[Listen]
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 . For the explanation see p. 90.
[Listen]
'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 , as before.
[Listen]
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.
Transposed down a 4th.
[Listen]
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.'
[Listen]
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].
[Listen]
Galliard St Thomas Wake, the same music but in triple time. Tw. I, viii, 127, H. 5. I, ii, 252.
Galliard, or Cinquepace.
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(b.) 1. Part of a 'Passamezzo,' date 1581. (See Note on Arbeau's Orchésographie.) Tw. V, i, 200. See p. 135.
Passe mezzo, or Measure (As You V, iv, 178, etc.)
[Listen]
(b.) 2. The first 'strain' of a German Pavan for the Lute, dating 1562.
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(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].
[Listen]
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.
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(d.) 2. The Cobbler's Jig. 1622. See p. 125.
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(e.) 1. An English Morris, 1650, see p. 132. All's Well II, ii, 20, etc.
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(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.
[Listen]
(f.) Part of 'My Ladye Carey's Dumpe,' circa 1600. See p. 127. Two Gent. III, ii, 83, etc.
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Then return to . 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 ♮.
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.
[Listen]
(b.) The Ancient English Drum March, revived in 1610. See p. 172. H. 6. A. III, iii, 30.
THE VOLUNTARY.
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THE MARCH.
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(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.
Batterie de Tambour.
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Air des Hautbois.
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(d.) A 'sonnerie' of French Cavalry, 1636 (Louis XIII.). See p. 178. I connect this with 'sennet.'
Boute-selle (i.e., 'to horse').
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(e.) Tucket, p. 180. H. 5. IV, ii, 35.
1. An Italian Tucket, date 1638.
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2. French Tucket, 1643.
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(f.) 1. Old French hunting fanfare. Perhaps may be connected with 'Horns wind a Peal.' Titus II, ii, 10. See p. 183.
Four Horns.
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(f.) 2. The imitation (by violins) of a hunting call in Purcell's 'Dido and Æneas,' 1675. See p. 183.
[Listen]