TEXTS ON MUSIC IN ENGLISH
School of Music
University of Nebraska--Lincoln
Lincoln, NE 68588-0100
(phone: [402] 472-2507; Internet: plefferts1@unl.edu)

Data entry: Robin High
Checked by: Peter Slemon
Approved by: Peter M. Lefferts

Fn and Ft: SCOTA3B2_TEXT
Author: Anonymous
Title: The Scottish Anonymous
Source: Judson Dana Maynard, "An anonymous Scottish treatise on music from the sixteenth century, British Museum, Additional Manuscript 4911, edition and commentary," 2 vols. (Ph.D. dissertation, Indiana University, 1961), 2:133-257. Used by permission.
Graphics: SCOTA3B2 01GF-SCOTA3B2 88GF

[-133-] [fol. 46] IN THIS LIBELL CONSEQUENT THE PROCES OF THE SECUND BUIK AND THRID PART OF MUSIC ORDORLIE IS EXTENDIT

The secund part of music beand dressit and formalie put in ordour, it is now expedient to proceid fordwart with the process of the thrid part quhilk is the gardin of music quhairin habundance of concordis and semeconcordis plesantlye ar plantit, furth of the quhilkis all kind of wyld weydis, that is to say, all barbur and onformall puyntis ar uterly exterminat and repellit so that musicianis, amang the plesand plantis of concordance, may find and gadder dyvverss punctis rethoricall to the decornig of harmony and amphian of the samyn. Quhairfoir it is first to be requirit:

[-134-] HEIR BEGINIS THE FIRST CHAPTOUR--CONTRAPUNCT

Quhat is contrapunt? Dubill it is. Quhow? Simpill and colorat.

Sympill contrapunct--quhat is it? It is the art of declynyng of cantable soundis for proporcionall dimension and mesur of tym, quhairin everry noit is mensurit with equall proportione to the quantatie of ane sympill noit contrar ane uther proponit, as be thir exemplis consequent cleirly is denuncit.

[Anon., Scottish, 134,1; text: (Example 62.), Misere(re) michi domine et exaudi orationem meam.] [SCOTA3B2 01GF]

[Anon., Scottish, 134,2; text: [fol. 46v] (Example 63.)] [SCOTA3B2 01GF]

[-135-] Collorat--quhat is it? It is ane fractur or parting of symple noittis in dyvers figuris mensurall, the quhilk to name is callit discant.

Discant--quhat is it? It is ane melodius consonance of harmony, quhilk be numeris artificiall dois mak division and fraction of nottis mensurall, puttand tham in dyverss concordis intermixtie fluresing craftelly upone sympill and mensurall grundis.

Concordans--quhat is it? Concordance is ane consonance and mixtur of grave and scherp soundis sweitly to aeris convenient, quhilk all our causs and besnies exerce, et cetera.

Quhow mony concordance of discant within the boundis of the vocis of men and young chitorin ar nemmit? Threttene. Quhilk threttene? Ane unison, and thrid, ane fyvft, and saxt, and octave, ane tent, ane twelft, ane thretteynd, ane fyveteind, ane seventeind, ane nynteind, ane twentie and ane twa-and-tuentie. Quhow mony of tham ar perfyt and quhow mony of them imperfyt? [fol. 47] Sevin of tham [ar] perfyt and sax of them imperfyt. Quhilk sevin perfyt? Ane unison, ane fyvft, ane octav, ane twelft, ane fyveteynd, ane nynttend and ane tuentie-and-tua concordance. Quhairfor ar thay callit perfytis? Becauss thay may stand be thair self in modulation to begin ane sang and end ane sang with perfyt concordance. Quhilk sax of the concordanc ar imperfyt? The thrid, the saxt, the tent, the thretteynd and sevnteynd and the twentitht. Quhairfor ar thay callit imperfyt? Ffor quhy everry kynd of tham eftir arsis and thesis to hav elevation and reflection in discant with facultie ar constitut, quhilkis to nam ar callit ammeles or concimes.

