TUMS Busking Book 1 01

Sopranos
! ! ! ! # "
Altos
The TUMS Busking Book

Tenors Basses
"
Edited by Philip Legge Version 1.01 1 January 2008
The TUMS Busking Book

Edited by Philip Legge
This book is a belated thank-you present to the legions of singers from the Tasmania University Musical Society who like me, would get up early every Saturday morning during the course of the academic year to head down to the Salamanca Markets at Battery Point, Hobart, and do our best to entertain the passersby, but most importantly try to sing well enough to convince the financially able to part with some of their hard-earned lucre. This collection is designed to update the old TUMS busking book with clear, legible, and reliably typeset versions of the familiar repertoire much as it was when I sang with TUMS in the early 1990s. Moreover, it is possible now to include a few items with slight variations to fix a number of longstanding errors, which should not prove too controversial. In the case of a couple of items, extra verses of songs are available particularly where the song is otherwise rather short. If you are a first-time singer at a TUMS busking session, or an unexperienced singer generally, a few notes on the format of each item may be helpful to you. At the start of each piece, a treble clef will indicate the key, and the starting notes that will be given by whomever has a pitch pipe or tuning fork.
#$ ! $ %
For example: G Major
3, 4, 1
Altos Tenors Sopranos, Basses
Sopranos
! #& $ ' ! & $ % %$ #& ! & # " #& " & #& ! & $$ ' % % $ $$ ' % % $ $$ ' % % $
Lau - da - te
( % % % %$ ( % % % %$ ( % % %$ % % % % %$ )
This legend indicates that the G (the white note) is the root of the chord, and is sung by the sopranos and basses. The third and fifth of the triad are shown with black notes and are sung by tenors (B) and altos (D). Note that this does not mean the altos actually sing above the sopranos! It shows your note in relation to the other parts of the chord. Finally, in a box below the chord is the countin you will hear prior to starting the piece at a unanimous speed.
Laudate
no - men Do - mi - ni, vos ser - vi
% % % % % ) ( % % % % % % % % % % ) ( % % % % %
Do - mi - ni,
% % % & % % % % % % & &
Altos
Lau - da - te
Do - mi - ni,
Tenors
Lau - da - te
Do - mi - ni, ab
% %
Basses
Lau - da - te
Do - mi - ni,
Almost all of the songs have one voice to a part (or occasionally two staves contract into one) and repeat marks usually do not require a page turn backwards. Thats pretty much it enjoy! The initial publication of 15 January 2006 contained a few errors, soon ironed out; this revision introduces some substantial changes to El Grillo. Comments, and requests for inclusion of new items may be sent to: Philip.M.Legge @ gmail.com Philip Legge Melbourne, New Years Day 2008
Contents
Come again! .............................. Pastyme ..................................... Laudate ..................................... Come, ye Sons of Art ............... Non nobis, Domine ................... Fine knacks ............................... Dona nobis pacem .................... Pase el agoa .............................. Weep O mine eyes .................... Alle psallite .............................. Drink to me only ...................... Gaudeamus igitur ..................... 4 6 8 10 11 12 14 15 16 18 19 21 Now is the month of maying .... Greensleeves ............................. Round on a well-known text ..... El Grillo .................................... Il est bel et bon ......................... If music be the food of love ..... Since first ................................. Old mother Hubbard ................ All at once well met .................. Fa una canzona ......................... Lo, how a rose .......................... Your shining eyes ..................... Faire Phyllis .............................. 22 24 25 26 28 34 36 38 44 48 49 50 52
Index of Titles ...........................
55
Index of Composers .................
56
#$ ! $ %
Sopranos
G Major
Come Again!
Tenors Sopranos Altos, Basses The normal verses sung are the ones at the bottom of this page (1, 2, and 6), each time with a repeat of the fourth and fifth lines. The other 3 verses are on the opposite page.
1, 2, 2, 2
! #* ' ! &
Altos
Tenors
Basses
7
! # ! ' ! ' ! ' # "# ' " # #
#* % $ % & ! & ) # Come a - gain! & " #* % % & "

Come a - gain!
#* ! & %$
%$ % &
Come a - gain!
' ' ' ' & & &
%
sweet
( %
&
% % %
%
love
sweet
love doth now
% % % % % % %
%$
now
doth
%$
now
in
in
% )
-
John Dowland
&
vite
sweet
love
doth
% % % %
Come
% % % % % %
gain!
Thy
gra - ces
Thy
gra - ces
% %$ % %$
that that that
% % % %
sweet
love
re -
re - frain
( % &
' ' ' '
frain
To
% % % %
doth
do
% % %$ %$ % %
now
%$
% % &
in
vite
& &
me
To
do
me due
( % %$
due
%$
in
( %
vite
de - light,
( % & ( % & & ( % &
vite
Thy
gra - ces
Thy
gra - ces
that
% %
re -
frain
To
do
me due
% % #% )
due
de - light,
re -
frain
To
do
me
%$
de - light,
de - light,
1. Come again! sweet love doth now invite Thy graces that refrain To do me due delight, To see, to hear, to touch, to kiss, to die, With thee again in sweetest sympathy.
2. Come again! that I may cease to mourn Through thy unkind disdain; For now left and forlorn I sit, I sigh, I weep, I faint, I die In deadly pain and endless misery.
6. Gentle Love, draw forth thy wounding dart, Thou canst not pierce her heart; For I, that do approve By sighs and tears more hot than are thy shafts Do tempt while she, while she for triumphs laughs.
Copyright 2006 Philip Legge, for the Choral Public Domain Library: http://www.cpdl.org/ Editions may be freely duplicated, distributed, performed, or recorded. All other rights reserved.
! # $ ! $ + %( % To see, # $ ! $&
15
+ (% %
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"
! #& !
21
# $ ! $& # To " # $$ &

To To
% %
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to to to
+ %( %
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( + % %
to die
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to
&
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to
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+ % % % % % )
die, to to
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die, to die with
die,
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in sweet - est sym
% %
* with thee a - gain
- gain,
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a
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die with
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est a - gain in sweet est
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pa - thy.
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3. All the day the sun that lends me shine By frowns doth cause me pine And feeds me with delay; Her smiles, my springs that makes my joy to grow, Her frowns, her frowns, the winter of my woe.
4. All the night my sleeps are full of dreams, My eyes are full of streams. My heart takes no delight To see the fruits and joys that some do find And mark the stormes, the stormes are me assignd.
5. But alas, my faith is ever true, Yet will she never rue Nor yield me any grace; Her Eyes of fire, her heart of int is made, Whom tears nor truth, nor truth may once invade. * Dowland probably intended an F# here, or would have expected singers to apply the rules of musica ficta by sharpening the note. Dowland notated the song without a key signature, thus requiring all sharps to be explicitly written in, and the note here was probably overlooked.
$ !, $ %
G Minor
Pastyme
Sopranos sing the alto part for verses 1 and 2, and only in the 3rd verse sing the soprano line. It is a descant version of the tenor part. As shown below, two bars of clapping precede the start of verse 1, but only one bar separates the two following verses.
Tenors Sopranos, Altos Basses 1, 2, then 2 bars of clapping
Henry VIII of England
Sopranos
! & ! ,&
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Altos
& ! ,&
! ,& & # " & " ,&
3. Com - pa - ny
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with hon - es - ty,
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Is
( % ( % ( %
I
1. Pas - time with
good com - pa - ny, _
Tenors
1. Pas - time with
Basses
Clapping
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1. Pas - time with
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// / //
! %$ !,
5
%$ !, # love " $ " ,%

love love
!, % $
vir - tue, vi - ces
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( % % % %
to
and shall
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flee.
&
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is
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good and ill,
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die.
and shall
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. / / / / / / /
and shall
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die.
& &
Grudge who lust
but
Grudge who lust
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none de - ny,
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/ / / / / / / / / / / /
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so
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9
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God God
be pleasd thus live
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free
will.
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en - sue,
be pleasd thus live will
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will
For my
pas - tance,
hunt, sing and dance,
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the worst
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es - chew,
my
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13
. / / / /
be pleasd thus live will
/ / /
/ / / / / + / + / + / / + + / + / + / / + ) ) ) ) ) ) ) ) % % % %$ ) ( % % % %$
Or, continue the same rhythm throughout.
%$
I.
I.
For my
pas - tance,
my
For my
pas - tance,
my
( % $$ $$ $$ $$
% ( %$ % % % %$ !, % $ % % % $ % % % ) # heart is set _ all good - ly sport, for my com- fort, ( ,% " % $ % % $ % ,% % $ % %$ , ) % % " )
heart is set _ all good - ly sport, for my com - fort, heart is set _ all good - ly sport, for my com - fort,
! , % $ % % % % $ %( % % % $
mind shall be _ Vir - tue to
use,
vice to
re - fuse,
thus shall I use
% % % % % 01 % #% ) ( % % % #% % % % 2 % %%% ) % ,% % ) % 2 2
me. let?
Last note of verse 3 is held double.
who shall me
who shall me
let?
+/+//+ +/+/+//+ / . / // / // +/ ) ) )) ) ) ))
who shall me
/ / / / / / / / $$
let?
2. Youth must have some dalliance, of good or ill some pastance. Company methinks then best, all thoughts and fancies to digest. For idleness, is chief mistress of vices all Then who can say but mirth and play is best of all.
3. Company with honesty, Is virtue, vices to ee. Company is good and ill, but every man hath his free will. The best ensue, the worst eschew, my mind shall be ) Virtue to use, vice to refuse, thus shall I use me.
Pastyme has a tendancy to get faster, so if at all possible those who clap the rhythm should try to keep as tight a rein on the tempo as is practical. The syncopated rhythms (bar 11 onwards) were never used by TUMS buskers in the early 90s, but times change and most mainlanders use this pattern now; but it may often be clearer and easier to keep the same rhythm constant throughout. Sopranos sing with the altos for verses 1 and 2, and then jump up to the soprano line for verse 3. Note that the last note of verse 3 is held for double the length: W, and the clappers will usually bring the singing to an emphatic end. The rapid alternation between F and F# in the alto part has never convinced me as being stylistically true, so this version has a few extra F#s at cadences.
8
Major #G $ ! $ % 3, 4, 1 Altos Tenors Sopranos, Basses
Laudate
( % % % %$ ( %$ % % % % % % %$ )
Dr Christopher Tye
Sopranos
! #& $ ! & $ ' % %$ #& ! & # " #& " & $$ ' % % $ $$ ' % % $ ' %
Altos
% % % % % ) # & $ Lau - da - te( no - men Do - mi( - ni, vos ser - vi ! & $ ' % %$ % % % %$ % % % % %
Lau - da - te no - men Do - mi - ni, vos ser - vi Lau - da - te no - men Do - mi - ni, vos ser - vi
Do - mi - ni,
% % % & % % % % % % & &
Tenors
% % % % % ) ( % % % % % % % %$ % %
Do - mi - ni,
Do - mi - ni, ab
% %
Basses
5
! # ! & # ! 3 #
Lau - da - te
3 '
"
! % % % % # or - tu so - lis "# ' % % %

ab ab or - tu
%%% % %
ab or - tu
% % % % % %
or - tu
so - lis us - que
% % % % % % % % &$ % % % %
-
Do - mi - ni,
ad oc - ca - sum
us - que ad oc - ca
% %
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so - lis us - que
so - lis us - que
% % %
ad
sum
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oc - ca - sum e
( %% % % %
% % &
e
( %$ % &
-
jus.
$$ $$ $$ $$
jus.
ad oc - ca - sum, ad oc - ca - sum
% %
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&
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& &
jus.
! # $ ! $' % % % # $ De - cre - ta ! $' % % % # $ De - cre - ta ! $' % % % # De - cre - ta " # $$ ' % " % %

10
% % $ %( % $ % De - i jus - ta sunt, et cor ex - hi %$ % % % % % % %$ % )

De - i
( % % $ %( % $ %( % % & %$ % % % % % %
jus - ta jus - ta sunt, et cor
ex - hi - la - rant.
la - rant.
( ' % % &
De - i
! # ! 3
15
De - cre - ta
( ( ( ! %$ % % % %$ % % % % % % %$ % % % %$ % % % & da - te De - um prin - ci - pes, lau - da - te prin - ci - pes et om - nes po - pu - li. # $ & % % & %$ % % % & ' % & ! % % & ) ) # prin - ci- pes, lau - da - te, lau - da te, om - nes po - pu - li. %$ % % ( % "# % % % % $ & ' % % %$ % ) % & % " % ) #
Lau - da - te De um prin - ci - pes et om - nes po - pu - li. De - um prin - ci - pes, lau - da - te prin - ci - pes et om - nes po - pu - li. Yes, the bass line is actually meant to go up at the end! Doctor Tye wrote the bass part almost exactly as it is written here, and some later editor came along to ensure that all the people went below the princes at least in terms of pitch. The other instances where the bass part is an octave higher or lower are also correct. Sopranos should note the F# is meant to be sustained into bar 5.
' %
%$ % & )
De - i
( % % % $ %( % % %$ % % %
sunt, et cor jus - ta sunt, et cor
ex - hi - la - rant.Lau - da - te De - um
% % % )
%$ % % % )
' %
Lau -
%$ % & % % %$ % % % %$ % ) ) )
ex - hi - la - rant.
' % %$ % )
Lau - da - te
$$ $$ $$ $$
10
# !#$ $ %
D Major
Come, ye Sons of Art

