Chapter 10
_Tucket._ Rare, only _seven_ times in six different plays. This is one of the several trumpet calls we have noticed. It seems to have been a French term, _toquet_, or _doquet_, and this is defined by Littré, as _quatrième partie de trompette d'une fanfare de cavalerie_--that is, the name 'toquet' was applied to the fourth trumpet in a cavalry fanfare. Mr Aldis Wright, in his Clarendon Press Edition of Hen. V., gives Markham, quoted by Grose in 'Military Antiquities,' which explains 'Tucket' as a trumpet signal, which, 'being heard simply of itself without addition, commands nothing but _marching after the leader_.' Certainly in Shakespeare it seems to be used as a _personal_ trumpet call--_e.g._, _Merchant_ V, i, 121, Lorenzo says to Portia, 'Your husband is at hand; I hear his trumpet--'_i.e._, the 'tucket sounded' which is indicated in the stage direction. Other cases of the use of the Tucket are quite similar--for instance, the return of Bertram, Count of Rousillon, from war; the arrival of Goneril (_Cornwall._ What trumpet's that? _Regan._ I know't, my sister's:) or the embassy of Æneas. Once it is used to herald Cupid and the masked Amazons, in _Timon_; and twice at the entrance of Montjoy, the French Herald, in _Hen. V._
The derivation of the word from _toccare_, and its connection with _tocco di campana_, _tocsin_, and _tusch_, have already been explained in the notes on Hortensio's music lesson to Bianca. (See Sec. II.)
In the Appendix is given an Italian Tucket of 1638, and a French one of 1643.
In the text the word is only found once--viz., _H. 5._ IV, ii, 35, where the Constable of France orders the trumpets to 'sound the tucket-sonance, and the note to mount,' which fits in with Markham's definition, for the passage appears to recognise the tucket as in some sort a _preparatory_ signal.
It is perhaps worth noting, that of the seven tuckets in the stage directions, only one, Goneril's, is supposed to be an English one. In the single instance just given of its use in the text, it is a _French_ general who uses the word. Perhaps this may be regarded as confirming the view of its foreign origin.
_Parley_, or _Trumpets sound a parley_, either alone, or with _Retreat_. This call is named in the stage directions 7 times in five plays, viz.--_H. 6. A._ _three_ times; _H. 6. B._ once; _R. II._ once; _H. 4. A._ once; and _H. 5._ once. It means either a trumpet call announcing an _embassy_ from one party to the other, or for _cessation_ of hostilities during the fight itself. Of course the name is derived from _parler_, with a reference to the proposed 'pow-wow' of the opposing forces.
The notes of a parley do not appear to exist.
[Perhaps a little light may be got out of the symphony to Purcell's duet in King Arthur, 'Sound a Parley ye fair.']
In the text, the word is used several times. In three cases, _John_ II, i, 205, 226 [Transcriber's Note: Added missing scene number] and _H. 5._ III, iii, 2, 'the parle' means the conference of the parties itself, not the trumpet call summoning them. In the rest, 'parle' or 'parley' simply means the sound of the trumpet, as explained above. _H. 6. B._ IV, viii, 4; _R. 2._ I, i, 192, III, iii, 33; _H. 6. C._ V, i, 16; _Othello_ II, iii, 23.
_Horns_, or _Horns wind a peal_, or _Horns winded_.
This is very rare. Seven times in only four plays, one of which is the doubtful _Titus Andronicus_.
Three times it is used of hunting horns, _Titus_ II, ii, and _Id._ l. 10, and in the Induction of the _Taming of the Shrew_; twice as a part of Lear's lessened state, _Lear_ I, iii and I, iv; once announcing the Post from England, _H. 6. C._ III, iii; and once blown by Talbot as a military signal at the forcing of Auvergne Castle gates, _H. 6. A._ II, iii.
