Page:Shakespeare and Music.djvu/199

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APPENDIX

1. Example of Descant [Lucrece, 1134] from Morley, 1597 (see Introduction, p. 6 and p. 24).

$\new Staff << \clef bass \time 2/1 \override Score.TimeSignature #'stencil = ##f \new Voice \relative g { \stemUp g1^\markup \small "(Plain-song)" c | b a | g fis | g d' | c b | a a g } \new Voice \relative g, { \stemDown g2_\markup \small "(Descant)" c2. b4 a2 | g g'1 fis2 | g g, d'2. c4 | b2 a4 g fis2 g | a4. b8 c4. d8 e4. f8 g2 _~ | g fis4 e fis g2 fis4 | g1 \bar "||" } >>$

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. 3/5, 25.

$\new Staff << \clef bass \time 2/2 \new Voice \relative b { \stemUp \tiny <b d>2 <a d> | <b d> b4 cis | <d a>2 <d g,>4 cis | d1 | <e c g>2. <d a>8 c | d4 c <d g,> <c a>8 b | <a fis>4 g a2 | <b g>1 } \new Voice \relative f { \stemDown \tiny \shiftOn s1 s s fis2 a4 b | s1 s | s2 g4 f | d1 } \new Voice \relative g { \stemDown \repeat volta 2 { g2_\markup { \right-align "Ground Bass" } fis | g2. g4 | fis2 e | d1 | c2 e4 fis | g2 b,4 c | d1 g, } } \figures { s2 <6> | s2. <4\\>4 | <6>2 <7>4 <6\\> | s1 | s2 <6>4 <6> | s2 <6>4 <6> | <5> \bassFigureExtendersOn <4> <4> <3> } >>$

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.

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