Of discant, sax kyndis of concordance be the auld fatheris ar [-136-] put allanerly, thay ar to say, unison, semiditon, diton, diapenthe, tonus with diapenthe, and diapason, of the quhilkis sax kyndis thrie ar callit perfyt and thrie imperfyt. The thrie perfyt ar thir: unison, diapenthe, and diapason, and suppois, Boecius haldis nocht the unisone for ane consonance, nocht-the-les, be the modern musicianis it is haldin the well and beginnyng of all consonance. Thir ar the thrie imperfyt: semiditon, diton, and tonus with diapenthe, the quhilk Pictogaras dois afferm sayand that all modulation within [the] diapason is fully contenit and quhat thing that is furth of the boundis of [the] diapason it is bot ane repeting agane of it contenit in the said boundis. Ane tent, forsuyth, is nocht ellis bot the same with ane thrid; ane twelft is bot the same with ane fyvft; ane threttein is bot the same with ane saxt and ane fyvtend is no moir bot doubill diapason. So dois the concordis multiplie ascendent fro diapason till epidiapason and discendent to disdiapason [fol. 47v] beneth or above as the boundis of the sang dois requir.

[-137-] THE SECUND CHAPTOUR

Quhow mony rewlis of contrapunt ar nemmit? Ten. Quhilk tene? The first rewill is that the begining of everry canticle salbe ta[k]ne be perfyt concordance, that is to say, be the unison, the fyvft, the octave, the twelvit and the fyveteynd; the quhilk rewill is nocht legall, bot arbitrar, for quhy perfection in all thingis is nocht gevin ay to the beginnyng of sangis bot to the terminationis of tham; quhairfor the discant may begin other with perfyt or imperfyt at the arbitri of the positour so that it end perfyt and attour, gif causs of necessitie dois constrein, it may end with ane inperfyt as thir exemplis of contrapount and ane of discant dois ostend.

[Anon., Scottish, 137; text: (Example 64a.)] [SCOTA3B2 01GF]

[-138-] [Anon., Scottish, 138,1; text: (Example 64b.)] [SCOTA3B2 02GF]

[Anon., Scottish, 138,2; text: [fol. 48] (Example 64c.)] [SCOTA3B2 02GF]

This exempill precedent is of the beginnyng and the ending of canticlis in perfyt concordance. This exemple followand is of the beginnyng and the ending of canticlis [in] imperfyt concordance.

[Anon., Scottish, 138,3; text: (Example 65a.)] [SCOTA3B2 02GF]

[-139-] [Anon., Scottish, 139,1] [SCOTA3B2 02GF]

[Anon., Scottish, 139,2; text: (Example 65b.)] [SCOTA3B2 03GF]

[-140-] [Anon., Scottish, 140; text: (Example 65c.)] [SCOTA3B2 03GF]

[fol. 48v] The secund [rewill] is that tua perfyt concordis of ane natur and kynd may nocht immediatlie togidder ascend and discend to be in ane sang constitut, that is to say, twa unisonis, twa fyvftis, tua octavis, twa twelftis, tua fyveteintis, and sa furth. This rewill is legall and [not] arbitrar, to the quhilk aucht maner of plane sang for the cognitione of the same ar in this wayss distribut:

[-141-] [Anon., Scottish, 141; text: (Example 66.), First be the octav rysand and falland with (th)e plane sang. Secundly by the fyvft. Thridly be the unison. Be the octave. Be the fyvft. Be the unison.] [SCOTA3B2 04GF]

[-142-] The quhilk progression of perfytis afoir notifeit ar fra all modulation of music alluterly interdytit and for fals discant descrivit.