The 'peal' of horns referred to in _Titus_ II, ii, 10 is a technical term in forestry for a particular set of notes on the horn. Méhul (1763-1817), in his overture 'Le jeune Henri,' introduces several old French hunting fanfares, which perhaps may give an idea of what was meant by 'Horns wind a peal.' [See Appendix.] Also in Purcell's 'Dido and Eneas,' No. 16 (date 1675), in the scene between the Sorceress and the two witches who are plotting the destruction of 'Elissa,' at the words 'Hark! the cry comes on apace,' the violins give an imitation of a hunting call.
The only instance of the use of the word 'peal' in the text is in the same passage, _Titus_ II, ii, 5, where Titus tells his hunters to 'ring a hunter's peal.' Here we have a last example of punning on a technical term of music.
APPENDIX
1. Example of Descant [_Lucrece_, 1134] from Morley, 1597 (see Introduction, p. 6 and p. 24).
[Music]
If the lower part was added _extempore_, it was called Descant, but if written down as here, it was called Prick-song, because 'pricked' down. The Plain-song is perhaps more often found in a lower part, the Descant being higher. From the position of the added part, the above example is called 'bass' descant.
2. Divisions on a Ground Bass for viol-da-gamba, by Christopher Sympson, 1665, see p. 28. _Rom._ III, v, 25.
[Music]
The 'Ground' itself is in large notes, the necessary chords (which were _never_ written down) are indicated in small notes. This the Organist or Harpsichordist plays again and again, as often as necessary.
Here is a Division for the Viol, such as the player would produce _extempore_, with the above Ground before him.
Division No. 1.
[Music]
Division No. 3 (more elaborate).
[Music]
3. Example of Sol-Fa, 16th and 17th centuries, see p. 35. _Lear_ I, ii, 137.
[Music: Fa sol la fa sol la MI fa fa sol la fa sol la MI fa etc.]
The augmented fourths formed by the notes fa and mi, marked with x, are the _mi contra fa_, which _diabolus est_, or 'is the _divider_,' see p. 36.
Solmisation of the six notes of the Hexachord, 11th century, see p. 37. _Shrew_ III, i, 72.
[Music: (Natural Hexachord) Ut Re Mi Fa Sol La
(Hard Hexachord) Ut Re Mi Fa Sol La]
The six notes from F, with B _flat_, were called the 'Soft' Hexachord.
4. Lesson for the Lute, by Thomas Mace, b. 1613, from Musick's Monument, 1676, see p. 55. _Shrew_ III, i, 58.
[Music: "My Mistress."]
_Cf._ p. 30, on 'Broken' music.
5. Tune of Light o' Love, original words not known, but date before 1570, p. 70. _Much Ado_ V, iv, 41, etc.
[Music]
6. Parson Hugh's song, 'To Shallow Rivers,' tune anonymous, date probably 16th century, p. 71. _Merry Wives_ III, i, 18.
[Music:
To shallow rivers to whose falls Melodious birds sing madrigals; There will we make our beds of roses, And a thousand fragrant posies. When as I sat in Babylon, And a thousand vagram posies.]
7. 'Come Live with Me,' tune printed 1612, but probably much older. See p. 71. Marlowe's 'Passionate Pilgrim,' XX., or _Merry Wives_ III, i, 18.
[Music:
Come live with me, and be my love, And we will all the pleasures prove, That hills and valleys, dales and fields, And all the craggy mountain yields.]
8. Peg-a-Ramsey, p. 71. _Tw. Nt._ II, iii, 76.
[Music: Sir Toby]
9. 'Three Merry Men be We,' p. 71. _Tw. Nt._ II, iii, 76. Words from Peele's 'Old Wives Tale,' 1595, where it is sung. Music from J. Playford, 1650 _circ._, but may be older.
[Music: Sir Toby
Three merry men, and three merry men, and three merry men be we, I in the wood and thou on the ground, And Jack sleeps in the tree.]
10. 'There Dwelt a Man in Babylon,' p. 71. _Tw. Nt._ II, iii, 80. Music anon., but most probably later than Shakespeare's time.