Tenors Sopranos, Altos, Basses
1, 2, 3
Sopranos
! ## 4 ! &%
Altos
Tenors
Basses
"
## 4Come, come,ye Sons of(Art, come,come a - way, ! &% % % % % % % % % % % &$ % Come, come, ye Sons of Art, come, come a - way, ## 4 ( % % % % $ % % % % % &$ ! & # Come, come,ye Sons of Art, come, come a - way, % % % % $ " ## 4 % % % % % $ % & ) &
Come, come, ye Sons of Art, come, come a - way,
% %%%% % % ) %
%$ % &$ )
$$ $$ % % % % $$ $$ % % % % $$ $$ % % %
tune all
% %%%%
voi - ces and
Henry Purcell
tune all your
$$ $$ % % % % % % % %
tune all your tune all your
voi - ces and
% %%% % % %
your voi - ces and
voi - ces and
! ## % % % % % ! )
7
# ! # %$ # in " ## $ % "
in
# !#% % % % % % &
in stru - ments in stru stru - ments
&
%
to
play,
ce - le - brate, to
( ( % % % % ( ( % % % % % % % % ) ) % % % % ) )
ce - le - brate this
% % % % ) ) ( ( % % % % % % % % ) ) % % % % ) )
% % %$
tri
( % #% ( % %
2.
ments
play,
play,
& &
to
% % %
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% % %$ % % % %$
tri -
um - phant
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um - phant
( % ( %
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tri
um - phant
stru - ments
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to
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tri
um- phant
! ## 1.& $ !
12
## !
"
## ! &$ # day, " ## & $

day, day,
&$
day,
$$ & $$ $$ & $$ & &
%
to
day,
day,
to
% % %
ce - le - brate, to
( ( % % % % ( ( % % % % % % % % ) ) % % % % ) )
ce - le - brate, to
( ( % % % % ce - le - brate this % % % % ) )
ce - le - brate this ce - le - brate this
% % % % ) )
% % %$ % % %$
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( % &$ tri - um - phant day. % % % % $ %( & $ %

tri um - phant day.
um - phant day.
% &$ )
day,
to
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tri
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&$
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# !#$ %
D Major
Non nobis, Domine

Altos Sopranos, Basses
11
2 and 3
Sopranos
Altos
! ## 4 ! & % % % % $ % $$ % % % % Non no-bis Do - mi - ne, non no - bis; ## 4 $$ ! &' % % % %$ % % % %

[Maestoso]
( + % %%% % % + %
sed no-mi-ni tu
Basses
" ## 4 & "
Non
nobis
$$ %
Do - mi -ne, non no - bis;
% % %$ % % % %
sed no-mi-ni tu - o
( % %%% %
bis;
%0% % $ % %
Anonymous
o da glo - ri- am,
da glo-ri% % % % % +) sed no-mi-ni tu -
% % % $%
Non
no -bis Do- mi - ne, non no
! ## % % %$ % % $ ! + %( % % % % % % % % % sed no - mi- ni tu o da glo - ri - am. Non no-bis Do - mi ## ! % + ( % % % % % % % %$ % % % % % am, sed no - mi- ni tu - o da glo - ri - am. Non no - bis % 0% % $ % % % % % %$ % % " ## + % % % % " )
5
- ne.
$$ 5 &$ 5 $$ & $
Fine
5 $$ %$ % &
Fine
Do - mi - ne. Fine
o da glo - ri - am, sed no - mi- ni tu - o da glo - ri - am. Non. Not to us, Lord, not to us; but to your name be glory. The attribution of this canon to Byrd is spurious. Bb/F Major
[Tenors optional]
$ !, $ %
1, 2, 3
Sopranos Altos, Basses
Philip Legge
Sopranos
( $ ! 4 , % + % $ % % % ,% ! & % %$
[Vivace]
Altos
4' ! ,& % %
4 ! ,& ' #
' %
Non, non,
non
Non, non,
ad libitum
Tenors
Basses
" 4 " ,&
Non,
$$ %
$$ + %( % % % % $ 0 % %($ %
no - bis Do - mi - ne, non no - bis
( 0% % $
The canon in the tenor is not exact, and may be omitted.
6 + %( % % %
sed
6 +
no - mi- ni
$$ %
non,
Non,
non,
non
% )
Do - mi - ne,
0% % % %
+ % )
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% % % % %$
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% %($
sed
( % % % %
no - mi- ni
tu - o da
%%
( %
6 +
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Do
( 0% % $
mi - ne,
sed
12
! !, % $
4
!, %
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!, % % % # no - mi - ni
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% % %$ % )
tu
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% %
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sed
% %%
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% % %$
o da glo
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tu - o da glo - ri - am, non,
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-
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tu - o da glo - ri - am, non!
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non!
$$ % + ' )
$$ %( + '
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$ !, $ %
Sopranos
F Major
Fine Knacks
Sopranos Altos Tenors, Basses
1, 2, 3, 4
! &% ! ,&
% % % % % % % % % % % % % % % %
% % % ) % %
Altos
Tenors
Basses
! !, %
4
% ! ,& & # Fine " &% " ,&
& ! ,& %
Fine knacks for la - dies, cheap, choice, brave, and new,
% ) %
Fine knacks for la - dies, cheap, choice, brave, and
% % % % ) % %
0% % ) % % %
+ % % % %$ % % % % % %$ % % %$ % % %$
John Dowland
good pen- ny worths but
( % ( % % ) % )
new, good
pen- ny - worths but
knacks for la - dies, cheap, choice, brave, and
Fine knacks for la - dies, cheap, choice, brave, and
new, good
% !, # mon " " ,%
!, % % %
mon - ey can - not move,
% % % & % % % & % % % & ( % &
%
I
% %
new, good
( % % I keep ( % %
I keep
keep a
( % %$
fair a fair a
%$
- ey can - not move,
%$ % %$
I
( ( % %$ % % % % % %$
but
% % % % % & ) but for the fair to view, ( % % % % % #&

for the fair to but
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% #% % ,%
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7
( !, + % % $ % % $ % % % % % % % $ % & # a beg - gar may be li - be - ral of love, ( " % % % %$ % , % % %$ % & "

a beg - gar may be li - be - ral of love, a beg - gar may be li - be - ral of love,
!, %
a beg - gar may
( % % % % $ %% %% & % %
be
( % %
%% %% &
li - be - ral of love,
$$ ' % % % $$ & $$ & $$ & % % % % % %
% %
though all my wares be trash,
though
all my wares
% $ %( % $ % 0% % % %$
&
13
be trash,
the
( % % )
though
all my wares be trash,
though
all my wares be trash,the heart is
%$ % % % 5 2
the
! % % & !, + %
11
5 % % % %$ % % % % % % % % $ , % % % %$ % ! % 2 % % ) ) # heart,the heart is true, the heart,the heart is true, is true, the heart is true, the heart is true. ( 5 ( %$ % % $ " %$ % % % % % % %$ % %$ % 2 % " , )
heart is true, the heart is true, the heart is true. true, is true, the heart is true,the heart is true, the heart is true.
!, % $
the heart is true,
( % % $ %( %
the heart
( % %
0% & )
is true,
%$
( % %$
( + % &
the heart
% % %( %
is
( 5 % 2
true.
$$ $$ $$ $$
2. Great gifts are guiles and look for gifts again, My trifles come, as treasures from my mind, It is a precious jewel to be plain, Sometimes in shells the orient pearls we nd, Of others take a sheaf, of me a grain, Of me a grain, Of me a grain. 3. Within this pack pins, points, laces and gloves, And diverse toys tting a country fair. But my heart where duty serves and loves, Turtles, and twins, courts brood, a heavenly pair, Happy the heart that thinks of no removes, Of no removes, Of no removes.
14
$ !, $ %
F Major
Dona nobis pacem

Soprano 1 Soprano 1 begins alone; at bar 8 they go back to sing the Soprano 2 line, while Soprano 2 starts from the beginning. Tenors and Basses should enter on the fourth repetition, and repeat their parts until everyone is sick and tired of it!
1, 2, 3, 4
Sopranos
! 4 $ ! , & ) $%
Anonymous
4 ! ,& & $ 4 ! ,& & $

do do
Do - na
&
%
-
&$
na
no - bis
&
% % % %
pa no -
cem,
% %
pa - cem,
% & % &
Altos
Tenors
Basses
4 ) $$% ! ,& # do " 4 $ " , & ) $% $

do
&
na
&$ %
- na
( % % % %
na
no - bis
&
no - bis, do - na
% % % % &
( % % % % %$ & no bis pa - cem, ( %$ % % % % &

bis pa - cem, pa -
cem,
pa - cem,
no
bis
pa - cem, do - na
% % % % %
! ,% !
5
!, % !, %
do
% % % % &
na na
%$ % %
no
do
&
&
bis,
% % )
bis
% % % % % %
pa -
% % %
-
cem,
&$ &$ &$
go to Soprano 2
* *
no -
!, & # do " " ,% % &

no -
do
na
% %
na
no
% % % % %
bis no no -
&
% % %
pa pa -
cem,
go to Alto
bis,
% % % % % %
bis bis
% % % % % % %
pa
cem.
%
-
pa
% %
-
% % & &$
go to Soprano 1
$$+, $$+ $$+
cem.
cem.
$ !, $ %
F Major
Pase el agoa
Tenors Sopranos Altos, Basses
15
1, 1
The text of this Galician folksong (a vilancico) is roughly translated, Come to me across the water, my Lady Juliet. I will go into the forest, there to pluck three roses.
Sopranos
! 4 $ !, & $ & $ & $ & $ & $ % % % % &

Very fast 1 in a bar
Pa - se_el a - goa,
Altos
Tenors
Basses
4 $$ !, & &$ &$ &$ &$ % % % % & &$ &$ &$ &$ &$ & % Pa - se_el a - goa, ma Ju - li - e - ta, Da - ma, pa - se_el a - goa. Ve 4 ! , & $$ & $ & $ & $ & $ % % % % & & $ & $ & $ & $ & $ & % # Pa - se_el a - goa, ma Ju - li - e - ta, Da - ma, pa - se_el a - goa. Ve " 4 $$ & $ & $ & $ & $ % % % % % % & $ &$ &$ &$ & % &$ " ,&
ma Ju - li - e - ta, Da - ma, pa - se_el a - goa. Ve Pa - se_el a - goa, ma Ju - li - e - ta, Da - ma, pa - se_el a - goa. Ve -
&$ &$ & % &$ &$ &$
Anonymous, late-15th/early-16th C (Cancionero Musical de Palacio, Madrid)
! $$ $$ & % & % & % & % ! , & % % & & $ $$ $$ % % % & % & % % #& & $
13
! , & % % & & $ $$ # ni - te vous a moy. " & % $ $ & & $ " , %
ni - te vous a moy. ni - te vous a moy.
! , & % % # & & $ $$ $$#% % % #& 0% & % % & & $ $$ $$ & % & % & % & %
ni - te vous a moy. Ju men a - nay en un ver - gel,
Tres ro - se - tas fui co - ller; Ma
$$ % % % & % & % % & & $ $$ $$ & % & % & % & %

Ju men a - nay en un ver - gel,
$$ % % % & % & % % $$ $ & & $ $& % & % &% & %

Ju men a - nay en un ver - gel, Ju men a - nay en un ver gel,
! !, % % % % &
25
&$ !, % % % % & # Ju - li - o - le - ta, Da " % % &$ " ,% % % %

Ju - li - o - le - ta,
!, % % % % &
Ju - li - o - le - ta,
Da - ma,
&$ &$
&$ &$ &$ &$
pa
&$ &$ &$ &$
&$
- se_el
Da - ma,
pa
- se_el
&$ &$ &$
&$ &$ &$ &$
a -
goa. Ve - ni - te vous a
& % & % % & & % & % %#& & % & % % & & % & % % &
moy.
&$ &$
$$ $$
a -
moy.
- ma,
pa
- se_el
a -
moy.
& $ $$ & $ $$
Ju - li - o - le - ta, Da - ma,
pa
- se_el
a -
moy.
16
$ % ! $
A Minor
Weep, O mine eyes

