganythingof
his own (whichif he does, he will disobligethem andbe esteemeda
vain man, as if he had more wit than those whose productionhe is
glad to borrow).
44
2. If you are not able to make preludiums, you must learn a great
many of others, so that taking a piece of one and a piece of another
when you come to the handling of a lute in a company, people may
think that you play a preludium of your own made extempore. When
you have preparedthe attention of the company with a preludium, or
some strokeswhich we call the 'feeling' of the lute (to know whether
it be perfectly in tune) you shall begin with the gravestlessonsand the
most airy. You will do well to play in a wainscot room where there is
no furniture,if you can; let not the company exceed the number three
or four, for the noise of a mouse is a hindranceto that music.
3. The most part of your excellent masters are tetchy and humour-
some; that makes them to be the more courted, as cruelty in a hand-
some woman inflamesthe hearts of lovers. But you must be an excel-
lent man to take that privilege. Any ordinary master must have other
ways to make himself esteemed. He ought not to play in a debauched
company, and himself must be moderate. Therefore the Italianscall a
person that have some good quality virtuosusor virtuosa,grounded
upon the sentence of scripturethat knowledge doth not enter into a
wicked soul; and we have observed that the philosophers'stone was
never given but to men of a good life. Besides, the excess of wine and
women weakens the sinews and makes the head light and the hand to
shake.
CHAPTER XII
CONCERNING THE MEASURE
If we have learned music from the birds, certainlywe have very much
refinedthe art of it by the measureand other rules that we join to that
naturalscience. That measurewe have learnedfirst from the harmony
of the celestial orbs, whose justness and equality of motion we strive
to imitate (without which there should be no harmony, neither in the
heavensnor in music). So we do see in whatjustnessthe planets [Plants]
are moved; and although the sun moveth with an incomprehensible
swiftness, yet it does not fail of one minute of the measure of time in
that [which] God Almighty hath prescribedto him for the several
seasons, and for the light of the day. If by his disapparitionhe brings
night upon our hemisphereit is [but as] a chromatic in his music; the
Italianscall it a durezza,the English a thing hard in appearanceto the
ear, but it is repairedin the following notes. It is a most delicate and
refined music, so that the light seems to us finer after the darknessof
the night. The stars that move confusedly keep, for all that, a good
45
measure;andthe cadenceor trillothatwe see in the[ir] sparklingfire
keepsa perpetual justness.Theirmultiplicityrepresents
very well that
of the stringsof our lute, whichproducewithoutconfusionso many
fine strokesand a well-orderedmelody. Withoutmeasurethen there
is no harmony;it is rathera noiseof birdsanda deadbeautythatcan
animatenothing.One mustthereforebe exactin keepingthe measure,
andto playwell of the lute one shouldlearnthe groundswithoutthe
whichthey cannotplaywell.
2. You beatthe measureor time two severalways.You maybeatand

riseif you will uponthreecrotchets,whichis the measureof a Corant,
or riseuponthreecrotchetsandbeatuponthenextthreecrotchets.We
callthatbeatingof the measurenimblyor slowly. The sameyou may
do in a Saraband, becausethe measureof a Saraband is the samewith
the Corant.In a Pavanor Allemandeor Jigg you mustbeat and rise
the time upon every measure,becauseit is of four crotchets;so that
you beat upon the two firstcrotchetsand rise upon the two last. In
playinguponthe lute we beatthe time commonlywith the foot; but
in a consortone beatsit with the motionof the neck of the theorbo,
and everyonemust have the eye upon it, and follow in playinghis
motion, and keep the sametime with the other players.When one
playsaloneyou may takesomelibertybecauseyou follow no other's
playing.You may choosea slow time or a quicktime, and besides
allow somethingto the graces;as when you walk alone,you walk as
you please,but if you walk in companyyou mustkeep the pace of
your company,otherwiseyou transgress the rulesof civilityandbreak
the harmonyof conversation.
3. Besidesthis we havethatwhich we call the 'soul'of the lute-the