[Music: Sir Toby
_slow_
Til-ly val-ley, Lady!
_lively_
There dwelt a man in Bab-y-lon, in Bab-y-lon, in Bab-y-lon, There dwelt a man in Bab-y-lon, Lady! Lady! Lady!]
Here is one verse of the 'Ballad of Constant Susanna,' to which Toby refers.
'There dwelt a man in Babylon Of reputation great by fame; He took to wife a faire woman, Susanna she was callde by name. A woman faire and vertuous, Lady, lady! Why should we not of her learn thus To live godly?'
11. 'Farewell, Dear Heart,' p. 72. _Tw. Nt._ II, iii, 102.
[Music:
Toby
Farewell dear heart, since I must needs be gone,
Clown
His eyes do shew his days are almost done.
Toby
But I will never, never, never die!
Clown
Oh there, Sir Toby, there, oh there you lie.]
This can hardly be the original tune to "Corydon's Farewell to Phillis," from parts of the first and second verses of which the above words are quoted. See Percy's "Reliques," Vol. I.
12. Here are two relics of music for the Clown in _Tw. Nt._ IV, ii, probably of the same period as the above.
[Music: Clown
Hey, Robin, jolly Robin, Tell me how thy lady does, Hey, Robin, jolly Robin, tell me how thy lady does. I'm gone, Sir, and anon, Sir, I'll be with you again, Sir.]
For the rest of the words of 'A Robyn, Jolly Robyn,' see Percy's Reliques, Vol. I. p. 148.
13. 'Whoop, do me no harm, good man,' p. 72. _Winter's Tale_ IV, iii, 198. The rest of the words unknown, but several ballads printed in latter part of 16th century go to this tune--
[Music: Autolycus [Whoop, do me no harm, good man.]]
14. Stephano's 'scurvey tunes,' _Tempest_ II, ii, 41, see p. 73. "As sung by Mr Bannister" [1667].
[Music: Stephano
I shall no more to sea, to sea, Here shall I die a-shore. The master, the swabber, the bosun, and I, The gunner, and his mate, Lov'd Mall, Meg, Marian, and Margery, But none of us car'd for Kate; For she had a tongue with a tang, Then to sea, boys, and let her go hang, Then to sea, boys, and let her go hang.]
15. 'Jog On,' p. 72, _Winter's Tale_ IV, ii, 125. Two more stanzas were first printed 1661, see Chappell, Vol. I. 160. The tune is from the Fitzwilliam Virginal Book (Queen Elizabeth's Virginal Book), where it has the name
_Hanskin._
[Music: Autolycus
Jog on, jog on, the foot-path way, And merrily hent the stile-a: A merry heart goes all the day, Your sad tires in a mile-a.]
16. 'The Hunt is up,' see p. 73, and _Rom. and Jul._ III, v, 34. The tune is at least as old as 1537, when John Hogon was proceeded against for singing it with certain political words.
[Music:
The hunt is up, the hunt is up, and it is well-nigh day; And Harry our king is gone hunt-ing to bring his deer to bay.]
Grove [see under Ballad] gives quite another tune, to which 'Chevy Chase' also was sung.
The tune here printed was also sung (1584) to 'O sweete Olyver, leave me not behind the,' but altered to four in a bar. See _As You_ III, iii, 95, where a verse is given which will easily fit to the music.
17. 'Heart's Ease,' p. 73. _Rom._ IV, v, 100. Words not known. Tune before 1560.
[Music]
18. 'Where Griping Grief,' p. 73, _Rom._ IV, v, 125, by Rich. Edwards, poet and composer, 1577.
[Music:
Where griping grief the hart would wound, and dol-ful domps the mind op-presse, There Musick with her sil-ver sound is wont with spede to give re-dresse; Of troubled minds, for e-ve-ry sore, Swete Mus-ick hath a salve in store.]