Altos Tenors, Sopranos Basses
3, 4
Sopranos
! & !&
% % #% % % % &$ % % %$ %$ % #% %
cease
' % &
& &
John Bennet
Altos
Tenors
Basses
& !& ' & # p Weep " & &$ " &
p Weep mf
!& &3
&
Weep
O mine eyes,
weep
( % % % &
not,
Weep
O mine
% % % %
O mine eyes,
O mine eyes, and
% %
weep
#% %
and
O mine
O mine eyes,
and
cease
not, weep
! ! #%
4
%$ %$
% % ! %$ # eyes and cease not, " %$ #% #% ) "

cease O
! &
eyes,
weep
( & % % not, and cease not, mf % % % % % %

weep mf
O mine
% % )
%
eyes,
weep
% 7$
O mine mf
( % %
#%
O
O mine eyes,
&
% % % % % % & 7 weep O mine eyes, and cease 7 % % % % #% & %

weep
eyes,
and
cease
mine eyes, weep
mine eyes,
weep
% 7
O mine
eyes, and
cease
and
cease
! ! &
7
3
p
! & # not: " " %$

not: not,
#%
not:
&
p
'
las p
% % %
& % & &
& &
las
these
( % #%
and
A - las
these your spring mf
% 3
% %
% & &
& % & &
% % a
& & 3 %
' % &
a
mf
these your
your
% #%
-
spring - tides, mf las
% %
a -
spring - tides,
these mf
your
tides,
&
#%
spring -
cease
not:
las
these your
! ! &
11
%$ % % % & spring - tides me - thinks in - crease % % % ! & % # las these your spring " & & ' % " ! % %
tides in crease
las
these
%
your
% % #%
spring - tides, me - thinks
% % %
% % not, me % % %$
in - crease
% % %
& & &
17
- thinks
- tides
me
not,
me - thinks
% )
% % %
in - crease
thinks in
% #%
#& & &
not.
&
not.
crease not.
in - crease
not.
! $ ' f& ! $
14
! $$ ' & ! # " $$ &

f
O f
% % & 7 7 & 7 & #% #% #& 7 & &
when,
' %
mf
when,
' 0%
mf O mf
O mf
% %$ 7 % % 7$ 7$ % % 7$
when
when
be - gin
( % %
"
$$ &
O f O
when,
& &
when
be - gin
% & ) ( % &
be - gin
( % % #%
you
' '
+ % % %
p
you
you To swell so high that I may p
%$ % % % % % % %
p
To swell so p
To swell so
% % %
when,
when
be - gin
you To swell so high that I may
% %
1.
% % %$ % % %
! %$ !
18
% % % % $ % % % #% & ! % % % % % ) ) ) # drown, that I may drown me in you, that I may drown me in dim. (% % % % & & " % % % $ % "
high that I may drown me in you, that I may drown me in dim. drown me in you, that I may drown me in
! %$
high
that I may drown me in
%% % %% %
% %% % %%
you, that I may drown me in dim.
( %$ % % %
dim.
( %$ % % %
% % & % % &
you?
& & &
$$ $$
pp
2.
#&
you?
you?
5 #2 you? pp 5 $$ 2 $$
you? pp
you? pp
5 2
you?
you?
5 2
18
Alle Psallite
! $ %
1 D Minor S/A 2 S/A 1, T, B 1, 2
" 8 %$ 9
f Al
Basses intone Alleluia twice only.
le
% )
-
%$
lu
%$
-
%$
ya.
'$
$$
Sopranos & Altos 2
! 8 %$ %$ !9 !8 9 % $ '$
Al Al - le,
psal - li - te cum, lu
% % % % % $ %%% % $ '$ ) ) %$ %$ % $ '$ $ % - $ '$

ya, -
Tenors
Basses
% $ % $ % 8% % - $$ $ !9 - $ - ) # Al - le - lu " 8 %$ % % %$ %$ " 9 ) Al - le lu -
ya.
% $ '$
ya.
% % % % % $ %%% % $ '$ ) ) le, psal - li - te cum, lu ya, $ % $ % $ % $ $ $ % % % % % $ $ ' -$ ) -$ -$ -$ $ Al - le - lu ya. Al % % $ % % $ % $ % $ '$ %$ %$ )

Al - le, Al - le lu ya. Al -
%$ %$
%$ %$
% $ '$
Anonymous, 13th C
%$ % % )
! % % % ( % %$ % % % % ) %% % $ '$ % ! ) ) con - cre - pan - do psal - li - te cum, lu ya, %$ % % ! % $ % $ % $ % $ % $ '$ ) Al le, % $$ % $ % $- % $ $ % % $ $ % $ $ $ $ ' -$ -$ $ ! # - le lu ya, Al $ " % $ % $ % $ % $ % $ '$ % %$ "
8
% % % % % ( % % %$ %% % ) % ) ) con - cre - pan - do psal - li - te cum, lu % $$ % $ % $ % $ % $ - $ - $ - $ '$ -$ %$

le le
%$
%$
%$ %$
% $ '$
%$
-
%$ %$
lu lu -
ya,
% $ '$
- le
lu
ya,
Al
ya,
! %$ % % % % % % % % % % % % % %$ % % % % % $ '$ ! ) ) ) ) ) ) )
15
! % $ '$
ya,
Al - le,
cor - de vo - to De - o to - to psal - li - te cum, lu
"
$ $ % % $ $ ! # Al " %$ %$
Al -
%$ % - $$
Al
%$
le le
% % % % % % % (% ( % % ) ) ) % % % % % $ - $$ % % - - - - % - -$ ) ) ) lu %$ % % % % % (%$ % ) )
lu -
% $ '$ $ % - $ '$
-
%$ $ % -$
Al Al
ya,
ya,
% $ '$
%$ %$
% % ) % % % % % % ) ) ) le, - de vo - to $ cor %$ % % $ -$ -$ -$ %$
-
%$
le le
%$
-
ya,
! % % ( ( % $ ! ) % ) % % % % %$ '
22
% % % % % - % % - $$ ! ) ) ) # - lu ( %$ " % % % % % % ) ) "
- lu -
De - o to - to psal - li - te cum, lu
% % % % % % % %$ % % % % ) ) ) ) $ % - $ '$ % $ '$
-
Al - le
%$ % % %$ ) %$ %$ $ %$ % -$ -$
Al lu
ya,
% % % % % % $ '$ )
ya.
% % % % % $ '$
19
ya,
Al - le
%$ %$
& . $$
le lu
lu
ya.
&$
ya.
$ % - $ '$ % $ '$
ya,
Al - le
lu
ya.
This motet is sufficiently short it may be worth repeating it, including the intonation. Sometimes the repeat would be sung organum style by one of the tenors, or a perfect fifth above the basses; this is represented by the small noteheads in the tenor part. Each of the two upper parts have the same range, so some sopranos should sing the second part (and likewise some altos should sing the first part).
, !, , $ $ %
Eb Major
Drink to me only
Altos Sopranos Basses
1, 2
Sopranos
! ,8 !, ,9 % % % % ,8 !, ,9
Traditional
Quietly but with feeling
1. Drink to me on - ly 2. I sent thee late a
( % %%% % ( % % % % )
with thine eyes, And I will pledge with mine, ro - sy wreath, Not so much honour - ing thee;
%% %%% ( % % % % )
( % %$ % + +
Altos
Basses
",8% % % % " , ,9
1. Drink to me on - ly with thine eyes, 2. I sent thee late a ro - sy wreath,
% % % %%% % % % )
And I Not so
will pledge with mine, much honour - ing thee;
( % % )
% % % %$ % %
1. Drink to me on - ly with thine eyes, 2. I sent thee late a ro - sy wreath,
And I Not so
will pledge with mine, much honour - ing thee;
( % %$ % +
20
! , !, , % % % %
5
, !, ,
Or leave a kiss As giv - ing it
", % % % % " ,,
% % % % % % % )
with - in a hope
( % % % % % % % % %
the cup that there
with - in a hope
the cup that there
( % % % % )
and It
and Ill It could
( % % % ) %
Ill not ask for could not with - erd
% % %
( % %$ %$
not ask for not with - erd
( % % % % % % )
wine. be;
% % %
( %
The But
with - in a hope
the cup that there
and Ill It could
not ask for not with - erd
( % %$
wine. be;
The But
( % % )
wine. be;
The But
! , % !, , % % %
9
", % % % % % % % " ,,
, !, , %
thirst that from thou there - on
thirst that from the soul doth rise Doth ask thou there - on didst on - ly breathe, And sentst
( % % % % %
the didst
( % % % % %
( % %
soul doth rise Doth ask on - ly breathe, And sentst
% % % % %$ ) ( % %
a it drink back
( % % % % %
di - vine, to me,
% +
thirst that from the soul doth rise Doth ask a drink thou there - on didst on - ly breathe, And sentst it back
% % % % % % ) % %
a drink it back
di - vine, to me,
( % % % % % + % %$ ) % +
di - vine, to me,
! , !, , %
13
, !, ,
But might I of Joves nec - tar sip I Since when it grows and smells, I swear, Not
% % %
( % % % % % % % % % % % ( % % ( % % % % )
", % " ,,
But might I Since when it
% % % % % % % % %
would not change of it - self,
of Joves nec - tar sip grows and smells, I swear,
But might I of Joves nec - tar sip Since when it grows and smells, I swear,
% % % % % )
I would Not of
not change for it - self, but
( % % % % %$ % % ) ( % %$
for but
( % %$
thine. thee.
% %
+ +
thine. thee.
% +
I would Not of
not change it - self,
for but
thine. thee.
,$ $ !, %
Sopranos
Bb Major
Gaudeamus igitur
Tenors Altos Sopranos, Basses * It is fairly uncommon to sing all 5 verses verses 1 & 2 are sung, and then either verse 3, verse 5, or maybe verse 4. If it were to be verse 5, the count-in would be: 1, 2, 5.
21
1, 2, X*
! ,4 $ $ !, & $ % % % ,4 ! , & $$ %$ % %
% %
1. Gau - de - a - mus
%$ % & %$ % & %$ % & %$ % &

%
i - gi - tur,
Ju - ve - nes
%$ % % %$ % % %$ % % %$ % %
Anonymous, German early 18th C
dum
% % % %
% % % % % % % % % %
' ' ' '

%
su - mus,
$$ $$ $$ $$
Altos
Tenors
Basses
5
! , !, % $ % % , !, % $ % %
Post
,4 ! , & $$ % $ % % % # 1. Gau - de - a - mus " ,4 $ %% % " , & $ %$ % %
i - gi - tur,
Ju - ve - nes
dum
su - mus,
% % &% % % % % % % %
hu
ju - cun - dum
ju - ven - tu - tem
"
! , $ !, % % %
9
, !, % $ % % % # Post ju - cun - dum " , %$ % % % ,

N.B. Verse 3: q e e
la-bo-ri-
% % &%
%
%
Post mo - les - tam
%$ % % %$ % % %$ % % %$ % %
% % % %
% % &% % % % % % % %
hu
se - nec - tu - tem,
ju - ven - tu - tem
% % &%
%
%
Post mo - les - tam
se - nec - tu - tem,
% %
bit
%
-
5 %
mus,
, !, % $ % % # Nos ha - be " , %$ % % " ,
, !, % $ % %
Nos
ha - be -
% % % % %
bit
% #% % % % %
hu -
5 % 5 % 5 %
nos
%$ % % %$ % % %$ % % %$ % %
% %
bit
ha - be -
% % % % %
bit
% % &
% % %
5 %
mus.
5 % 5 % 5 %
mus,
nos
ha - be -
hu
mus.
2. Vivat academia, Vivant professores, Vivat membrum quodlibet, Vivat membra qulibet, Semper sint in ore.
3. Vivant omnes virgines, Faciles, formos, Vivant et mulieres, Dulces et amabiles, Bon, laborios.
4. Vivat et republica, Et qui illam regit; Vivat nostra civitas, Mcenatum caritas, Qu nos hic protegit.
5. Vita nostra brevis est, Brevi nietur; Venit mors velociter, Rapit nos atrociter, Nemini parcetur.
N.B. the rhythm for laborios above bar 9 also applies in bar 11.
22
$ ! $ %
Sopranos
Now is the month

! * ! * 3 ' % $$ % % % % &
Altos Tenor 1 S, T2, B It has been traditional for TUMS buskers to enjoy the start of the third verse by marking the word Fie! with a long pause. At the repeat however the music continues without pausing.
G Major
1, 2
% %
Altos
* ! * 3 ' % $$ % % % #% &
1. Now is the month of May - ing, When mer - ry lads are play - ing. 2. The Spring clad all in glad - ness, Doth laugh at win - ters sad - ness.Fa la 5 then why sit we mus - ing, Youths sweet de - light re - fus - ing. 3. Fie!... 1. Now is the month of May - ing, When mer - ry lads are play - ing. 2. The Spring clad all in glad - ness, Doth laugh at win - ters sad - ness.Fa la 5 then why sit we mus - ing, Youths sweet de - light re - fus - ing. 3. Fie!...
% %
( % $ % % #% & ( % $ #% % % #&
Thomas Morley
% %( %( ( ( % 0% %
Tenors
& % % %$ % % % & % % % !* * 3 ' % $$ % % % % ) )) # 1. Now is the month of May - ing, When mer - ry lads are play - ing.
2. The Spring clad all in glad - ness, Doth laugh at win - ters sad - ness.Fa la 5 then why sit we mus - ing, Youths sweet de - light re - fus - ing. 3. Fie!...
Basses
"* 3 ' $ " * % $% % % % & % #%

la
* % % % & % %( %( $ 3 ' $ $ !* % % % & % % % ) % % # 1. Now is the month of May - ing, When mer - ry lads are play - ing.
2. The Spring clad all in glad - ness, Doth laugh at win - ters sad - ness.Fa la 5 then why sit we mus - ing, Youths sweet de - light re - fus - ing. 3. Fie!...
! % % % ! %
6
1. Now is the month of May - ing, When mer - ry lads are play - ing. 2. The Spring clad all in glad - ness, Doth laugh at win - ters sad - ness.Fa la 5 then why sit we mus - ing, Youths sweet de - light re - fus - ing. 3. Fie!...
%$ % % % & ) ' % $$ &