humourandfine airof a lesson-which cannotbe taughtbut is stolen
betterby the earin hearingthosethatplaywell. Yet we will give some
rulesforit, with a demonstration.
You mayget thatartby breakingthe
strokes;thatis, dividingof themby stealinghalfa note fromone note
andbestowingof it uponthenextnote. [Thisis evidentlya referenceto
notesine'gales].
That will makethe playingof the lute more airy and
skipping.Thehearingof violinsandsingingis a greathelpto learnthis
livelinessandsweetnesswhichwe havetermedthe soul of the lute.
[4]. For the value of notes, and the varietyof measures,you have
them in the seventhchapter,with the dissectionof a lessonthatgives
you a perfectknowledgeof them.
46
for the humouringof a lesson:
The demonstration
C*A i. r
-D I f
You see heresix singlequavers.If you will humourthem, makethe

d of thesixth(whichis thefirstquaver)a quaverand[a]half;thenmake
the a of the fiftha semiquaver;andso of the two othercouplesin this
mannerfollowing.
Break a stroke in this manner:

4 0
Thereis but two strokeshereandtwo crotchets.You mustmaketwo

quaversanda crotchetin breaking;thatis, dividingthe c, playingfirst
the e of the sixthandthen the c of the second.Besidesthat,you may
makea quaverand [a]halfof the c of thesixth,anda semiquaver of the
second.
CHAPTER XIII
OF THE USEFULNESS OF THE LUTE AND HIS ADVANTAGES
The Luteis, withoutcontradiction, the king of instruments.

It maketh
alonea con'sortof music;it speakswithoutany origin;andout of dead
and dumbthingsit drawsa soul that seemsreasonableby the several
thoughtsand expressionthatthe skilfulmastermakesof hislute upon
all kinds of mattersand subjects.It is a faithful,commodiouscom-
panion,thatwatchethamidstdarkness;andwhen the whole natureis
in silence,it banishethfrom it horrorand unquietnessby pleasing
sounds.Paganantiquityhath representedus under some fablesthe
powerthatthe lute hathover the mostviolentpassions,andthe most
troublesomethings,when it describethunto us Orpheusdescending
into Hell;where,with his lute yet unperfect,he charmedthe demons,
suspendedthe tormentsof the damned,andsnatchedout of theirpaws
47
hisdearestspouse,to makeherto enjoyagainthe brightnessof theday.
In the holy scriptures we seeDavid,who with his harp(aninstrument
mostapproaching the lute) turnsawaythe wickedspiritfromthe soul
of Saul.We doubtnot of thattruth,thatwill helpusto believethatthe
lute is fit to assuagethe passions(ascholer,sorrow,andthe painsthat
we sufferfromdiseasesandhurts),impatience,andhungeritself,when
the bilioushumourprickeththe stomachandcausethin us peevishness
and displeasure. This heavenlyharmony,risingunto the brainas an
intellectualdew, doesmoistengentlythe heatanddrynessof it; andif
therebe too much moistureand terrestrialvapours,it dissipatesand
driesthem by the melodiousactivitythat producesa subtlefire. So
that,rarefyingthe spiritsin purgingthem of theirfuliginousvapours
andfixing theirextraordinary motion,it followeththatthisharmony
set arightthe facultiesof the soul and perfectthem. If the heartbe
closed,it openethit; andif it be too muchopened,it gentlyshuttethit,
to embraceand keep in the sweetnessthat the lute inspiresinto its
sensibleconcavities.It is thenthatsorrowis banishedfrom it; andif it
be strongenough[to]keeppossession, it is fedtherewith so favourable
a nourishmentthatit losethall bitterness,andcastsout all hervenom.
Thisharmonysoftensstonyheartsandbanishesthe crueltyfrom it to
give room to compassion;it turnethout hatredto lodge in love. We
readof Alexander,a very furiousand passionateprince,that aftera
battlewhen his blood was all stirredand in a heat, he had no other
remedyto settleit than musicof sweet instrumentsapproachingthe
natureof the lute.
2. For what concerneththe partsof the body the lute hath a great
advantageover otherinstruments, andif it dothnot improvethem,at
leastit dothbringforththeirbeauty,andengagethosethatplayupon
the lute to give themall thatartcanaddto nature.All the actionsthat
one does in playingof the lute are handsome;the postureis modest,
freeandgallant,anddo not hindersociety.The shapeof the luteis not
so troublesome; andwhereasotherinstruments constrainthe body,the
lute setsit in an advantageousposture. When one playsof the virginal
he turnshisbackto the company.Theviol entanglethone in spreading
the arms,and openeththe legs (whichdoth not becomeman, much
lesswoman).The beautyof the arm,of the handsandof the neckare
advantageously displayedin playingof the lute;the eyes areusedonly
in looking upon the company.One may walk and dancein playing;
one may sing and talk; and chieflyone may entertainhis thoughts
very agreeably.The lute is a modestinterpreterof our thoughtsand
passionsto thosethat understand the language.One may tell another
48
by the help of it what he hathin his heart.We may expressupon it
choler,pity, hatred,scorn,love, grief,joy; we may give hope and
despair.And [for]thosethathavethe graceto lift up theirmindto the
contemplationof heavenlythings,this celestialharmonycontributes
much to raiseour souls and make them melt in the love of God.
Nothing representsso well the consortof angelicalchoirsand gives
more foretastesof heavenlyjoys and of everlastinghappiness.Forthe
advantagesof marriage,how manybachelorsandmaidshavewe seen
advancedby this agreeingharmony,when personsof both sexeshave
neitherconsideredwealthnorbeautyof theperson,butsufferingthem-
selvesto be drawnby the charmsof this sweet melody. Some hath
believedthatthey shouldpossessan angelincarnate,if they couldunite
themselvesby a marriageto a personthatenjoysthisrarequality.
CHAPTER XIV
OF THE ENTHUSIASMS AND RAVISHMENTS OF THE LUTE
Of all the artsthatI know thereis nonethatengagesmorethe inclina-