19. 'Green Sleeves,' see p. 74, and _Wiv._ II, i, 60, etc. The tune is probably of Henry VIII.'s time.
[Music:
Alas, my love you do me wrong to cast me off dis-courteously, And I have lov-ed you so long, de-lighting in your company, Greensleeves was all my joy, Greensleeves was my delight, Greensleeves was my heart of gold, and who but my Lady Greensleeves.]
20. 'Carman's Whistle,' p. 76, _H. 4. B._ III, ii, 320. Tune as given by Byrd, who wrote variations on it before 1591.
[Music]
21. 'Fortune my Foe,' p. 76, _Merry Wiv._ III, iii, 62. This old tune is, at latest, of Elizabeth's day, and most likely much older. The words here set are given in Burney, and the harmony is by Byrd, who wrote variations on it for Queen Elizabeth's Virginal Book.
[Music:
Ye noble minds, and famous martiall wights, That in de-fence of native country fights, Give eare to me, that ten yeeres fought for Rome, Yet reapt disgrace at my returning home.]
The above words are the first verse of 'Titus Andronicus's Complaint,' which Burney says was originally written to this tune. The ballad is given in full in Percy's Reliques, Vol. I. p. 180.
22. Ophelia's Songs, p. 76, _Hamlet_ IV, v.
[Music: I.
(_a_) How should I your true love know from a-noth-er one? By his cockle hat and staff, And his san-dal shoon.
(_b_) He is dead and gone lady, He is dead and gone; At his head a grass green turf, At his heels a stone.
(_c_) White his shroud as the mountain snow, Larded with sweet flowers; Which bewept to the grave did go, With true love showers.]
This is certainly old, early 16th century. The tune has a striking likeness to 'Walsingham,' which is the first piece in the Fitzwilliam Virginal Book. See Percy's Reliques, Vol. II. p. 75. But the date of the next is not so certain, though probably it is of Shakespeare's time.
[Music: II.
(_a_) Good morrow, 'tis St Valentine's day All in the morn betime, And I a maid at your window To be your Valen-tine.
(_b_) For bonny sweet Robin is all my joy.]
The next two are of the same period as I.
[Music: III.
They bore him bare-faste on the bier; And in his grave rain'd many a tear.]
[Music: IV.
(_a_) And will he not come a-gain? And will he not come a-gain? No, no, he is dead, Go to thy death bed; He never will come a-gain.
(_b_) His beard as white as snow, All flax-en was his poll; He's gone, he's gone, And we cast away moan; God ha' mer-cy on his soul!]
L. 184, 'Bonny sweet Robin.' With the exception of this _one line_, and _the title_, 'My Robin is to the greenwood gone,' nothing remains of this song, but the following tune, which is of some date before 1597.
[Music: V.
My Robin is to the greenwood gone. For bonny sweet Robin is all my joy.]
23. Catches, of 16th century, prob. long anterior to Shakespeare.
I. 'Hold thy peace,' see p. 77, _Tw. Nt._ II, iii. For _three_ voices, Sir Toby, Sir Andrew, and Feste the clown, who begins the catch. The second man follows when the first has arrived at [segno symbol]. For the explanation see p. 90.
[Music:
Hold thy peace, and I prithee hold thy peace, [segno symbol] Thou knave, Hold thy peace thou knave, Thou knave.]
'Thou knave' will be heard _nine_ times for every once the whole tune is sung by one of the voices.
II. 'Jack boy, ho boy, news,' see p. 92, and _Shrew_ IV, i, 42. This is very old, prob. quite early 16th century (see Introduction).
For _four_ voices. The second man comes in at [segno symbol], as before.
[Music:
Jack, boy, ho! boy, news; [segno symbol] The cat is in the well, Let us ring now for her knell, Ding, dong, ding, dong, bell.]
24. Threeman songs (corrupted into 'Freeman,' see p. 83). These were entirely different from Catches. A Threeman song is merely (as a rule) a song with _three parts_,--_e.g._, two trebles and a tenor, etc. _Winter's Tale_ IV, ii, 41, and IV, iii, 285-327.