2.
% %% )) ' % ' %
( ( ( ! % $ '#(% % % #% %( %( % % % % % % #% % % ! % % #
la la la la la, Fa la la, Fa la
la
la
la
la
la
la, Fa la
% % % % % % % ) )
la la la la
1.
& &
la.
'
1. Now 2. The 3. Fie 1. Now 2. The 3. Fie
&$ &$ &$
% % % % %$ % & ) ) )
la la la la
la.
' % $$ & ' % $$ & '

1. Now 2. The 3. Fie 1. Now 2. The 3. Fie 1. Now 2. The 3. Fie
$$ &
la.
1. Each 2. And 3. Say 1. Each 2. And 3. Say 1. Each 2. And 3. Say
la.
' % ' % ' %
" % " % % %
la la la la la la la la
! % % % % #
la
la
la
la
la,
Fa la
la,
Fa la
( ( % % % % % %
la la la
la
la.
& &
la.
la,
Fa la
% % % % % % ) )
la la la la la la la la
la.
la.
$ % $ &
la.
1. Each 2. And 3. Say 1. Each 2. And 3. Say
la.
! $ ! $%
11
% %
% #% %$
& ( % '#(& & & &

lass, sound, speak,
! $$ %
with his bon - ny to the Bag - pipes dain - ty Nymphs and
' % ' 0% ' % ' % ' %
% % % % %
% % % % % %
% % %
up - on the green - y grass. the Nymphs tread out their ground. shall we play bar - ley break?
& &
'
%% ) )
Fa la
23
% % % $ $ % ! # with his bon - ny % % ! $$ % % # with his bon - ny % % %
with his bon - ny lass, to the Bag - pipes sound, dain - ty Nymphs and speak,
( ( % % #%
Fa la la
to the Bag - pipes dain - ty Nymphs and
lass, sound, speak,
up - on the green - y grass. the Nymphs tread out their ground. Fa la la shall we play bar - ley break?
#% 0% % % ) ) & % 3
" $$ % "
to the Bag - pipes dain - ty Nymphs and
lass, sound, speak,
% % #% % % %
la
with his bon - ny to the Bag - pipes dain - ty Nymphs and
lass, sound, speak,
up - on the green - y grass. the Nymphs tread out their ground. Fa la la shall we play bar - ley break?
% % #% ) )
%
la
! ! %
15
%
la
&
la,
! %
la
la
&
! %$ #
la,
la,
"
% % ! ) % % ) #
fa la
( %%
fa la
( ( #%( %( % %% % %
la,
fa la la la la la la
( ( ( (#%( %( % % % %% '
%$ % % % )
la, fa la la
1.
& &
' % $$ &
2.
la la la,
% %
( ( % %#%
fa la
( ( % % % #% %% %
la
la.
'
1. Each 2. And 3. Say 1. Each 2. And 3. Say 1. Each 2. And 3. Say 1. Each 2. And 3. Say 1. Each 2. And 3. Say
' ' ' ' '
la
la,
fa la la
" %
Fa la la
la
la,
fa
la la la la
( %( %( %( & $ %
la,
fa la la la la
( (#%( %( % %% %
la
la, fa
% % &
la
la
%$ % & )
la
la.
la
' %
fa
la
la.
& &
' % $$ & ' % $$ & ' % $$ &
$$ &
la.
la.
la.
la,
% % % %
la la la
la.
la.
fa
la
la.
la.
24
# E Minor ! $ $ %
Greensleeves
Altos, Basses Tenors Sopranos
Attributed to Henry VIII
1 & a, 2 &
Sopranos & Altos
! #8 ( ! 9% %
1. A - las my love you do me wrong 2. I have been rea - dy at your hand

bought thee pet-ti coats of the best, smock of silk both fair and white I pray to God on high
( % $#% % ( % $ % % % % % % % % % % %$ ) % % %( % '$ ' % %

you life
( $ % % %% % % % % # % % # % % % ) ) )
to cast me off dis court - eous - ly, And to grant what - e - ver you would crave, I
I Thy And
( % % %
( % %
3. I 4. Thy 5. Well
Tenors & Basses
( " #8 % " 9+
6. Green - sleeves now fare well a - dieu,
( ( % %( % % % % % % % % % % % % % % % ) ) )
God
the cloth as fine as might be, with gold em - broid - ered gor - geous - ly, that thou my con - stan - cy mayst see,
I pray
to pros - per
% % % ) %
( %%% % % % + ( % % % %
thee, For
! # ! % %
5
( % $ #% % % % %$ % %
I have lov - d have both wag - d gave thee jew - els pet - ti - coat of
that yet once
so long and land
( % % %$ ) %
% % % )
de - light - ing in your com - pa - ny. your love and good - will for to have.
and all and these thou will this cost I bought vouch - safe I thee to spent on you. glad - ly. love me.
% $ % % #% $ % % % #% ) % #% % ) #% % % % % ) ( % %$ ( % % %
a - gain and
+ , *
"# % " '$

I
am still
( % % '
for thy chest, sen - dal right, be - fore I die
thy
( % % % % )
lov - er true,
( % % % % % ) ( % %$ ( % % ( % %
come once
%( % % %
% % )
% %% #% % )
love
me.
+ , *
! # %$ !
9
% ! % % % % % #% # Green - sleeves was all my joy % % %$ % % % "# %$ #% ) " #

Green sleeves was all my joy Green - sleeves was all my joy
Green -
% %$ % %
% $ #% % %
sleeves
%% %
was all
my joy
%% % ( % % ( % %
Green -
sleeves was my
( % % % % %$ ( # % % %( % $
was my was my
de - light
Green - sleeves
% %$
Green - sleeves
( % % %
% % %( % % %
de - light
Green - sleeves
was my
% % %( % $ )
de - light
de - light
! # %$ !
13
Green -
# #
"
% ! % % % % % #% # Green - sleeves was my heart "# %$ %

Green sleeves was my
Green -
% %$ % %
sleeves was my heart
% $ #% % % % % %
25
of gold
( % % $ % % % $ % % #% $ # % %
and who but my la -
dy Green - sleeves.
%$
sleeves was my heart
of gold
( % % ( % %
and who but my la -
( % % $ %#% % ( % %$ % % %
dy Green - sleeves.
( ( % #% % % ( ( % % % #% ( % %$ %
% % %$ % % % % %$ % % #% %
heart of gold
of gold
and who but my la -
dy Green - sleeves.
and who but my la -
dy Green - sleeves.
! $ %
E minor
Round on a well-known text

All parts start on B, 8 bars apart
1 and 2
#* ! *
7
The square, the square
$ % &
&$
on the hy
% % % % % % % % % #2
-
po - te - nuse
of
&
&
a
& &
David Ellyard
right - ang - led
% %
! & $ #% & ' % % % & % % % & % & #

2 tri - ang - le is e - qual to, is e - qual to
the sum
of the squares, the
% % &
sum
&
of the
% %
14
! & #
squares on the
% %
two ad - ja - cent sides, fa la la,
( % $ % % %% % %%% ' ' &

on
' %% & % &
fa la la,
' %%& &
fa la la,
19
# ! ' %%% % % % %&
fa la la, and hey, non - ny no!
% % &
the
two
ad - ja - cent
&
'
sides.
26
El Grillo
$ !, $ %
F Major
1, 2, 2, 2

Josquin Desprez
Sopranos
! * !* 2 !* *2
El El
& &
gril
Altos
Tenors
Basses
* !* 2 # El "* 2 " *
El
( $ % % & el gril-lo buon can - to - re Che tie - ne lon-go ver gril ( lo, & & %$ % & ' % % %% % % & % % % % % % %$ % ) 2 ' & &
gril gril lo, lo,
lo,
&
' % % % % #% % & % % % % % % 2
el gril - lo buon can - to - re Che tie - ne lon - go
% % %% % % & % % % % % % &
ver
& ' % % %% % % & % % % % % % 2

el gril - lo buon can - to - re Che tie - ne lon - go el gril - lo buon can - to - re Che tie - ne lon - go
ver
! ! 2
8
ver
"
5 ( ( ! & %$ % & %$ % 2 so. 5 %& %& % $ % $ 2 ! ) ) # so. 5 " 2 2 2

so. so.
5 2
Da - le,
% % 3 % % 3 3 3
be - ve,
% % 3 % % 3
gril - lo,
% % 3 % % 3
can - ta,
% % 3 % % 3 % % % %
Da - le,
% % 3 % % 3
be - ve,
% % 3 % % 3 &
gril - lo,
% % 3 % % 3 & & &
can - ta,
Da - le,
be - ve,
gril - lo,
can - ta,
[Repeat optional] ! ! % % % % % % % % % % % % % % $$ 2
Da - le,
be - ve,
gril - lo,
can - ta,
15
! % % % % % % % % % % % % % % $$ 2
Da - le da - le be - ve be - ve gril - lo gril - lo can - ta. El
gril
&
lo,
' % '
el
" % % % % % % % % % % % % % % $$ 2 "
! % % % % % % % % % % % % % % $$ 2 # Da- le da - le be- ve be- ve gril-lo gril-lo can - ta. El

2 & &
gril
gril
( lo, %$ % &
-
' %
el el
&
lo,
'
gril
lo,
el
! ! % % % #% %
20
! % %% % %
gril - lo buon can - to -
& &
Fine
5 & 5 & 5 & 5 &

re. re. re. re.
$$* *% % & $$* *% % & $$* *% % & $$* *% % & $$ * *& $$ * *& $$ * *& $$ * *&
27
Ma non fa Van de fat
&
-
co - mo gli to in
"
! % %% % % & # gril - lo buon can - to " % %% % % &
&
4 * % % #% % & 4 % % * % % & 4 * % % &
alt - ri_u - cel - li, alt - ro lo - co
& & & &
% % & &
co - mo gli to in
co - mo gli to in
co - mo gli to in
4 % % % % * &
& &
! ! % % &
25
! % % &
Co - me gli Sem - pre el
han can - ta - to_un po - co. gril - lo sta pur sal - do.
% % % #% & & % % % % & & % % % % & &
Quan - do
& & & &
l mag - gior
& & & & & & & &
" % % %$ % % % % % " ) & &

Sem - pre el Co - me gli Sem - pre el
! % % & # Co - me gli
Co - me gli Sem - pre el
Quan - do
l mag - gior el
' & % % # % #% % ' % & &

gior el cal - do cal - do
el
cal - do
% %
'
Al
Quan - do
l mag
% %' % % %' %
Al
Quan - do
l mag - gior
el
&
Al
cal - do
Al
! ! &
31
! & #& " ! & # hor " &

hor hor
hor
can
& & &
ta sol,
% % % %
' '
[Echo]
can
ta sol,
can
ta sol,
% % ' % & % % ' % &

al al
#% & #&
al hor hor
al
% &
hor
can
& & &
%$
ta ta
can
% 0% % % % % % % % %
sol per sol
( %% % %
sol per
&
a
mo - re.
% 2
-
D.C. al Fine
A capite
can
- ta
% % % %%%& ' % %
per per a
% %
a - mo
& &
re.
2 2 2
mo
re.
can
ta sol,
hor
can
- ta sol
a - mo
re.
28
, F$Minor , ! ,%
Il est bel et bon

Altos, Basses Sopranos, Tenors
1, 2, 2, 2
Sopranos
: ! ,* : : : ! , ,* % % % % & ,* ! , ,* ,* ! , ,* # ",* , ,* &
Il est bel et bon,
Altos
Tenors
Basses
"
bon, : : bon, com - m - re, : : & & % % % % & & bon, bon, bon, : : : : Il est bel et bon, & & & & & & % % % % Il est bel et bon, bon, bon, : bon, bon, com : : & & : % % % % bon, bon, Il est bel et bon, bon,
&
&
&
&
&
Pierre Passereau
&
&
& & & &

