it ceased to be true descant, and was then called 'prick-song.' A rough example may be had in the extempore bass or alto which some people still sing in church instead of the melody. A more accurate example of descant would be this—let A sing a hymn tune, say the Old 100th, and let B accompany him extempore with a separate melody within the bounds of harmony. B is 'descanting' on the melody that A sings.[1]
The art of descant in Elizabeth's time corresponded closely with what we call 'Strict Counterpoint' (contra, punctus, hence 'prick-song,' or 'written' descant).
The modern equivalent for 'bear a part' (l. 1135) is 'sing a part.' [See also Sonnet VIIL] Any person of decent education could 'bear a part' in those days, i.e., read at sight the treble, alto, tenor, or bass 'part' of the work presented by the host for the diversion of his guests. [See Introduction.]
L. 1140. 'Frets upon an instrument' can still be seen on the modern mandoline, guitar, and banjo. In Shakespeare days, the viol, lute, and cittern all had frets on the fingerboard, but they were then simply bits of string tied round at the right places for