Here is a Threeman song, published in 1609, but probably much older than that.
[Music:
V.1. Wee be souldiers three, Pardonez moy je vous en prie: Late-ly come forth of the low coun-try, With nev-er a penny of mony.
V.2. Here good fellow, I drinke to thee, Pardonez moy je vous en prie: To all good fel-lowes wher-ever they be, With nev-er a penny of mony.]
There are two more verses of the same sort.
25. 'Canst thou not hit it,' _L.L.L._ IV, i, 125. No more words known, except this one verse.
The tune is mentioned as a dance in an Elizabethan play, and is alluded to in an old ballad 'Arthur a Bradley.'
[Music:
Thou can'st not hit it, hit it, hit it, Thou can'st not hit it, my good man, An' I cannot, cannot, cannot, An' I cannot, an-o-ther can.]
26. Dances. [Also see Note on Arbeau's Orchésographie.]
(_a._) Pavan and Galliard, 'St Thomas Wake,' by Dr Bull, from Parthenia, printed 1611. (Bull was born 1563.) See p. 114.
Pavan [if played quick became Passamezzo. _Tw._ V, i, 200].
[Music]
Galliard St Thomas Wake, the _same music_ but in triple time. _Tw._ I, viii, 127, _H. 5._ I, ii, 252.
[Music: Galliard, or Cinquepace.]
(_b._) 1. Part of a 'Passamezzo,' date 1581. (See Note on Arbeau's Orchésographie.) _Tw._ V, i, 200. See p. 135.
[Music: Passe mezzo, or Measure (_As You_ V, iv, 178, etc.)]
(_b._) 2. The first 'strain' of a German Pavan for the Lute, dating 1562.
[Music]
(_c._) An English 'Haye,' or 'Raye,' or 'Round,' date 1678. See p. 131, _L.L.L._ V, i, 148.
For a French 'Haye,' see Note on Arbeau's Orchésographie. Tune only given [see Stainer and Barrett's Dict. of Musical Terms].
[Music]
It will be noticed that the steps of the Haye, as given in 'Orchésographie,' can be adapted to this tune. The dotted minim value of this corresponds with the semibreve value of the other.
(_d._) 1. The King's Hunting Jigg, by Dr Bull (1563-1628). See p. 117. _Hamlet_ II, ii, 504, etc.
[Music]
(_d._) 2. The Cobbler's Jig. 1622. See p. 125.
[Music]
(_e._) 1. An English Morris, 1650, see p. 132. _All's Well_ II, ii, 20, etc.
[Music]
(_e._) 2. Italian Moresca, by Claudio Monteverde, from his opera 'Orfeo,' 1608. This at all events must have had a different step to the Morisque of Arbeau. (See Note on the 'Orchésographie.')
This dance is certainly in triple rhythm, so the common-time sign probably indicates it should be played fast enough to give the effect of two beats to the bar.
[Music]
(_f._) Part of 'My Ladye Carey's Dumpe,' _circa_ 1600. See p. 127. _Two Gent._ III, ii, 83, etc.
[Music]
Then return to [repeat symbol]. This is about _one third_ of it. The last strain of all is the first here printed, but in _four_ parts, and with extraordinary harmony, the E's being carefully marked [natural symbol].
_N.B._--For Cinquepace, Canaries, Brawl, Lavolt, Courante, Haye, Morisque, _see the Note on_ 'Orchésographie.'
27. Musical Stage Directions. See p. 165, and ff.
(_a._) Flourish, believed to be of Charles II.'s time. See p. 167.
[Music: Eight Trumpets.]
(_b._) The Ancient English Drum March, revived in 1610. See p. 172. _H. 6. A._ III, iii, 30.
[Music: THE VOLUNTARY.]
[Music: THE MARCH.]