[fol. 49] The thrid rewill is that betuix tua perfect concordans of ane natur and kynd in dyverss consimill motionis intendit or remittit ane [im]perfect concordance, that is to say, ane thrid or ane saxt, sul[d] be in the middis constitut and attour mony imperfytis alyk and alyk, as tua or thrie or four thridis or saxtis or tentis betuix thay tua perfytis of the same kynd ar decently interponit be this exemple:

[Anon., Scottish, 142; text: (Example 67.), Of contrapunct ane exempill. Of discant upon the samyn plane sang.] [SCOTA3B2 03GF]

[-143-] The ferd rewill is that mony perfytis of unlyk concordance ascendent and discendent may in contrapunct consequen[t]ly be deducit, as ane fyvft eftir ane unison or eftir ane octave and ane octave eftir ane fyvft and siclyk of the concordanc perfyt as in this descriptione of notis lightly salbe comprehendit:

[Anon., Scottish, 143; text: (Example 68.)] [SCOTA3B2 05GF]

[fol. 49v] The fyvft rewill is that tua perfectis of ane natur and kynd, as ane octav immediatly followand ane uther, in contrapunct may be constitut gif the first in the s[ch]erp be pretendit and the secund in the grav remittit. So is siclyk of the fyvft gif the first be in thesis and the secund in arsis be deducit as be this description of notis eftir followand be inspection with schort process is denuncit:

[-144-] [Anon., Scottish, 144,1; text: (Example 69.), Altus, Tenor, Contratenor] [SCOTA3B2 05GF]

The sext rewill is that the partis of the sangis, that is to say, the tenor, the countra, and the discant suld in thair moving everrie ane till uther be contrary; that is, quhan the sang ascendis the tenor discendis and econtra and siclyk the countratenor salbe usit with the leiv of the partis, the quhilk rewill is nocht legall bot arbitrar, for quhy oft wyiss the noittis of the tenor in consimill movingis dois follow the noittis ascendent and discendent and siclyk the countratenor dois proceid, as in dyverss canticlis is practitat and usit and be this exempill consequent declaris:

[Anon., Scottish, 144,2; text: (Example 70.)] [SCOTA3B2 05GF]

[-145-] [Anon., Scottish, 145] [SCOTA3B2 05GF]

[fol. 50] The sevnt rewill is that quhan ane imperfect concordance passand to ane perfyt concordance of ony harmonycall part to seik the nerest perfyt, in moving of diverss pertis boyth of ane and the uther to concur. It is necessar, that is to say, quhan abov if the tenor soundis ane saxt maior, quhilk [is] tonus cum diapenthe, than thay boith sall proceid with contrarie movingis the tenor with a voice allanerly descendent and the discant with ane voic allanerly to the scherp ascendent in the octave conveniently salbe placit, the quhilk is propre of ane saxt maior in ane octave ascendent. The saxt maior, semiditene cum diapenthe, may muif and discend bo[t] ane voic allanerly to the fyvt concord perfyt quhilk sall stand in the steid nocht muiffit and the said saxt eftir that the octave sall ascend as is this description consequent formally is disponit:

[-146-] [Anon., Scottish, 146,1; text: (Example 71.), the saxt minor; the sax(t) maior.] [SCOTA3B2 06GF]

The aucht rewill is that all cantalene suld be endit in ane perfyt concord, that is to say, other in ane unison or in ane octave or in ane fyveft or in ane twelft or in ane fyvteind, quhilkis the skuillis of all musiciance frequently dois observe. Quhairfoir the philosopher sayis the end of all thing is perfection. Heirfor to hav knawleig of the same ane reall exempill eftir dois follow:

[Anon., Scottish, 146,2; text: (Example 72.)] [SCOTA3B2 06GF]

[-147-] [Anon., Scottish, 147,1] [SCOTA3B2 06GF]

[fol. 50v] The nynt rewill is that dyverss and mony perfyt concordancis all of ane natur and kynd so that thay be unmovable, that is to say, money of tham in ane key or in ane toune stand and stabill to follow uther in modulation ar admittit, quhilk be this present exemple with consideration may be persavit as eftir followis:

[Anon., Scottish, 147,2; text: (Example 73.)] [SCOTA3B2 06GF]