-
bon, com -
- m
bon, com -
7 : ! ,, : : : % & ! ,% % %
, !, , 2 # re, ", 2 " ,,

m m
, !, , 2
Il est bel et bon,
bon, bon, com : : : : 2 & & % % % % re, : : Il est bel et bon, bon, & & : : % % % % & & bon, bon, Il est bel et bon,
&
&
&
&
- m - re, com - m - re, com - m - re,
& % % & % % & & & & 2 & % % & & & & & & &$ & &
bon, com - m - re, com - m - re,
bon,
bon,
re,
Il est bel et bon, bon,
: : com :- m : % & & % % % & & & &$ &
re, com - m - re
bon, com - m - re,
! ,, ! ,&
14
, !, , & & # mon ma ", " ,, & &
, !, ,
mon ma - ri.
mon ma - ri.
&
& &
2 2 2 2
&$
Ils
% & -
es - taient deux
&$
&
Ils
- ri.
2 2
es - taient deux
% &
% & &
fem - mes
tou - tes dun
fem - mes
tou
&$
&
-
2 % &
ys,
pa -
tes dun pa -
&
mon ma - ri.
! , 2 !, ,
22
&$ &
a -
& % &
, &$ % & & , & & ! , # Di - sons lune lau - tre &$ % & & ", , " ,
ys, Di sons lune
, !, , 2
Il est bel et
: : : : & % % % % 2
& bon,
29
bon,
vez bon
&$
a -
&
ma -
% &
ri?
&
ma -
Il est bel et
: : : : % % % % 2
ri?
lau - tre
vez bon
! ,, & ! ,
29
bon, bon, : : , : : , ! ,% % % % Il est bel et , !, , & & # bon, bon, ", 2 " ,,
&
&
bon,
& & &
bon,
& &
com - m - re,
& & & & & &
& & 2 & &
Il est bel et bon,
: : : : & % % % % 2 2 2
-
&
bon,
&
bon,
bon, bon,
bon, com - m
re,
bon,
bon,
: : bon, : bon, com : % & & % % %
- m
re,
Il est bel et bon,
: : Il est bel et : : % % % % & & 2 2

bon,
bon, : : : : % % % %
&
bon, com - m
re,
! ,, & ! ,
36
& &
, !, , &
bon,
com - m - re, com - m - re, com - m - re,
& % % & % % & & & & & % % & & & & & & &$ & &
mon ma - ri.
& & & & & &
2 2 2 2
Il
&$ % & & Il
ne me cour -
"
, & & 2 !, , # bon, com - m : : : : % & & ", % % % ,,

bon, bon,
re, com - m -
re mon ma - ri.
% & &
mon ma - ri.
&$ 2
2 2
ne
bon, com - m - re,
mon ma - ri.
30
! , !, , &
44
, !, , & , !, , #
& &
2
ne
& & 2
ne me
& & & & -
2 & & &$
2 2 & &
si.
2 & % & & &
2 & &
ne
rou - ce
me cour - rou - ce
& & -
bat aus - si.
me
bat aus -
" ,, " , ! , !, ,
52
Il
ne me cour - rou - ce
Il
&$
ne me cour - rou - ce
& & & & -
&$ % & &

Il
, & & , ! , # me ", 2 " ,,

ne
, !, ,
fait le
mes - nai - ge,
& & &$
2 2
&$
Il
% & &
Il fait le
% & &
Il
&$
% & & & & &$

Il
& & &$ %
donne aux pou - lail - les,
fait le
& & -
mes - nai - ge,
bat aus - si.
mes - nai - ge,
% & &
Il fait le
donne
me
bat
aus
si.
mes -
! , !, ,
60
, !, , & $
Il
"
, & & !, , # aux pou " ,, & & ,

nai - ge,
donne aux
% &
Il
&$ &
& &
% & &
& &
& 3 3
& & & &
&
Et
&$
je
donne aux
pou - lail - les,
pou - lail - les,
- lail - les,
&$
Il
Et
% &
donne aux
2 % % & & & je mes & $ prens % &$ % & &

je
prens mes
% &
&
plai -
Et
&
&
prens mes
pou - lail - les,
Et
&
&
je
prens
&
plai -
! , !, , % % &
67
, !, , % % % % 2 # " , & ,& 2 " ,,

plai mes
, !, ,
&
&
& 2
-
&
sirs. Com - m
&
&
2
-
& 3 2 2
re,
& &
&$
cest
% 2
pour ri
31
2
-
sirs.
2 3 2
sirs.
2 2
Com - m
&
Com - m
2 & 3
re,
& &
& &
-
&$
cest
re,
& &
pour
plai
sirs.
Com
m -
! ,, 2 ! ,
74
2 % 2 2
re
, 2 !, , # ri ", & & " ,,

-
, !, , & $
re
3 &
-
2
les
Quand
& & 3 2
les
&$ 2 & &

les
% 2
cri
2
ent:
pou - lail - les
cest
pour ri
2
re
2 -
&$ % 2
3 & 2
re
Quand
&
& & &$ & &
pou - lail - les
% 2
&$
Quand
re,
cest pour ri
3 &
pou - lail - les cri
& &
pou -
Quand
les
! , !, , 3
82
&
quand
&
les
&
&$
-
% 2
les cri
, !, , 2
cri
pou - lail
"
, !, , 2 # ent: " , &$ ,,

lail
2 % 2 3
ent:
&
quand
2
les
ent:
2 & 3
3 & &
Co,
&
2
ent:
pou - lail - les
&
&
&
Co,
co,
co,
&
Pe
& &
&
-
cri
ent:
co,
co,
& 3
ti - te co -
% % % % & % %
co, co,
% % % % &
Pe -
les
cri
co, co, co, co, dae,
co, co,
32
! , !, , &
89
, !, , % % % % , !, , & # ti & ", ,,

te
quet
te, pe - ti
% % % % % %
& & &

-
te
% % % % % %
co - quet
& & &
co, co, co, co,
dae,
co, co,
co, co, co, co,
% % % %
te
te, pe - ti
% % % % % %
&
-
co, co, dae,
% % & &
-
te
% % % %
co - quet
& & &
co, co, co, co,
% % % %
te
te, pe -
% % % % % %
"
co - quet
% % % %
-
te, pe - ti
co - quet
% % % %
te, pe - ti
co -
dae,
co, co,
co, co, co, co,
dae,
co, co,
co, co, co, co,
dae,
co, co,
! , & !, ,
94
, !, , & # quet ", & " ,,
, !, , &
ti
te
% % & & % %
co -
& & &

ti
quet
&
te
dae,
pe
% % % % % %
% % & & & &

te, -
quest
&
quest
co - quet
te,
& & &
& & &
ce
& & & &
ci?
2 2 2 2
ce
ci?
te,
pe - ti
&
ti
te
co - quet
te,
quest
ce
ci?
dae,
pe
te
co - quet
te,
quest
ce
ci?
99 : ! , : : : & !, , % % % %
, !, ,
"
, !, , 2 # ", 2 ,,
bon, com - m - re, Il est bel et bon, bon, : : : : & & & & & & 2 2 2 %%%% bon, bon, bon, bon, com - m re, : : : : : : Il est bel et bon, & & : : & & 2 %%%% 2 %%%% & & Il est bel et bon, bon, bon, : bon, bon, com - m - re, Il est bel et : : : % & & & & 2 2 2 %%% 2 bon, bon, Il est bel et bon, bon, bon, com - m re,
&
&
&
&
&
& &
: : : : & % % %%
&
! , & !, ,
107
, !, , # bon, ", " ,, 2
, !, ,
bon,
bon, : : : : & % % % % Il est bel et bon, & & & bon, bon, bon,
&
&
& & &
& &
% % & & & & & &
33
% % & % % & & & &
& & &
mon
& & &
ma -
& & & &
ri.
2 2
ri.
bon,
Il est bel et
: : com : - m : % & % % %
&$
re,
com - m
re mon
% &
mon
ma -
ma -
2
ri.
2
ri.
bon, bon,
bon, com - m - re,
mon
ma -
114 : ! ,, : : : % & ! ,%%%
, !, , 2 # ", 2 " ,, ! ,, & ! ,

122
, !, ,
bon, com - m - re, Il est bel et bon, bon, : : : : & & & & & & 2 2 2 %%%% bon, bon, bon, bon, com - m re, : : : : : : Il est bel et bon, & & : : & & 2 %%%% 2 %%%% & & Il est bel et bon, bon, bon, : bon, bon, com - m - re, Il est bel et : : : % & & & & 2 2 2 %%% 2 bon, bon, Il est bel et bon, bon, bon, com - m re,
&
&
&
&
&
& &
: : : : % % %% &
&
, !, ,
bon,
"
, !, , # bon, ", 2 ,,
bon, : : : : & % % % % Il est bel et bon, & & & bon, bon, bon,
&
&
& & &
& &
% % & & & & &
% % & % % & & & &
& & &
mon
& & &
ma -
& & & &
ri.
2 2 2 2
bon,
Il est bel et
: : com : - m : % & & % % %
&$
re,
com - m
re mon
% &
mon
ma -
ri.
ma -
ri.
bon, bon,
bon, com - m - re,
mon
ma -
ri.
34
Minor ,, F $ , ! , $ %
If Music
Sopranos Altos Tenors, Basses
This song has always proved to be on the shorter side, even with the marked repeat, so I have obtained the second verse from the other version of this song by Purcell! The second verse needs to start on a downbeat rather than an upbeat, so please observe the slight difference at the start: in verse 1 sing the upward stem notes, in verse 2 sing the downward stem notes. Singing both at once is not nice.
1, 2, 3
Sopranos
! , , & + %( %% % % % %%%% %%%% $ !, , & ' 0%

1. If
Altos
, ,& + ( % , ! ,& ' % % % % % %%% , % ! , ,, & &' # 1. If

1. If
mu - sic be the 2. Plea - sures in - vade both
food of love, eye and ear,
Sing on, sing on, sing So fierce, so fierce, so
( % %$ ' %$
( % %$ %$
Henry Purcell
( % ( %
mu - sic be the food of love, 2. Plea - sures in - vade both eye and ear,
Tenors
% ' %
Basses
" , ,& ' " ,,&
mu - sic be the 2. Plea - sures in - vade both
% % % % % % % %
% % %$
food eye
1. If mu - sic 2. Plea - sures in - vade both
be the eye and
% %
of love, Sing on, and ear, So fierce,
( % % %
'
Sing on, So fierce,
%%%% %%%% %% %
food of ear, So
sing on, sing, so fierce, so,
( % %
sing so
love, Sing on, sing on, fierce, so fierce, so fierce,
! , , %$ !, ,
4
,, !, , % $
on, fierce,
sing on till I am filld, am so fierce the trans ports
%%% % %$ % ) %% % % ) ( % % % % % % % % % % % % %
% % % % %$ % % % % % % %$ %$ %
filld with joy; For then are they wound, And all
% %%+ ( ) %%%% + ' % %$
my list- ning my sen - ses
" ,, % " ,,
,, %% % , ! , # sing on
on, fierce,
sing on till I am filld, am filld with joy; so fierce the trans - ports are, so fierce they wound,
till so fierce the
%$ % % ) % % %
I am filld, am filld with joy; For then trans - ports are, so fierce they wound, And all
% %%+ ( %%%% ) ' % % %
My My
list - ning sen - ses
( %
my list - ning my sen - ses
sing on till I am filld, am filld with joy; For so fierce the trans - ports are, so fierce they wound, My
then sen
my ses
! ,, !, , %
8
%$
, , % % % % % $ %( % + %( % % % , 0% % % % % 0% % ! , % % # soul you move, for then my list - ning soul you move With plea - sures that can feast - ed are, and all my sen - ses feast - ed are, Tho yet the treat is % % ,% % % % " ,, , % % % % % % % % ' , % "
soul you move, for then my feast - ed are, and all my list - ning soul you move With plea - sures that sen - ses feast - ed are, Tho yet the treat can is
, ! , ,, % % % % % $
soul you move, for then feast - ed are, and all
% %%+ ( ) %%%% ( % %%% % %
% % % %$ % % % %
my list - ning soul you move With plea my sen - ses feast - ed are, Tho yet
% %%%% % % ) % %$
sures the
35
( % %
that can treat is
! ,, , % % % % % % ! ,
12
soul you move, for feast - ed are, my
,, !, , %
ne on
ver ly
" ,, % " ,, ! ,, % !, ,
15
, % ! , ,, ) # ne
ne on ne on
%
-
% % %
ver ly
cloy, sound.
( + % $$ %( % % % %
Your Sure
then sen
my soul you move With plea - sures ses feast - ed are, Tho yet the
on
%
ver ly
( 0% % %
cloy, Your sound. Sure
$$ % $$ % $$ %
eyes, I
eyes, your mien, your I must pe - rish
% % %
your mien, must pe -
% % % ) ) % % %
% % %
your rish
% % % ) ) % %
tongue de by your
% )
% % ) %$ %$ %
that treat
can is
tongue de - clare by your charms,
%$
clare charms,
That Un -
% )
ver cloy, Your ly sound. Sure
tongue by
de - clare your charms,
% )
( % +
That Un -
% %
That Un -
,, !, , % $
you less
you less
% % % % % % % ( ,% %
are mu you save
cloy, Your sound. Sure
" ,, % " ,,
,, % !, , + % % % # That you are mu % %

you less are you
are mu you save
% % %
-
% % % ' 0(% % 0% % %
sic me
% % % % % % &
1.
tongue de - clare by your charms,
sic me
ev - ry - where, in your arms,
( 2. ' + % $$ & $ ' %

your Sure
Un - less you save
sic me
% %
-
% % % % & % %
&
' %
your Sure
$$ &$ $$ & $ $$ &$
where. arms.
where. arms.
mu - sic save me
ev in
ry your
& % %
your Sure
where. arms.
where, your arms, Sure
where. arms.
36
# !#$ %
Sopranos
D Major
Since rst
Attributed to Thomas Ford
Altos
! ## & ! &% 1. Since ## & ! &%