tion of menthanthe lute,for ravishingthe soulby the earandthe eyes
by the swiftnessandneatnessof all the fingers.Thesetwo sensesbeing
thechiefestministersof oursouls,it happensthatit is employedin allher
facultiesandthatit is wholly filledwith thatheavenlypleasurethatis
most conformedto its nature.In effectit seemsthatthe lute was only
inventedfor the soul,becausethe soulis soonwearyandgluttedof all
otherthingsexceptthelute.Andif we consideralltheworksandhandi-
craftsof the world,we will findthatthereis nonewhereallthe fingers
of both handsare absolutelynecessarybut the lute. For thatit seems
thatGod Almightyhathgivenus ten fingersto makeusfit to animate
this divineinstrument,andthatit hathbeeninventedto makeus ad-
mirethe worksof Godin the compositionof the humanbody, thatis
furnishedwith thoseten littlemembers,so quick,so neat,so strong,so
sensible,so well articulatedthatthey arecapableto makea consortof
musicand to expresssuchvarietyof sweet soundsout of a little dry
wood and some sheeps-guts.Indeedthere is nothing that keeps us
companyandaffordsuscomfortandpleasureuntildeathbutthelute-
I mean,of transitorythings.When old age has madeus incapableto
relishthe pleasureof thislife, [so]thateverybodyloathesourcompany
becauseof ourinfirmities,whenthe sightfailsus for readingof books,
the legs for walking,andthe teethfor discoursing, the fingersandthe
earsremainstillin a capacityto playon the lute andto charmmelodi-
ouslyas the swansthe assaultsandapprehensions of death.Forit is an
admirablething, and much experimented,that the gout neverseizes
49
uponthe fingersof thosethatplaythe lute. And thiswholesomehar-
mony dissipates andsubtilizesso well the grosshumoursthat are the
causeof deafness,thatone neverbecomesdeafaslong asthe bodyis in
healthandableto touchthelute.Thoseadmirableeffectsmakemenso
muchin love with the lute thatwhen thosethat play of it do heara
lessonthattheylike,theyareneverquiettill theyhaveit, andthinkno
money betterbestowedthanin purchasingthis preciousacquisition.
Eventhebeasts,thathavesomeconformitywith thatdivineharmony,
sufferthemselvesto be charmedwith so much ravishmentthat they
forgetall the instinctnaturehave given them for otherpleasuresand
theirown conservation,as we learnby the lusory [i.e., contest]and
deathof the nightingale,thathathfurnishedso manyrarepoetswith
matterfor excellentverses.
[2]. Duringthe heat of the springa rarelutenistwas playingat the