(_c._) Military March of the French 'Gardes de la Marine,' written by Lully, 1670. For _Hautboys_ in four parts. See p. 172. Cf. _H. 6. A._ III, iii, 33.
[Music: Batterie de Tambour.]
[Music: Air des Hautbois.]
(_d._) A 'sonnerie' of French Cavalry, 1636 (Louis XIII.). See p. 178. I connect this with 'sennet.'
[Music: Boute-selle (_i.e._, 'to horse').]
(_e._) Tucket, p. 180. _H. 5._ IV, ii, 35.
[Music: 1. An Italian Tucket, date 1638.]
[Music: 2. French Tucket, 1643.]
(_f._) 1. Old French hunting fanfare. Perhaps may be connected with 'Horns wind a Peal.' _Titus_ II, ii, 10. See p. 183.
[Music: _Four_ Horns.]
(_f._) 2. The imitation (by violins) of a hunting call in Purcell's 'Dido and Æneas,' 1675. See p. 183.
[Music]
INDEX.
ACCURATE knowledge of Shakespeare, 2, 3.
Actors preceded by drums, 163; by trumpets, 164, 167, 168.
_Actor's Remonstrance_, The, 19.
Aguecheek, Sir Andrew, a musician, 29.
'Alas, my love,' 194.
Alarum, 165, 166.
_All's Well_, 120, 133, 163, 205.
Alman, a dance, 115, 170.
Amateurs, 17th cent., 13, 14, 47.
'And will he not come again,' 77, 197.
Anthems, practised by Falstaff, 85.
'Anthoinette,' galliard tune, 143.
_Antony and Cleopatra_, 152, 159, 162, 166, 175.
Arbeau, see 'Orchésographie.'
Arch-Lute, 56, and frontispiece.
Arena, Anthoine, 139.
_As you like it_, 72, 73, 77, 93, 94, 126, 155, 157, 193, 203.
Autolycus's songs, 72, 191, 192.
'Ayres' for lute, 55, 187.
BACON, _Masque and Triumph_, 31.
Bacon, _Sylva Sylvarum_, 31. on the Recorder, 31, 50.
Bagpipe, 78, 81, 96, 98, 102.
Ballads, 20, 70 ff, 86, 97, 98, 200.
Ballad of Constant Susanna, 189.
Ballete, combined dance and song, 113.
Ball-room etiquette (1588), 138, 139, 140, 144.
Bannister, Mr, 191.
Bandore, sort of lute, 170.
'Banket,' 16th cent., 5.
Barber's shop, music in, 7, 18, 19.
Bars, invention of, 34.
Base (bass), quibbles on, 27, 60.
Bass descant, 185.
Basse dance, 137-141.
Beaumont, Gray's Inn Masque, 36, 171.
Beaumont and Fletcher, _Coxcomb_, 16.
Beaumont and Fletcher, _Valentinian_, 171.
Beak-flute, 50, 52.
'Bear his part', 16, 22, 79, 80. Play his part, 12. Sing his part, 14.
'Bene's,' the three, 8.
Bergamasca, 114.
Blacke Saunctus, 10.
Boleyn, Anne, 10.
_Bonduca_, catch in, 17.
'Bonny sweet Robin,' 77, 196, 197, 198.
'Boute-selle', 210.
Bow, viol, 48, and frontispiece.
Branle, Le, dance step, 139.
Bransle, dance (brawl), 115, 147-148 (tune and steps), 149.
Brant, 'Ship of Fools,' 96.
Brawl, dance, 115, 118, 119, (derivation), 123, 208.
Breast, _i.e._ voice, 88.
Bridge, Dr J.F., Shakespeare Songs, 87, 93, 171.
Broken music, 30-32, 103, 104, 125, 187.
Broken time, 32, 33.
Bull, Dr John, 54, 114, 117, 124, 125, 136, 201, 205.
Burden, 22, 23, 24, 26, 69, 78, 82.
Burden, 'Light o' love' without a, 24, 26, 71.