1, 2, 3
first
%$ %$ % %$ %
I
( % % ( % % %
I saw your
% % %
face
% % % %
% % % % % %
I
% % % % %
re - solvd To
hon - our and
%$ %$ %$ %$
Tenors
Basses
4
! ## ! %$ ## !
"
## & ! &% # 1. Since " ## & % &

1. Since 1. Since
first
I saw your
face
first
first
( saw your % % %
I saw your
% % %
I
re - solvd To
hon -
face
face
% %
I
re - solvd To
hon - our and
( % % % our and re ( % % % % % ) %
( % %
re -
re -
nown
## ! & # nown " ## & "

nown
% %
nown
( % % %
you; If you; If
% % % % % %
now
%$ %$ %$ %$
( % % % ( % % %
I be
dis - daind I
% % % % % % % % % % % % %
re - solvd To
hon - our and
wish my
heart
%$ %$ %$
had ne - ver
( % % % ( % % % ( % % % % % % )
re -
now
you; If
now
( % % %
I be I I be
dis - daind I
wish my
you; If
now
( be dis - daind I % % % % %
dis - daind I
% % % %$
my
heart
had ne - ver
wish
heart
had ne - ver
wish my
heart
had ne - ver
! ## ! %$
8
# !#& # known " ## & " ! ## ! &

12
## !
known
% %
known
$$ ( % % % $ % $% % $$ ' 3
you. What
you. What
$ % $ % #% $
I
%$ %$
I I
that loved and
( % #% % ( % %$ %$
I
that loved
you. What
known
##wran - gle? ! % #% & # & !# # wran " ## &

wran - gle?
& & &
you.
' %
that loved and
( % % #%
and you that
( % % % % % % ) % %
you
%$
that liked, shall
( % % % % % % % %$
%$
we
%$
be - gin
% % ) ( % % %
%
to
37
liked, shall
we
% %
be - gin
to
% %
you that
liked, shall
No, no, no, no,
% % % %
No, no, no! my heart is fast and can - not dis - en - tan -
% $ %( % $ %( % $ ( % % % $ % % % ( % % %$ % %$ % % %$
What
that loved and
you
that liked, shall we be - gin to
( % % % #% % % %
we be - gin to
( % % % & ( % %%& ( % %%% &
"
- gle?
No, no, no, no, no! my heart is
( % % %$ % %$ % % % )
no! my heart is fast and can - not dis - en - tan - gle.
% &$ &$ &$
gle.
&$
$$ $$ $$ $$
wran - gle?
No, no, no, no, no! my heart is fast and can - not
%$ % %$ % %$ %$ ( % % % % ) % & ) % %%%% )
fast and can - not dis - en - tan -
gle.
dis - en - tan -
gle.
1. Since first I saw your face I resolvd To honour and renown you; If now I be disdaind I wish My heart had never known you. What I that loved and you that liked, Shall we begin to wrangle? No, no, no! my heart is fast And cannot disentangle.
2. The Sun, whose beams most glorious are, Rejecteth no beholder, And your sweet beauty past compare, Made my poor eyes the bolder: Where beauty moves and wit delights, And signs of kindness bind me, There, oh there! Where eer I go I leave my heart behind me.
3. If I desire or praise you too much, That fault you may forgive me; Or if my hands had strayed but a touch, Then justly might you leave me. I asked you leave, you bade me love; Is now the time to chide me? No, no, no! Ill love you still, What fortune eer betide me.
38
!,
F Major
Old Mother Hubbard

Sopranos
1, 2, 2, 2
Sopranos
! , 8ff% % % % % % ! 9
Quick and Lively
Altos
Tenors
Basses
8 !,9 # " 8 " ,9

% % % % % % accel.
8 !,9
Old moth - er Hub - bard, she went to the cup - board, the
% % % % -
% %
% %
% % % % % % -
Alfred Wheeler
% % % %
% % % % % % % % % % % % % % % % -
cup - board, the cup - board, the ff
Old moth - er Hub - bard, she
! % !,
4
!, % !, # " " , ! , ! %
7
cup - board, the cup - board, the
% % % % % %
% % %
% % % % % % % % % -
% % % % % %
went
to
the cup - board, the
cup - board, the cup - board, the ff
went
to
the cup - board, the
!, % % % % % % % % % % % % # cup- board, the cup- board, the cup- board, the cup- board, the ff " % % % % % % % % % % % % " ,
Old moth - er Hub - bard, she went to
!, %
cup - board, the cup - board, the cup - board, the cup - board, the cup - board,
% % % % % %
% % % % % %
% % % % % %
( % % % % '$ ( '$ % % % %
cup - board,
pp mysteriously
Old moth - er Hub - bard, she pp
% % % % % % % % % % % % % % % % % % % % % % % %
cup - board, the cup - board, the cup - board, the cup - board, the cup - board,
% )
% '$
the cup - board, the cup - board,
( % % '$
! ; !, % % % % % + went to the cup - board, ; , + ! % % % % % went to the cup - board, ; ! , ,% % % % % + # went to the cup- board, " , 0; % % % % % + "
11
'$ '$ '$ '$
( ; + '$ % % % % % % She went to the cup - board, ; ' ( + '$ % % % % % % She went to the cup - board, ; ( ' % ,% % % % % + ' $ ' ; ( ' % 0% % % %
She went to the cup - board,
39
went to the cup - board,
She went to the cup - board,
% + '$
; ( ( % % % % % % She went to the cup - board. ; ' ( ( % 0% % % % % She went to the cup - board. ; ( ' %( % % % % % She went to the cup - board. ;( ( ' % % % % % % '
She went to the cup - board.
! ,ff ! % % % % % % % % % %
16
!, !, # " " , ! , !
20
Old moth - er Hub - bard, she went to the cup - board, she went to the cup - board, she went to the cup - board. ff
Old moth - er Hub - bard, she went to the cup - board, she went to the cup - board. ff Old moth - er Hub - bard, she went to the cup - board, she went to the cup - board. ff Old moth - er Hub - bard, she went to the cup - board, she went to the cup - board.
% % % % % % % % % % % 0%
% % % % % % % % % % % % % % % % % % % % % % % 0%
( % 0 % % % % % % ( % % % % % % % % % % % % % 0% ) % % % % #% % ) %
!, '$
% % % %$
%$
Old moth - er Hub - bard, she went to the cup - board, the
0% % % % % % 0% % % %
for?
!, # " " ,
What did she
go
there
%$
What did she
% % %
go
%$
% %
there
%$
40
24 ( ! , 0 % ! % '$
!, % $
cup - board.
'$
% % 0% )
% '$ '$ -
!, # " '$ " , ! !, '$

29
for?
% % % %$ %$
Old moth - er Hub - bard, she went to the cup - board, the cup - board.
0% % % % % % 0% % % % %$ % % % %$
for? What did she go
%$
%$
What did she go there
there
for?
ff
% % % %$
for? % % % % $ !, '$ %$ &$ # What did she go there for? ff " , '$ % % % % $ " %$ &$ ff What did she go there What did she go there for?
!, '$ % % % % $ % $ & $
ff What did she go there
%$ &$
for?
4 $$ 0&
Waltz time
4 $$ ' f 0& ' ' ' % % % % % % % %

p
4 $$ ' % % ' % % ' % % ' % % 0&

f bow- wow, bow- wow, p bow- wow,
bow- wow,
4 $$ & $ 0&
f
bow- wow,
bones,
bones,
&$
bow- wow, p bow- wow,
bones,
&$
bones,
&$
bow- wow,
! mf %$ ! % % %%% %
36
! ' % % # bow - wow, " " &$

bones,
! ' %
She went to get her dog - gie
% % ) % %
'
bow - wow,
' % ' % &$
a bone,
bow - wow, wow, wow, wow,
; % % ; % % &$
bow - wow,
% % %
% ' ' % ' % &$
+ % % ' ) % %
a bone,
bow - wow,
' % ' % &$
bow - wow,
% % %
% '
+ % ) % %
a
bow - wow,
' % ' % &$
bow - wow,
bow - wow, wow, wow, wow,
bow - wow,
bow - wow,
bow - wow,
bones,
bones,
bones,
bones,
bones,
! % ! '
42
% % '
bow wow,
' '
1.
' ' % % ' % % % % % ' % % ! ' % % % ' # bow- wow,wow, bow - wow, bow- wow, wow, wow, wow, bow- wow, % " % % % &$ % &$ &$ " &$ &$
bow- wow,wow, bow - wow, bow- wow, wow, wow, wow, bow- wow, bones, bow - bow, wow, wow, wow, wow, bones, bones, bones,
! ' % % % '
bone,
she went to get her dog - gie
% % %% % % ' % %
%$
' % % ' % % % % %
% % ' )
a bone,
41
bow wow;
% &$
: : ! marcato % %%% % % % !
48
bow - wow, : : % % : % : ' ' % $$ ' % % ! % %% % % # bone for the lit - tle bow-wow- wow wow. bow - wow, ; ; ; ; ; ; % % 0% % % $$ & $ : % : % : % " % %%% % % " bone for the lit - tle bow - wow - wow wow. bone for the lit - tle bow - wow - wow wow - wow - wow-wow - wow - wow. wow,
: : : : ! % % % % % % % #% % '
bone for the lit - tle bow - wow - wow wow.
: : % % '
' '
%$ $$ % % % % % %
2.
$$ ' %
she went to get her dog-gie
' % ' % &$
bow - wow,
% %
% )
a
bow - wow,
bones,
! & !
54
% %
% %
% %
! ' % % % % % % % % % % % % % &$ # bow- wow, wow, wow, wow, bone forthe lit-tle bow-wow- wow - wow. % " % % " &$ % % % % %%%% % % %
bow - wow, wow, wow, wow, bone forthe lit-tle bow - wow - wow - wow. bones,
! ' %
bone,
bow - wow, wow, wow, bone forthe lit-tle bow - wow - wow - wow.
% %
% %%%% % % % %%%% % %
% %
&$ &$
% % %
' ' ' ' ' '
,8 9 ,8 9 ,8 9
wow, wow, wow, bone forthe lit-tle bow - wow - wow -wow -wow -wow -wow.
% % % ' '
8 ,9
42
! 8 %$ %$ !,9
60
q. = 96 (about)
% % % %$
Sold
8 ! , 9 % $ % $ % % % % $ % $ #% $ # Sold, Sold, Sold a- gain, Sold, Sold, " 8 %$ %$ % % % %$ %$ %$ " ,9

Sold, Sold, Sold a - gain, Sold, Sold, Sold, Sold, Sold a - gain, Sold, Sold,
! ,8 9 %$ %$
Sold, Sold,
% % % %$
a - gain,
Sold, Sold,
%$ %$ %$ %$
% % % %$
Sold
The < ( ( ( % % % %$ % % % % % % % % % Sold a - gain, Sold was old moth - er Hub - bard. The % % % %$ % % % % % % % % <% ) ) ) Sold a - gain, Sold was old moth - er Hub - bard. The % % % % % % % <% $ % %% % % ) ) ) a - gain, Sold was old moth - er Hub - bard. Sold a - gain, Sold was old moth - er Hub - bard. The
< ( % %( % % % %( % % %
! % % ! , % % 0% % % )
66
% % %% ! , 0% % # la - dy that went to the " %%% % %% " , ! , ! %$