foot of a tree in the thicknessof a grove, when a nightingalewho
taughthimself,challengedby this celestialharmony,acceptedthe
combat with that indefatigableinstrument;and the nightingale
endeavouringto answerand go beyondthe agreeablesoundsof the
lute was resolvednot to yieldfirst,andso burst[and]fell deadat the
feet of his vanquisher,acknowledgingby his ruinthatthe artof man
secondedby the lightsfromabovedoessurpassthe wondersof nature.
[31.Old GaultierBaronof Nesnes,of whom is beforespoken,was so

niggardof his lessonsthatthe famousCardinalRichelieuwho could
playof the lute couldnevermakehim come to court,becausehe had
abusedhis good mistressthe QueenMother.He wasso kindonceasto
give one Corantto his cousinGaultierof Paris.
CHAPTERXV
CONCERNING THE ART OF SETTING LESSONS UPON THE LUTE
The partsof musicarein all but four:the bass,the tenor,the meanor
countertenor, and the treble.Thesefour partsresemblethe four ele-
ments:the bassrepresents the earth,the foundationof the otherthree
elements;the tenoris likenedto the water;the meanto the air;andthe
trebleto the fire. The lute is capableof these four partsand more.
Fromthe sixthupward,thatis the bass;thefifthandthefourthmaketh
the tenor;the thirdand secondmakesthe meanor countertenor; and
the trebleuponthe lute makeththe treblein music.The groundof a
lessonis the treble,thatis thesubjector themaof yourcompositionthat
mustcomefromthefancy;andto be rarein framinga good songor air
50
it is a gift of God Almighty. When your song is made it is an easy
thing to put parts to it, if you have many lessons under your fingers,
observing the rules of music whereof we shall speak hereafter.
[Then a short note on the necessity for transposingwhen setting a
piece to the lute, and tuning the diapasonsto fit a major or minor key.]
[2]. Of all things that belong to the making up a musician, the most
necessaryand useful for him is the true knowledge of the key (or mode
or tone, for all signify the same thing) with the closes belonging unto
it; for there is no tune that can have any grace or sweetnessunlessit be
bounded within a properkey, without runninginto strangekeys which
have no affinity with the air of the song. Of modes I have spoken
sufficientlyin its place, where I do referyou. If you go sometimes from
B flat into B sharp [i.e., from minor to major], it must be done with a
great deal of art; and repairit by the next note. As in this example:
SI 6oril.
[3]. As in a consort of music sometimes one part begins alone, then

another is joined to it, then three, then all the parts, so you may do
upon the lute; you may begin a tune upon any of the parts, thenjoin
one string to it, then two, then three, then four or five. Sometimes
in a song or good air you make the bass or any other part sing instead
of the treble; as in this example:
9%.6o• t I( I
,J
I d i
, .
C C
GCOP
[4]. You see here that the treble and the mean or countertenorbegins
the song or air; then cometh the bass, then the treble and mean again
together. Now we are come as far as the eleventh bass;but before we
go any further,let us see what concord and differencethere is between
the parts, and first by the first stroke:
[A chord-by-chord harmonic analysisfollows, leading to:]
5C
TO MAKE ACCORDS UPON THE LUTE AND TO KNOW
WHAT ARE TRUE STROKES AND FALSE STROKES
[5]. The strokesare called 'Consonants':the word Con is a Latin word

that signifies 'with', and Sonantscomes from 'sound'; that is, 'conson-
ants', sounding with or together. Besides there is Dissonants; that is,
sounding with discord, which dissonantsthe lute neverthelessadmits
but with discretion, as shadows in picture-drawing to give more life
to the lively colours.
[Then an explanation of the rudiments of harmony, inversions of
chords, and so on. Octave, fifth and fourth are classed as 'perfect
consonants';third and sixth as 'imperfect'ones; and second and seventh
as 'dissonants'.Consecutive octaves are forbidden; and it is suggested
that 'the right symphony consistsin the variety of consonances'.]
OF THE SEVERAL MODES UPON THE LUTE
[6]. First there is the B sharp and B flat, which differenceconsisteth