[-148-] The teynd rewill is that quhan the plan sang dois remain lang in and space or in ane lyne the perfyt concordis has facultie to ascend and discend be dyverss movingis of diapason, diatessaron, and diapenthe, as be this exemplar beris witness:

[Anon., Scottish, 148; text: (Example 74.)] [SCOTA3B2 07GF]

[fol. 51] The forsaid rewllis beand declarit, certan exemplis of perfyt concordance of dyverss kyndis apone the plane sang in mony sindrie wayis dividit, quhilk for the instruction of young chitorin in maner following dois proceid:

Ane exempill of ane unison with ane fyvft and ane fyvft with ane unisone.

[-149-] [Anon., Scottish, 149,1] [SCOTA3B2 07GF]

Ane exempill of ane unison with ane fyvft and ane fyvft with ane unison on ane uther maner of plane sang.

[Anon., Scottish, 149,2] [SCOTA3B2 07GF]

Thridly ane exempill of the same on the thrid maner of plane sang.

[Anon., Scottish, 149,3; text: Unison with a fyvft; fyvft with unison.] [SCOTA3B2 07GF]

Ane exempill of ane fyvft with ane octave and ane octave with ane fyvft of dyverss kyndis.

[Anon., Scottish, 149,4; text: Fyvft with octave; octav with fyft.] [SCOTA3B2 07GF]

[-150-] Ane uther exemple of ane fyvft with ane octav and econtra on the secund maner of plane sang.

[Anon., Scottish, 150,1; text: 5, 8] [SCOTA3B2 08GF]

[fol. 51v] Ane exempill of the octave with ane fyft and ane fyvft with ane octave.

[Anon., Scottish, 150,2; text: Octave & fyvft; fyvft & octave.] [SCOTA3B2 08GF]

Exemple of the octave with ane unison and ane unison with ane octave.

[Anon., Scottish, 150,3; text: Octave & unison: unison with ane octav.] [SCOTA3B2 08GF]

Ane octave with ane twelft and [ane] twelft with ane octav.

[-151-] [Anon., Scottish, 151,1; text: 8 with 12; 12 with 8.] [SCOTA3B2 08GF]

Ane exempill of ane octave with ane fyveteint.

[Anon., Scottish, 151,2; text: 8 & 15.] [SCOTA3B2 08GF]

Ane exempil of ane twulft and ane fyveteint.

[Anon., Scottish, 151,3; text: 12 & 15.] [SCOTA3B2 08GF]

Ane exemple of ane fyveteint with ane twelft.

[Anon., Scottish, 151,4; text: 15 with 12.] [SCOTA3B2 09GF]

[-152-] [fol. 52] Ane exempil of ane fyveteint wyth ane octav.

[Anon., Scottish, 152,1; text: 15-8.] [SCOTA3B2 09GF]

Ane exempil of dyverss partis quhair tua fyvftis fra the perfect may be extendit or in the octave remittit as the formalitie of an sang dois requir. Secundlie, ane part beand immovable, the uther part fro the fyvft to the octave may declyne or exalt. Thridlie, eftir tua thriddis or tua tenttis the fyvftis and twelftis may ryss and fall at the will of the positour as this discription consequently dois furth schaw:

[Anon., Scottish, 152,2; text: (Example 75.)] [SCOTA3B2 09GF]

Of perfit concordance the exemple beand execut, now of the process of imperfyt, the description is necessar to be discryvit, quhairfoir it is to be requirit: Quhow sall the imperfyt concordis be modulat? The imperfyt concordis of dyverss naturis eftir the comond course of discant [-153-] oft tymas may be modulat and mixit with concordis perfyt ane, tua, or thrie, that is to say, ane 3[rd] with ane fyvft, tua thridis, et cetera. [fol. 52v] With ane fyvft ane thrid--tua thridis--thrie thridis.

[Anon., Scottish, 153,1] [SCOTA3B2 09GF]

With ane octo[ve] ane saxt--tua saxtis--thrie saxtis.