71
! , % % % % % % %( % % $ % ) % %$ ,% $ ( % %
la - dy that went to the cup - board,
% % % % $ % % % % % % %( % % % % % % ) )
And sold was the poor lit - tle dog, _who did - nt re - ceive an - y sold was the poor lit - tle dog, _who did - nt re - ceive an - y
la - dy that went to the cup - board, And
( ( %$ % % % % % % % % % % % % % %$ % % % % % % % % % % % % % ) ) %$ % % % % % % % % % % % % % ) )
cup - board, And
sold was the poor lit - tle dog, _who did - nt re - ceive an - y
la - dy that went to the cup - board, And
sold was the poor lit - tle dog, _who did - nt re - ceive an - y
!, % $ % # bone, " " , %$ %

bone, bone,
!, % $
bone,
% %
Try to imitate a dog.
Bow, wow, wow, wow, wow, wow,
% ) + + +
( % %$ '$ '$ %
wow,
% ' % %
'$
'
% )
Bow, wow, wow, wow, wow, How sad, how sad, you
< < ( ( % % % % %( How sad, how sad, you < ( < ( ' % % % % % ) How sad, how sad, you % % % < %( #% < %( )
How sad, how sad, you
( % < ( < ( % % % %
75 to imitate a howl. ; ; ; ! , ! % % % % %( % % % % $
%$
!, % % % % + ' !, % % % % + ' # poor lit-tle dog, " , 0% % % % + '

poor lit- tle dog, poor lit- tle dog,
poor lit- tle dog, Bow,wow, wow,wow.
Bow, wow, wow, wow, wow, wow, wow.
( % % % % % % % % ) % % % % ) / % )
( % % % + ' %$ % % % ) + % + '
; ; ; $ % ( % % % % %
to imitate a howl. Bow,wow, wow,wow,
43
Bow, wow, wow, wow,
( % % % % ( % % % % -
"
Bow, wow, wow, wow.
Bow, wow, wow, wow,
Bow, wow, wow, wow, wow, wow, wow.
! %$ !,
79
% % ) %
!, %
% )
oh
% % % % % % % % % % ,% % % % % % % &$
wow.
poor lit - tle dog,
oh, poor lit - tle dog, _ who did - nt re- ceive an - y
% % % % % % % % % % % % &$
( % % % % % % % % % % % % % % % % % % % '$ '$ '$
"
% ,% % , + ! ) # wow, wow, wow. " ,

wow, wow, wow.
poor lit - tle dog,
+ #% % % % 0%( % % % % % % + +
poor lit - tle dog, _ who did - nt re- ceive an - y poor lit - tle dog, _ who did - nt re- ceive an - y
poor lit - tle dog,
% ) % )
poor lit - tle dog,
poor lit - tle dog, _ who did - nt re- ceive an - y
! % % , ! %
83
% '$ '$ '$
%$ ,% $ %$ %$ %$ %$
( !, % + ( , + % ! # bone. " % + ,)
bone. bone.
bone, bow, wow, wow, wow, wow,
+ + +
'$ '$ '$
slow and sad
%$ %$ %$
Bow,
,% $ %$ &$
wow,
wow.
"
Bow,
wow,
wow.
(savagely)
Bow,
wow,
wow.
Bow, wow, wow.
; ; ; % % %
44
Major #G $ $ ! %
All at once well met

S1, Tenors S2 Altos, Basses
Thomas Weelkes
1 and 2
! #* % % $ $% ! *
Sopranos
% % %
% % %
% % %
& & & & &
&
dies, you,
' % % % % 0% & % & '
% % #% % % 3
#* % ! * % % $$ #* ! * % % $$ %
1. All at once well met fair la 2. Cy - the - re - a shall re - quite
% % % &
Sing we now, we With de - light, de -
dies, Sing we now, we you, With de - light, de -
now, sing we light, with de -
% %
Altos
Tenors
Basses
" # * % % $$ % " *
#* % % $$ % % % % ! * # 1. All at once well met fair

2. Cy - the - re - a
dies, Sing we now you, With de - light
& % % %
dies, you,
shall
la re - quite
dies, fair you, re -
la quite
dies, you,
Sing we now our With de - light lest
! #& !
4
# ! % %
now, light,
' % % & &
'
sing we now, with de-light,
' % % % % &$
sing we now, with de-light,
% % % &
we now, sing we now de - light, with de- light
% % % & ' % % & % % &
our lest
&
' % &
our lest
#' ! % % % %
now, we light, de -
now, light,
sing we now, we now, with de - light, de - light,
"
#' % % % % ! # Sing we now our "# % % &

love re - paid sor - row fright
sing we now, we now, with de - light, de - light,
%$ %
With de - light lest
love re - paid is, sor - row fright you,
% % &
% % % )
sing we now with de-light
% % %
sing we now our love, with de - light,
% % % % % ' '
our lest
sing we now with de- light
is, sing we now, you, with de - light,
sing we now our with de - light lest
% 0% % %
' % % % % & &
is, you,
sing we now our with de - light lest
love sor
re row
! # ! % % &
8
! % & # # #
! % % &
love re - paid is. sor - row fright you.
is. you.
%$ %$ &$ &$ &$
Fa la la la
% % % % ) ( % % % % % % %
&
la
&
la
&
la
& & %
& &
Fa la la la
la
la
la
& &
la
% % % % &
la la
45
la
"
! % % & # love re - paid sor - row fright "# 2

paid fright
re - paid sor - row fright
is. you.
Fa
la
is. you.
Fa
la
is. you.
Fa
la la la la la
% % % % %
la la la la la la
% % % % % % % %
la
la
la
la
la la la la la
% % % % %$
la la la
% % %$
la
la
( % % )
la
! #& !
12
#&
la la
% %
la
2
la
1.
& & & & &
% %
la la
' ' ' ' '
# ! &$
la
la
% % & % &
fa la la
la.
All at Cy - the -
% % $$ &
2.
' ' ' ' '
# ! % % % % % % % % % & # la la la la la la la la la la "# % % % % % % 2 "

la la la la la la la
la
la,
la
la.
All at Cy - the -
% % $$ & % % $$ & % % $$ & % % $ $ &
%
Sweet Then
la.
la.
Sweet Then
% % % %
la.
All at Cy - the -
la.
Sweet Then
la.
All at Cy - the -
la.
Sweet Then
la.
All at Cy - the -
la.
Sweet Then
46
! # $ ! $ &$
15
! !
# $ $ &$ # $ $ &$
hearts help
do not for- sake ye dain- ty la -
% % % & % % &
hearts help
do not for - sake us Till night to sleep be - take ye dain- ty la - dies To sing our love re - paid
% 0% $ % % % & ) #% % ( % % % 0% $ % % & & & 3 3 -
us Till night to sleep be - take dies To sing our love re - paid
( % % %$ % % % &
us, till night to sleep be - take is, to sing our love re - paid
% % $ % #% % & )
" # $$ & $ "
# $ ! $ &$ # hearts
help hearts help
hearts help
% % % & % % 0% & % #% % &
( % % %$ % % % & % ( % % $ 0% % % &
us Till night to sleep be - take dies To sing our love re - paid
us dies
' % % $ 0%( % % & ( ' % %$ % % % &
Till night to sleep be - take To sing our love re - paid
us dies
Till night to sleep be - take To sing our love re - paid
! # 2 !
21
! #&
us, is, us, is,
3 '
'
# ! % % %%%% us, #
is, Fa la la la la
fa la
% 0% % % % #% % %
la la la la
fa la
%% %%%
la la la
"
! % % % % # us, be - take us. "# % %

is, re - paid us, to sleep is, our love
% ' &
la la la,
la
&
is.
Fa la la la la
%%%%%
la,
&
fa la la la la la la
% 0% % % # % % % % & &
fa la la la la
la
&
la,
& % % %
' % %
% 0% % % % & '
la
la,
fa la la la
% 0% % % % & '
fa la
% 0%
la
la
be re
take paid
&
la
la
us. is.
%% %%%
la, Fa la la la la
fa la la la la
%%%%%
la,
la
! # ! %%%
25
! & # # ! '
la
la la la
la
& &
la,
& ' %
3 % 0% % % % %
"
# % ! #% % # la la la "# &
la,
fa la la la la
%%%%% % ' %
la,
fa la la la la
#%
la
fa la la la la la
%%% % % %
1.
&
la la la
( ( % %% % &
la
la.
' % $$ 2
2.
47
la.
' % $$ 2 '
Sweet Then Sweet Then
Sweet Then
la.
la
la
la
fa la
% #% % % %
la la la
la
&
la
% %% % % %%% la, fa la la la la la la % $ %( % ' &

la,
la.
& & &
la
&
fa
la
la la
&
la la
la.
' % $$ 2 '
Sweet Then Sweet Then
$$
la.
la.
la.
$ % $ 2
la. la.
Lo, how a rose

!, $
F Major
Es ist ein Ros entsprungen

A canon or round in 4 parts; all parts begin on C, 3 bars apart.
3, 4
! , & )$ & ! & $

1
Lo,
Es
!, !, " !,
10 7
- ing, from
- en
% % %
how
% % % %
%
a
ein
&
rose
Ros
%$ %
-
Melchior Vulpius
( % % %
-
eer
% %
% % %
ist
aus
ten - der ein - er
% % %
% % % % %
stem lin
Alt
ent - sprung
bloom -
& &
*2 *3 *4
sprung! Of
zart, wie
Jes - ses
uns die
&
Wur
- ing,
- en
as
men
von
Jes - se
of
%$
old
kam
( % % % %
en
eage
%
-
com
sung
% % & &
hath
zel
have
die
sung.
Art.
&
$$+,1
48
,$ $ !, %
Sopranos
Bb Major
Fa una canzona
1, 2, 2, 2
! ,, * $ & ! * $ , $$ & !, * *
Quick and flexible

1. Sing 2. Love 3. Sweet 4. Sing
me a is a are the me a
4 & % % & 4 % % & #&

% % 4 & & % % 4 & & % % % %
Orazio Vecchi
song with not a note of sad bless - ing rare be - yond all mea joys that mu - sic can a - wak song to cool a lov - ers burn
% % % %
& & & &
= % % *& % * * = * * *& % % %
% = % % *& * *
- ness! - sure; - en. - ing!
& & & &
$$ $$ $$ $$
Altos
Tenors
Basses
" , * $$ & " ,* % % % %
, $$ & !, * * # 1. Sing
me a is a are the me a me a is a are the me a
song with not a note of sad bless - ing rare be - yond all mea joys that mu - sic can a - wak song to cool a lov - ers burn song with not a note of sad bless - ing rare be - yond all mea joys that mu - sic can a - wak song to cool a lov - ers burn
- ness! - sure; - en. - ing! - ness! - sure; - en. - ing!
2. Love 3. Sweet 4. Sing
! ,& !,
6
% % % %
me a is a are the me a
, !, &
When Time Mu When
all is sic to
the the can my
4 #; & &
song with not a note of sad bless - ing rare be - yond all mea joys that mu - sic can a - wak song to cool a lov - ers burn
= % % *& % * * = *% = *% = *% = *%
% % % %
",& " ,
,& !, # When
When Time Mu When
all is sic to
the the can my
4 & & ; pain

& 4 0; & & 4 ; &
pain thief calm heart
of of the the
love love pain an -
0& & & &
drives who of guish
% %
me steals hearts keeps
to our for re -
* & * * * #& * & * * & *
- ness! - sure; - en. - ing!
mad plea sak turn
ness: sure. en. ing:
0& & & &
thief calm heart
of of the the
love love pain an -
drives who of guish
,% %
to our for re -
mad plea sak turn
Time Mu When
all is sic to
the the can my
of of the the
love love pain an -
drives who of guish
to our for re -
mad plea sak turn
When Time Mu When
all is sic to
the the can my
of of the the
love love pain an -
drives who of guish
to our for re -
mad plea sak turn
49
! , $ !, $
11
Refrain
% % % % % % & & &
% % % % % % & & &
% % % % % % & & &
& & &
mp
&$ &$ &$

-
%
so
, ! , $$ &
p p
Oh, mp
Dol
ce - men
", $ " , $&

p
, ! , $$ & # Sing
Sing
Sing
Fal -
me to
sleep
tuo
la dun
with a sweet se - re - na - ding, - n chin - vi - ta_al dor - mi - re,
Oh, mp
Dol
so
% #& $ % &$
gent -
&$
ly,
te,
% % %
ce - men
gent -
ly,
te,
Fal -
me to
sleep
tuo
la dun
Oh,
Dol
so
ce - men
gent -
ly,
te,
! ,p $ !, &
17
Fal -
me to
sleep
tuo
la dun
% % % %
oh,
,' p , ! 0& , &$ !, # oh,

p p
dol
dol
so
ce - men
gent
&
oh,
dol
so
ce - men
gent
", " ,
&$
#& &
0&
ly from
te fa
4 & % % & 4 & % % ,& 4 & % % &

fa
sound
cen
to
% % % %
si
la
& & & &
lence
fi
* % * &
ni
fad
do
ly from
te
sound
cen
to
si
la
do
* % * & lence
lence
fi
ing.
re.
&
$$ $$ $$ $$
so
ce - men
gent
ly from
te fa
oh,
dol
so
ce - men
gent
ly from
te fa
4 & % &
-
sound
cen
to
do
si
la
* % * #&
% * * &
ni fi
fi
fad
ni
0& & &
ing.
re.
fad
ing.
re.
sound
cen
to
si
la
lence
do
fad
ni
ing.
re.
1. Fa_una canzona senza note nere Se mai bramasti la mia grazia_havere. Refrain
2. Per entro non vi spargere durezze, Che le mie_orecchie non vi sono_avezze. Refrain
4. Con questo stile_il fortunato_Orfeo 3. Ne vi far cifra_ segno contra segno, Proserpina la gi placar poteo. Sopra_ogna cosa quest l mio disegno. Refrain Refrain 5. Questo_ lo stile che quetar gi feo Con dolcezza Saul lo spirto reo! Falla dun tuon chinvita_al dormire, Dolcemente, facendo la finire.
50
Your shining eyes

