age,' and he therefore ventured to 'new string the harp of David' by issuing fresh editions of his 'Skill of Music,' with music for church service, in 1674, and in 1677 'The Whole Book of Psalms' in which he gave for the first time the church tunes to the cantus part.
In typographical technique Playford's most original improvement was the invention in 1658 of 'the new-ty'd note.' These were quavers or semiquavers connected in pairs or series by one or two horizontal strokes at the end of their tails, the last note of the group retaining in the early examples the characteristic up-stroke. Hawkins observes that the Dutch printers were the first to follow the lead in this detail. In 1665 he caused every semibreve to be barred in the dance tunes; in 1672 he began engraving on copper plates. Generally, however, Playford clung to old methods; he recommended the use of the lute tablature to ordinary violin players; and he resisted, in an earnest letter of remonstrance (1673), Salmon's proposals for a readjustment of clefs. Playford's printers were: Thomas Harper, 1648-1652; William Godbid, 1658-1678; Ann Godbid and her partner, John Playford the younger, 1679-1683; John Playford alone, 1684-1685.
By 1665 Playford and his wife had removed from the Temple to a large house opposite Islington Church, where Mrs. Playford kept a boarding-school until her death in October 1679. In that year the school was advertised in the second book of Playford's 'Choice Ayres;' in 1680 it was announced for sale in 'Mercurius Anglicus' of 5-8 May (cf. Smith, Protestant Intelligence, 11-14 April 1681). In the meantime, by November 1680, Playford had established himself in a house in Arundel Street 'near the Thames side, the lower end, over against the George.' He suffered from a long illness in that year, and, feeling his age and infirmities, he left the cares of business to his son Henry (see below), but not without a promise of assistance from himself. He brought out, in his own name, a collection of catches in 1685; 'The Dancing Master' of 1686 was the last work for which he was responsible. He apparently died in Arundel Street about November 1686. His will was written on 5 Nov. 1686, neither signed nor witnessed, and only proved in August 1694, the handwriting being identified by itnesses. He was probably buried in the Temple Church as he desired, although the registers do not record his name. Henry Purcell and Dr. Blow attended the funeral. Several elegies upon his death were published; one written by Nahum Tate, and set to music by Henry Purcell, appeared in 1687.
Portraits of Playford are published with several editions of 'A Brief Introduction:' (l) at the age of thirty-eight, by R. Gaywood, 12mo, 1660; (2) aged 40, the same plate, retouched, 12mo, 1663 ('Introduction' of 1664 and 1666); (3) aged 47, by Van Hoe, 1669; (4) the same, retouched, 1669 ('Introduction ' of 1670 and 1672); (5) aged 57, by Loggan, 1680 ('Introduction' of 1687); (6) Hawkins prints a poor engraving by Grignion in his 'History,' p. 733 (Bromley, Cat. Engraved Portraits).
Playford's original compositions were very few and slight. His vocal pieces, in 'Catch ... or the Musical Companion,' 1667, are: 'Carolus, Catherina;' 'Fra queste piante;' 'Though the Tyrant;' 'Come let us sit,' a 4; 'Diogenes was Merry;' 'Come, Damon;' 'Cease, Damon;' 'Cupid is mounted;' 'Hue ad Eegem Pastorum,' a 3. 'When Fair Cloris' is in the ' Musical Companion,' 1673; 'Methinks the Poor Town' in 'Choice Songs,' 1673. 'Laudate Dominum,' 'Out of the Deep,' 'O be Joyful,' 'I am well pleased,' 'Lord, Thou hast brought up my Soul,' appeared in 'Cantica Sacra,' 1674, and several tunes by Playford in 'The Whole Book of Psalms.' 'Comely Swain,' a 3, was printed in 'The Harmonicon,' vi. 120.
The distinct works of composers which Playford published may be found under the composers' names. The chief volumes of collective music for which he was responsible are: 1. 'The English Dancing Master,' entered at Stationers' Hall, 1650; 'The Dancing Master,' second edition, 1652; another, probably the third edition, was advertised in 1657, apparently reprinted 1665, with the tunes which afterwards formed the first edition of 'Apollo's Banquet;' editions followed in 1670, 1675, 1679, and the seventh in 1686; by Playford's son, Henry, in 1690, 1695, second part, 1696, 1698, 1701; twelfth edition in 1703, after which it passed into other hands, reaching the seventeenth edition in 1728. 2. 'The Musical Banquet,' in four tracts: i. 'Rules for Song and Viol' (afterwards developed into 'A Brief Introduction,' &c.); ii. 'Thirty Lessons...' (afterwards 'Musick's Recreation on the Lyra-Violl'); iii. 'Twenty-seven Lessons of Two Parts' (afterwards ' Court Ayres '); iv. 'Twenty Rounds or Catches' (afterwards 'Catch that catch can'), about 1650. 3. 'A Book of New Lessons for the Cithern and Gittern,' about 1652 and 1659, reprinted 1675, 'Musick's Delight on the Cithern,' 1666. 4. 'Catch that catch can, or a Choice Collec-tion of Catches, Rounds, and Canons for Three or Four Voyces, collected and pub-