only in one half note [i.e., major and minor are distinguished by
the semitone between their mediants]. . ... These are the two most
general modes, keys or tones (for these words are all but one and the
same thing). The other modes are named by the several bassesof the
lute, and they are five in number; and the bass that is the last of the
lesson giveth the name to the key or mode of the lesson, as we shall see
[from] the severalexamples in the following pages.
[7]. The first and most general mode is called the tenth bass mode,
whereof here is an example in the conclusion of a Corant.
The tuning called the ordinaryB flat:
a a
4a a
no CI a CC
.I l* • 1 I" -l0- I t.
/ '
52
This sarabandwas made by the Marquisof Mortmar.
ex. ~3
I I ~.J J 1 I
[8].The second mode is called the eighth bass, whereof here is an

example in the conclusion of an Allemand:
S a a
. ?
Xte
&/.a
/XI /
a4 a. a
"
a. S,
F_
a, aA
,a
53
A 6+.I jk I P%11 I I .. N - 'II
Corant of Mr Gaultierbelonging to the second mode, and upon the

same tuning that is before and that followeth.
[9]. The next key or mode is the a of the seventh as it doth appearin
this example:
IV P P' I I P' I
-. A, I .
0.- cIh.
t. :t 4 I
, ,e
h I.
?
_A.9J
nt o md ti a o ts v it hp r
"T e 0..
54
i. ' . 1
0,10
C..
If -W -1 a
to the b of the fifth.)

IIT
out any alterationof any string, as appearsin this example following:
C CC
A1L
CCC
I ~-. I I ? I] I i
b
C. .. .
I OLL jb L +
,-.--
WOF
C.j-
t • i
r'4|0,• . ,, , , , , ,
, , ,r., n
kibhttm..... . ..... ... . .- . . ..... .. . .1. . ..&a
i. IM '1 I P I I I !• d a.)
S",,
e-e e C C C. e C, . po a. th Isme unng "
?, ,c~ !••n. C C I
C,1 C 0
4ri;!a
Mr Gaultierof Paris'saraband
uponthe sametuning.
S1
I 1 . I I 11 55
[ii]. Thelastkey or modeis the eleventhbass;asfor example:
I. 0&
/cc,
aaa C
Da C Q -
4.1 C. C
C, aC 0. 1 I
,3 _, , _
, -
.._a " .
I
, ______ 1 a e4 C / r a.
a,C , C,
,
Ir I rrn 'I iN
K. a-in ii
IiIdb :.11I aL -Arm;
-1 N
.,I
I A-, MII
[12.]. Now for the Gamut.Afteryou haveconsideredwhatpitchyou

will set your tune, you may have your Gamut upon every string; and
Ira- 7% ,a- s
A
every two frets raiseth a note, so that a

singeth Ut, c
singeth Re,
56C
every string tne you have a your Gamut: [ereapear avery rough sketch
every two frets raisetha note, so that a singethUt, c singethRe,

e singeth Mi, fsingeth your Fa, h singeth Sol, and k singeth La; and so upon
oevery
f lute, string
a wi you
the raihave
sth iatoic sale Gamut:
ndiated]. et a very
[hereappears t csnetroughsketch
e
of a lute, with the diatonic scaleindicated].
0 igt i snehFhsnehSl n igt a n ouo
Now for your Unisons;the fifth [string]is an unisonto thetenth,
the eighthis an unisonto the fourthand to the treble,the thirdis an
unisonto the sixth,the secondis an unisonandan eighthto the fifth.
[Thenthe sametuningexpressedin termsof fretsanda tuningdiagram
for 'B flat'tuning.Ex. 68.]
r
,
S/..
•' l' Ga
I• • 'I , .
e1.
C 0. r P r
MD
,
c /o o.•
o
I
C. I
l,)t cGa.,.,ti•,r
57
[I3]. The loss of the golden roselute; a lessonof old Gaultierupon
the goat'stuning.
(69.1o1tub
h er t- e te lt e
a
anin mise fo thosett s l give anioiie- ofit it seo
firstthe troubleandhurly-burlyof the seekingafter