!, $ $ %
D Minor
1, 2, 3, 4
Sopranos Altos Basses
Sopranos
! & mf ( ! ,& % % % % $ % % % &
Your shin - ing eyes and gold - en hair, your li- ly -ros - d mf
% % % % % % % & % % % %$ ( %
lips most fair, your li- ly - ros - d
Thomas Bateson
Altos
Basses
" &% % % % % " ,&

mf
& ! ,& % % % % %
Your shin - ing eyes and
gold - en hair, your li- ly -ros - d
% % #& 0% % % % % % % & % % % % % % % & % % % %$ % % % % % %% ) % & % % %
lips most fair, your li- ly - ros - d
Your shin - ing eyes and
gold - en hair, your li- ly -ros - d lips most fair, your li- ly - ros - d
! !, % % &
6
!, % #% % % " ", % % % %
lips most fair:
' % % % % % % 0% % % % %
your o - ther beau - ties that ex -
% % % % % % % % $ 0% ) &$ % % & ' % % %
lips most fair: your o - ther beau - ties that
( % %%% % $ % #% 0% #% % %
ex -
cel, your o - ther
beau - ties
that ex -
% %
cel, your o - ther beau - ties that ex -
% %
% %
lips most fair: your o - ther beau - ties that ex - cel,
your o - ther
beau - ties
that ex -
! !, 2
11
cel,
!,
" & " ,
#&
cel, men can - not choose but like them
% % % % % % % % 0% % % % % %
men can - not choose but like them well, men can - not choose but like them
% % % % % %$ % & ) % % % % % % % % & &
% % % % % % % % % % % % % #% % % % #% % % %
well, but like them well, men can - not choose but like them p
cel, men can - not choose but like them
well, but like them well, men can - not choose but like them
! ! , #&
16
well.
( ' % $$ % $ % &
f But f
" " , &

21
!, &
well.
' 0% $$ % $ %( % % % % & '

But f
when for them
% % % % %
they say theyll die, they say theyll die,
( %$ % % %
when for them they
! !, % % " & " ,

25
well.
But
when for them they
$$
%$ % % % )
&
say
&
theyll die, they say theyll die, be-lieve them p
( % $ % % % #% % % %
p
&
' %
p
51
be -
say
theyll
die, they say theyll die, be-lieve
%$ % % % )
% % &
; %$ ( % % % % ; %$
not, f not,
!, % $
lieve them
they do
% % % & )
but lie, but
' &
not,
they do but
! !, & " & " , ! !, %

29
them
they do
% % % % % )
lie, but lie,
% % #% %
lie,
be - lieve them
% % %
them
%$
not,
be - lieve
% %
; %$
&
% & )
not,
%$
they do
( % % % ( % % % &
but
but
they do
but
be - lieve them not,
they do
!,
% % % #%
lie, f be lie,
&
&
lieve
be - lieve them f
'
( % % % % not, they do but lie, %$ % % ; % %$ )

not, they do
%$
them
&
% % % % % & ) not, they do but lie, be - lieve ; ( % $ % % % % % % % %

be but lie,
1.
%$
lie,
be - lieve them
% & ) ' ' '
lieve
them not, they do
&
&
but
they f
them
% %
not,
% &
they
do
% & &
but
& #& &
#& & &
lie.
!,
" 2 " ,
#%
But f
5 $$ #2
2.
lie,
they
do
but
lie.
But f
0% %
$$ 5 2 5 $$ 2
lie.
lie.
do
but
lie.
But
lie.
52
Faire Phyllis
!, $ %
F Major
1, 2
Sopranos
! * ! ,* 2
Altos
Tenors
Basses
* ! ,* # " * " ,*
* ! ,*
Fair
( $$ % $ % % % 1.
$$ $$ $$
Phyl - lis I saw
sit - ting all
% % % % -
& 3 3 3
a - lone,
Feed - ing her flock
%$ % % & ) ( %$ % % & ( %$ % % & %$ % % & )
John Farmer
% % % %
near
near
near

2.
near
! !, %
6
% 2 !, % % & # to the mount - ain side; " 2 % % , % " %

to the mount ain side; to the mount - ain side;
!, % % &
to
the mount - ain side; fair
% % % % % % % & $ % $$ & ' % % $ % % % % ) % % % 2 $$ & 3

side.
The shep - herds knew not, they knew not whi - ther she was
$$ & 3
side.
'
The
shep - herds knew not, whi - ther she was
$$ & 3
side. side.
%$
( % % % % % % % ' % %$ 3 % %
lov The shep
'
The
herds
% )
! , ! &
10
3 3 3
' %
!, &
gone,
But
% '
"
!, % % % % % % % % % & # knew not,they knew not whi-ther she was gone, " %$ % % % % % % % & , )
gone, shep - herds knew not, whi - ther she was gone,
But
aft - er her
%%% %
aft - er her
%%% %
%%% % % %
&
lov -
er, her
lov - er,
But
aft - er her
%%% %
her
But
aft - er her
%% &
lov - er, herlov -
%%& &
lov -
&
lov -
! % !, % % % % % % 3
14
!, & 3 # er, " % 3 " , %

- er,
!, % % % % % % % 3
er, but aft- er her lov - er er, but aft- er her lov - er
' '
% % 0%
A -myn- tas
' % % % % % %% % % % ' % % % % %% % %
A -myn - tas hied.
( % %$ % & &
&
3 3
hied.
$$ 3
but aft- er her lov - er A -myn- tas
hied.Up and down
% % % %$
but aft- er her lov - er A -myn- tas
hied.
' % % $$ % $
he
( % $$ &
$$ ' % % &
wan -
' % % % %
53
Up and
Up and down
Up and down
he
( % &
dered,up and
wan
! , %$ !
19
& !, # down, " " ,% %
!, ' % % % $
down
he wan - dered,
( % %
' ( % %
% % %$
up & down
up and down
'
- dered,
he
&
% % %$ 2
he wan - dered,
'
up & down
he wan- derd,
( % %
% % %$ % '
he wan- derd,
( % %
3 ( % % %
' & &

up
up & down
% % %$
he wan
wan
dered,
up & down
he wan -
( % &
' %
&
%
up
derd,
derd,
&
up
! ( !, % $ % %
23
!, ' & # up " " ,2

and
!, % %
down he wan- derd,
& down
%$
% %
' ( % %
up & down he
%% % % ' ( % %
he wan- derd,
&
down
%$ 2
up & down
%% % % '
wan - derd, up & down
% %
% % % %
wan
he
he wan- derd,
2
he
up & down he wan - derd, up & down he wan -
%% % % %
he
% %
& %
wan
% %% % % &
derd, he
wan -
&
down
wan
54
! !, %
27
' 3 ' 3
!,
derd
!, % # derd whilst she was miss- ing; " % % % % % 3 " ,%

derd whilst she was miss - ing;
derd
' % % ' & % % % % % % % % & 0% & & & whilst she was miss - ing; When he found her, O, then they fell a 3 % % % % % 3 3 ' % % % % % % & & & % % 0&
whilst she was miss - ing;When he found her,
3
' % % 0% % % &
&
&
&
&
When he
&
found
&
her, O, then they fell a -
When
he
found
her, O, then they fell a -
3 & & & & % %
! !, 3
33
& %
O,
h = h.
4& & 4 &% 4 && 4 &&
% &
they
%
fell
!, % % & # kiss - ing, O, " " ,% % &

kiss - ing, O, kiss - ing, O,
!, %
&
then
then they
%
they
fell
% % %
& & &

a a
kiss - ing, a - kiss -
%$ %$ %$ %
( % % ( % % ( % % %
%$ %$ % %
ing, O
( % % ( % % % %
kiss - ing, a - kiss -
% %
ing, O
then
then
they
fell
fell
&
a a
kiss - ing, a - kiss - ing,
kiss - ing,
a - kiss - ing,
! !, &
38
!, & # then " " ,&

then then
!, &
then
they
% % % %
fell
% % % %
& & & &

a a a a
h. = h
-
* *% * *% * *%
1.
kiss -
ing;
% %
3 3
they
fell
they
fell
* % % % % %$ *
kiss ing;
kiss - ing up and down;
they
fell
kiss -
ing
'
up and
% % $$ %
he
5 % & kiss - ing. 5 ( $$ % & %

kiss - ing. kiss - ing. kiss - ing.
$$ %
2.
$$
5 &
5 &
Index of Titles
All at once well met .................. Alle psallite ............................... Come again! .............................. Come, ye Sons of Art ............... Dona nobis pacem .................... Drink to me only ...................... El Grillo .................................... Es ist ein Ros entsprungen ....... Fa una canzona ......................... Faire Phyllis .............................. Fine knacks ............................... Gaudeamus igitur ...................... Greensleeves ............................. 44 18 4 10 14 19 26 47 48 52 12 21 24 If music be the food of love ...... Il est bel et bon ......................... Laudate ..................................... Lo, how a rose .......................... Non nobis, Domine .................. Now is the month of maying .... Old mother Hubbard ................ Pase el agoa .............................. Pastyme .................................... Round on a well-known text .... Since first ................................. Weep O mine eyes ................... Your shining eyes ....................
55
34 28 8 47 11 22 38 15 6 25 36 16 50
56
Index of Composers
Alle psallite ............................... Dona nobis pacem .................... Gaudeamus igitur ...................... Non nobis, Domine .................. Pase el agoa .............................. Your shining eyes ..................... Weep O mine eyes .................... Come again! ............................. Fine knacks .............................. Round on a well-known text .... Faire Phyllis ............................. Since first ................................. Greensleeves ............................. Pastyme .................................... El Grillo ................................... Non nobis, Domine .................. Now is the month of maying .... Il est bel et bon ......................... Come, ye Sons of Art ............... If music be the food of love ...... Drink to me only ...................... Laudate .................................... Fa una canzona ........................ Lo, how a rose ......................... All at once well met .................. Old mother Hubbard ................ 18 14 21 11 15 50 16 4 12 25 52 36 24 6 26 11 22 28 10 34 19 8 48 47 44 38
Anonymous ..............................
Bateson, Thomas ...................... Bennet, John ............................. Dowland, John .......................... Ellyard, David .......................... Farmer, John ............................ Ford, Thomas ........................... Henry VIII of England ............. Josquin Desprez ........................ Legge, Philip ............................ Morley, Thomas ....................... Passereau, Pierre ....................... Purcell, Henry .......................... Traditional ................................ Tye, Christopher ...................... Vecchi, Orazio ......................... Vulpius, Melchior .................... Weelkes, Thomas ..................... Wheeler, Alfred ........................

TUMS Busking Book 1 01

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Sopranos

The TUMS Busking Book

Edited by Philip Legge Version 1.01 1 January 2008

The TUMS Busking Book

For example: G Major

Altos Tenors Sopranos, Basses

no - men Do - mi - ni, vos ser - vi

% % % & % % % % % % & &

no - men Do - mi - ni, vos ser - vi

no - men Do - mi - ni, vos ser - vi

no - men Do - mi - ni, vos ser - vi

Index of Titles ...........................

Index of Composers .................

! # ! ' ! ' ! ' # "# ' " # #

#* % $ % & ! & ) # Come a - gain! & " #* % % & "

' ' ' ' & & &

love doth now

' ' ' '

( % & ( % & & ( % &

# $ ! $& # To " # $$ &

! % % # thee a "# " % % #

die, to die with

in sweet - est sym

* with thee a - gain

( % & pa - thy. ( % &

Tenors Sopranos, Altos Basses 1, 2, then 2 bars of clapping

Henry VIII of England

with hon - es - ty,

1. Pas - time with

good com - pa - ny, _

1. Pas - time with

good com - pa - ny, _

good com - pa - ny, _

%$ !, # love " $ " ,%

vir - tue, vi - ces

Grudge who lust

Grudge who lust

Grudge who lust

be pleasd thus live

be pleasd thus live will

hunt, sing and dance,

be pleasd thus live will

hunt, sing and dance,

hunt, sing and dance,

thus shall I use

Last note of verse 3 is held double.

% % % & % % % % % % & &

! % % % % # or - tu so - lis "# ' % % %

no - men Do - mi - ni, vos ser - vi

! # $ ! $' % % % # $ De - cre - ta ! $' % % % # $ De - cre - ta ! $' % % % # De - cre - ta " # $$ ' % " % %

% % $ %( % $ % De - i jus - ta sunt, et cor ex - hi %$ % % % % % % %$ % )

Come, ye Sons of Art

tune all your

voi - ces and

your voi - ces and

voi - ces and

## ! &$ # day, " ## & $

$$ & $$ $$ & $$ & &

( % &$ tri - um - phant day. % % % % $ %( & $ %

Non nobis, Domine

! ## 4 ! & % % % % $ % $$ % % % % Non no-bis Do - mi - ne, non no - bis; ## 4 $$ ! &' % % % %$ % % % %

" ## 4 & "

Do - mi -ne, non no - bis;