Burney, 36, 195, 196.
Bussing base, 16, 24.
'But shall I go mourn,' 72.
Byrd, William, 54, 76, 124, 171, 195.
'By a bank,' 26.
CANARY, dance, 118, 119, 120, 146 (tune and steps), 208.
Canaries, see Canary.
Cannon, on stage, 165, 168.
Canon, 10, 20.
'Canst thou not hit it,' 200.
Caper, to, in a galliard, 121, 124, 138, 143.
Carey's Dump, My Lady, 128, 207.
'Carman's whistle,' 76, 195.
Catch, 16, 17, 18, 20, 65, 69, 77, 87, 88, 89, 90, 91, 92, 198, 199.
Caulfield, Collection of Shakespeare music, 77.
Censorinus, on music of Spheres, 153, 154.
Cerreto, Scipione, see Lute, 55.
Chamber music, 12-14, 15, 47.
Chappell, 9, 31, 36, 74, 111, 192.
Charles I., 11, 12. music in time of, 2.
Chaucer, 65, 129.
_Chelys Minuritionum_, 29, 30.
'Chest' of viols, 45-49.
Chorus, or dance, of heavenly bodies, 154-6.
Christopher Sympson, see Sympson.
Cinquepace, 121, 122, 142 (tune and steps), 202, 208.
Cittern, in barber's shop, 18, 19, 170.
Cittern, carved head of, 19.
Clavichord, 67, 68.
Clergy and Music, 8, 9, 13, 15.
'Cliff' (clef), 40.
Cobbler's Jig, The, 118, 125, 205.
Comedies, Music in the, 4, 169.
'Come live with me,' 188.
Compendium, Sympson's, 116, 117.
Compositions by Henry VIII., 9.
_Comus_, Milton's, 171.
'Conceits,' 101.
Concolinel, 70.
Concord, 27, 32.
Congee, or Congedium, 139.
Consorts, 'broken' and 'whole,' 31, 48, 55, 125.
Consort, of viols, 31, 98, 117.
Coperario (J. Cooper), 12, 36, 47, 171.
Coranto, dance, 115, 116, 118, 121, 122 (derivation), 123, 124, 126, 136, 149-150 (tune and steps).
_Coriolanus_, 166, 167, 176.
Cornet, 170, 179, 180, and x.
Cornet playing, 17th cent., 179.
Cornyshe, W., 66.
Corydon's Farewell to Phillis, 190.
Cotgrave, on 'freeman's songs,' 83.
'Counter,' to, 66, 68, 97, 98.
Country Dance, 115, 116, 122, 123, 126.
Courante, 208.
Curranta (courante, coranto), 7.
Cushion dance, 118, 126.
Cymbals, 176.
_Cymbeline_, 73, 100, 109, 110.
_Damon and Pithias_, 16.
Dances, 16th cent., 137-151.
Dance music, 139, 144, 145, 200, 201 ff.
Dances in Shakespeare, 113 ff.
Dances, sung, 113, 115, 118, 119, 145.
Dancing, time of Elizabeth, James I. and Charles I., 118.
Dances of 16th cent., origin of Sonata form, 113.
Dancing Schools, English, 136.
Dancing, to tabor and pipe, 78, 120, and frontispiece.
Davenant, _The Wits_, 17.
Davies, Sir John, on dances, 123, 124.
_Declaration of Egregious Impostures_, 17.
Dekker, _Satiromastix_, 164.
Delaborde, 119.
Descant, 6, 8, 22, 23, 25, 27, 29, 41, 42, 67, 68, 185.
Descanters, contention of, 6.
Descant on a "ground," 29, 30.
_Deuteromelia_, Ravencroft's, 83.
'Diabolus est,' 37, 186.
Diapason, 22, 23, 153, 154.
Diminution, see Division.
Dinner party, 16th cent., 5.
Dinner, music during, at taverns, 20, after supper, 105.
Dirge, 109, 110, 111.