partrepresenteth
the lute; and the conclusion is a complaint of the loss of the lute that
can not be found. This is the tuning of the following lesson, called the
goat's tuning [above, ex. 69; but cf ex. 7].
58O 44
CHAPTERXVI
CONCERNING ERRORS AND ABUSES THAT ARE
COMMITTED ABOUT THE LUTE
The errors that are committed about the lute are of three sorts; some
concern the fabric or framing of the lute, some the composition of the
lessons, and some concern the playing of the lute. As the lutes ought to
have been made of old to be good, so have we spoken of it in the
beginning of this work. It now remainsthen to speak of the head and
of the neck of the lute. The neck ought to be as broad as the strings,
and the neck as long and no longer than the strings.English Gaultier
hath been of another opinion and hath caused two heads to be made
to the lute. All England hath accepted that augmentation, and France
at first; but soon after that alterationhath been condemned by all the
Frenchmasters,who are returnedto theirold fashion,keepingonly
the smalleleventh.The reasonsof EnglishGaultierare so feeblethat
they destroythemselves.First,he saiththat the length of the strings
produce[s]a longer and bigger sound.But all the stringsought to
have the samelength of sound,and the soundof a stringmustmake
room to the other;for besidesthe confusionthatthe lengthof sounds
produce,it also causetha discord(sinceevery basscannotmake a
concordwitheverysmallstring).Andthisis thefirstreason.Thesecond
evil effectthatcondemneththisalterationis thatthesoundof theselong
stringsis not good, andthatsoundis like thatof one thatsingsin the
nose.The thirdinconvenienceis thatone cannotstop uponthemlong
basses.The fourthreason[is]thatthereis no symmetryin proportion
in the two heads,anda luteso framedis not a lutebut a bastardinstru-
ment betweena lute and a theorbo.The fifth reasonis that so many
stringsdo exceedthebreadthof theneckof theluteandthereachof the
righthand;the lute is an instrumenthardenoughandneedsnot new
difficulties.In conclusion,if a manhathnot a light hand (asEnglish
Gaultierhad)one makethan ugly andconfusednoiseuponthemlong
basses.For a more amplesatisfaction you may readthe chaptercon-
the and
cerning perfectshape framingof the lute in the beginningof
thiswork.
[2]. The compositionof lessonsof the lute is like that of poetry;
everyonewill undertaketo makeverses,andamonga thousandthere
is hardlyone thatdeserveththe nameof a poet.Theysaythatone must
havea degreeof folly to makeverses,butI saythatit is a gift of Godto
makeexcellentversesand to be a rarepoet. 'Tis the samewith the
compositionof music,for which a man musthave an extraordinary
degreeof heatthatmake[s]peoplesaythatyourexcellentmusicianers
havea degreeof folly. The reasonof it is that,the imaginationbeing
in a continualaction,this so subtilizesthe spiritsand dry[s] so much
the brainsthat it is continuallyboiling,as it were; so that not being
tempered,as it were, with that necessarymoisturechieflyrequisite
for the facultyof the memory,and partlyfor that of thejudgment,
them two partsaresomewhatawakenedin thosemen. Besides,being
always appliedin the inventionof rare things that cometh every
momentin theirbrains,they observelittlethe rulesof commoncon-
versationor society,seldomhearkeningto what otherssay to them;
and if they answerto what is saidto them, they do it abruptlyand
sometimeswith the discourseof the cock andthe bull.
[3]. As the lute is the king of instruments,
so hathit few thingsthat
are common with other instruments.Its music and its mannerof
59
composing is special to itself, and as the human body is; like a little
microcosm, that gatherethand comprehendsin itself all that is, and all
that is fine and rarein music. Old Gaultier,who by his excellency was in
the prerogative and right to establisha law to all the lute-mastersand
to censure their several ways of composing and of playing on the
lute, spoke gallantly of all the famous mastersof his time. He said that
Mr Pinel, Mr Dubut and Mr Vincent would have made good fiddlers,
because their lessons were airy and might be turned into singing or
dancing corantsand sarabands.He said that his cousin Gaultierof Paris
was fit to go along with a burial; that another cousin of his, English
Gaultier,was fit to play in a cabaretbecause of his thundering way of
playing; that Mr Dufault would have made a good organist because
his way is heavy and affectstoo much the pedantic rules of music; that
Mr Mercure was fit to lead bears to the market-placeand make them
dance. He said that Mr Blan[c]rocher played too well because he
played so very fast and made so many flourishesthat he thought they
spoiled all the lessons. In conclusion he said that Mr [L']Encloswould
have made a rare lute-master if he had not been a gentleman born
(as if he said he scorned that profession, and did not follow it as he
ought to have done). The greatest fools are those that do not know
their folly; the next are those that cannot hide their folly. Likewise
concerningthe composition of lute lessons,the less capablethink them-
selves the best artistsand are the wors[t]; the next are those that their
lessons are not of the best, but for all that (through vanity and self-
love) they will play no other lessons but their own.
t4]. There be rulesfor composing lessons,but to compose good lessons

there be none. It is God that is pleased to bestow that gift, as he doth
all extraordinarygifts, but we do remarkthat He bestoweth them only
upon those men that fear and adore His infinite wisdom and mighty
hand and do follow the duties of a good Christian.Learningwill not
enter in a wicked soul.
[s]. If I be so bold as to give my judgment concerning the music of

the lute, I will say that it ought to be a serious kind of music, but
nothing so grave as the music of an organ. It must have fine tunes, but
not so airy as those of the violin; and above all it ought to be full of
fine parts and good things, and though there is but one part or two
it is better if they are good than to have great strokes or many parts
that signify nothing and are of no use but to make a great noise (like
to a delicatestomach,a good bit and well seasoneddoth more good than
a great piece of beef and a great deal of other meat). The lute is a closet
6o
instrumentthatwill sufferthe companyof but few hearers,andsuch
ashavea delicateear;for the pearlsarenot to be castbeforethe swine.
As I answeredonce to a gentlewomanthat told me the lute was a
heavymusic:I answeredthatherearwas heavy,andthata violin was
most fit for her.
[6]. The errorsconcerningthe playingof the lutearesomewhatagree-

ablewith thoseof the composition,everyoneplayingaccordingto his
constitution.Someplaytoo heavily,sometoo briskly;othersplaytoo
fast, otherstoo slowly; some scratchthe strings,othersdo too much
flatterthem (thatis, theyplaytoo gently).Mediocrityis the perfection
in all things;but if we must inclineto one side, the gentle and soft
playingis to be preferredbeforeothers,so that you play neatlyand
in a little room or to pleasea smallcompany(the lute not being fit
to playin a hallbeforea multitudeof people;therethe violin is most
fit). Some are so preciseas to condemnthe trilloor shakein the lute
becauseit is too ha[r]shand too s[q]weaking,and makestoo much
noise.You mustnot alwaysstrikealoud;but afteryou havecharmed
yourearswith a gentletouch,you mustawakehim with a roughand
loud strokemostfit for the severalstringsandplacesof yourlesson.
[7]. As it is naughtto neglectyour lute, so it is not good to playtoo

much,for thatmakesthe handweak.Fora learnerit is good to practise
upona greatlute, andto usehimselfto all kindof lutes,andto string
his lute with stringsbiggerthanordinary;but for a manthathathgot
the perfectionandthatprofessethto play for the satisfaction of great
personshe mustneveruse but his own lute, of a middlesizeandwell
strung,not too smallnor too big, that he may use it with all con-
veniency(becauseone playethbetterupona lute thathe usethto play
upon),not too highin strings(thatis, wherethe stringsarenot too far
fromthe bellyandthe platof the neck).
[8]. It is a disgracefor the luteto playcountrydances,songsor corants

of violins,as likewiseto play trickswith one'slute-to play behind
the back,etc.
[9]. Theluteis a nobleinstrument,not madefor debaucheries,ranting

or playingin the streetsto give serenadasto SignoraIsabella.'Tis a
grave and seriousmusic for modestand soberpersons,and for the
cabinetratherthanfor a publicplace.
[Io]. To play in taverns,that neverhappenedbut to a man in Paris

(who was paid for his abuseby some learnedof the lute, that made
6I
cinnamonbeatenin breakingthe lute uponhishead).To makepeople
dancewiththeluteit is improper;it is truethata youngladymaydance
the saraband with her lute, and thatis all. It is neitherproperto sing
with the lute, it beinga perfectconsortof itself;for the voice is but a
repetitionof the treble,and if you sing the trebleor any other part
(foryou cansingbut one) thatpartwill drownthe others.Thisinstru-
ment requirethsilenceanda seriousattention.It is usedcommonlyat
the going to bed of the Kingsof France,andthat time is the time of
most restand silence.If you will play well of the lute you mustnot
playtoo manylessonsnorusemanyseveraltuningsat once.If you will
play uponseveraltunings,you musthaveseverallutes.In conclusion,
the greatesterrorthatis in playinguponthe luteis to play too fast,and
not to keepthetime,andnot to usetherightfingers.Withoutthat,play
neverso well, you arebut a bunglerandfit only to amazethe ignorant
sortof peopleandmakea fool of yourself.
ERRATA IN MUSICAL EXAMPLES
A finalcheckwith the originalmanuscript hasrevealedthe following:

Ex. 9 (transcription):line 2; first B shouldbe flat.
Ex. ii (tablature):add slur below firstthreeletters.
Ex. 14 (transcription):line4; firsttwo semiquaversshouldbe quavers.
Ex. 64 (transcription):
line4, bar2: lastnote shouldbe a fourthhigher.
Ex. 69 (tablature):line 2; add 'quaver'rhythm-signabove first b.
Ex. 69 (transcription): firstnote shouldbe quaver.
62

Miss Mary Burwell's Instruction Book For The Lute

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Miss Mary Burwell's Instruction Book for the Lute

Author(s): Thurston Dart

Miss Mary Burwell's Instruction

Startingfrom the other end of the manuscript,turned upsidedown,

DATE OF THE MANUSCRIPT

OPENING SECTION OF THE TREATISE

for the Lute]

rFwe considerthe excellencyof the lute, whereofwe shallmakea

2. The imperialHeavenopenethitselffor to attendthisbirth,so great

3. The Church,afterthe imitationof thisdivineexample,madeuseof

4. The paganantiquity,who throughthecloudsof ignorancehasnot-

2. The lutes of Padua are something roundish and like those of

[5]. The nut mustbe of ivory, very well compassed;it mustnot be

[OF THE MASTERS OF THE LUTE]

[3]. Lorenzini[Vomigny], Perrichonand the Polack[i.e.JacobReys]

[41.It is a gift of God andnatureto be an excellentlutenist,asto be a

[5]. The bow that is too much bent breaketh;mediocrity is to be used

Lettersonly to be changed from one tuning to another:

[2]. Forthecarriageof thehands,'tisa thingof greatimportance when

[3]. Forthe strikingof the lute, that.concernethratherthe perfection

[4]. Forthe left hand,you cannotstop too harduponthe stringsand

Turntwo leavesfor the dissectionof thismodelof allsortsof measures.

FOR TO TAKE OUT A LESSON

Thisis whatthe mastershavenevertaughtnorneversetin writing,and

(2). This matterhave severalbranches:the measure,the mannerof

OF THE WAY AND MANNER FOR PRICKING

Allemand of Mr Gaultier,wherein there is an example of the b stopped

The nipping stroke.

[It hasbeen explainedearlierthat the lowest fret is k, but that sometimes

If in such strokesyou repeatthe treble, it must be done with the middle

Somedo markit so:

or with two dots, thus:

The cadencesarecommonlymadeaftera shake,but nonealways.One

Therebe two sortof falls:the singlefall,andthe doublefall.Thesingle

This'is the markof a fall .. The othersinglefallis whenyou stop

The rouladesdifferfromthe fallsin thatthe fallsbeginwith a low note

The stoppedpull is whenyou stopa string,and pull it off presently,

The stingis no morein use;it is madein stoppingthelittlefingerupon

Hammeringcomesfrom the word 'hammer'.It is done [by] beating

be nipped,the basswith the thumb,the superius(or smallstring)with

Thereis an exceptionin Sarabands[Salabrands] that must be played

The markwhich is underthe strokesignifiesthe thumb;the mark

on the right hand.

first letter with the forefinger,the second

The first two letters of this cadence is to be struckwith the forefinger

[5]. It is good the scholarlearnsmusicanddancingand singing.The

2. You beatthe measureor time two severalways.You maybeatand

3. Besidesthis we havethatwhich we call the 'soul'of the lute-the

You see heresix singlequavers.If you will humourthem, makethe

Break a stroke in this manner:

Thereis but two strokeshereandtwo crotchets.You mustmaketwo

The Luteis, withoutcontradiction, the king of instruments.

Of all the artsthatI know thereis nonethatengagesmorethe inclina-

[2]. Duringthe heat of the springa rarelutenistwas playingat the

[31.Old GaultierBaronof Nesnes,of whom is beforespoken,was so

[3]. As in a consort of music sometimes one part begins alone, then

[5]. The strokesare called 'Consonants':the word Con is a Latin word