[Anon., Scottish, 153,2] [SCOTA3B2 09GF]

With [ane] twelft ane tent--tua tentis--thrie tentis.

[Anon., Scottish, 153,3] [SCOTA3B2 09GF]

With fyvfteint ane threttent--tua thretteintis--thrie threttentis.

[-154-] [Anon., Scottish, 154,1] [SCOTA3B2 10GF]

Off imperfyt concordis everry ane till uther nocht intermixit with perfytis this is the precess followinge:

With a [tent crossed out] saxt ane thrid--tua thridis--thrie thridis.

[Anon., Scottish, 154,2] [SCOTA3B2 10GF]

[fol. 53] With ane tent a thrid--tua thridis--thri[e] thridis.

[Anon., Scottish, 154,3] [SCOTA3B2 10GF]

With ane tent ane saxt--tua saxtis--thrie saxtis.

[-155-] [Anon., Scottish, 155,1] [SCOTA3B2 10GF]

With a threttenit ane saxt--tua saxtis--thrie saxtis.

[Anon., Scottish, 155,2] [SCOTA3B2 10GF]

With ane threttenit ane tent--tua tentis--thrie tentis.

[Anon., Scottish, 155,3] [SCOTA3B2 10GF]

Thir forsaiddis of exemplis of imperfyt concordance of dyverss kyndis for the cognition of the natur of tham conveniently may suffice. Mairattour, quha plesis to tak inspection of this figur subsequent may cleirly persavif and onderstand quhow far man may fra the grund ascend with the passaig of concordis perfyt and imperfyt.

[-156-] [Anon., Scottish, 156; text: [fol. 53v], [Gamma], A, B, C, D, E, F, G, b, ut, re, me, la, fa-ut, sol-re, la-me, sol-re-ut, la-me-re, fa-be-me, sol-fa-ut, la-sol-re, fa-me, sol-fa, la-sol, tonus, semito[nus], apotheme, unison, 3 to [Gamma] ut, 5 to [Gamma] ut, 6 to [Gamma] ut, 8 to [Gamma] ut, 10 to [Gamma] ut, 12 to [Gamma] ut, 13 to [Gamma] ut, 15 to [Gamma] ut, 17 to [Gamma] ut, 19 to [Gamma] ut, twentight to [Gamma] ut, 3 till A-re, 5 till A-re, 6 till A-re, 8 till A-re, 10 till A-re, 12 till A-re, 13 till A-re, 15 till A-re, 17 til A-re, 19 till A-re] [SCOTA3B2 11GF]

[-157-] [fol. 54] THE THRID CHAPTUR

The thrid chaptour is of the convenient and congrew according of the ferd diatessaron consonance placit betuixt the unison and the octav and it be symple deducit, that is to say, beneth the octav wantand the barritonant it is ane unplesand discord and ane sound offendent the eyris of the auditouris. Nocht-the-les, quhan it is co[n]junit to mixtion of concordis, it is maid ane congrew and convenient accordance, the quhilk in tua placis is admittit. First, quhan the bar[i]tonant and the descant weill soundis togedder in the octav, than the voic quhilk is intermediat under the discant disponit maist sueitlie sall accord. Secundly, quhan the barritonant and the descant procedis be ane or ma[n]y saxtis, than the voic intermediat allwayis observand thrid[is] to the barritonant plesandly sall accord, the quhilk maner of sang be the musicianis is callit faburdoun or faulxburdoun, and it is admitit in melodie be breiff and semebreif or mynnym to be deducit, of quhilk ane schort exemple for instruction of young men and chitorin in this form eftir dois follow:

[Anon., Scottish, 157; text: (Example 76.)] [SCOTA3B2 12GF]

[-158-] [Anon., Scottish, 158] [SCOTA3B2 12GF]

[-159-] [fol. 54v] THE FOUR CHAPTOUR

Discordance--quhat is it? It is ane mixtur of dyverss soundis naturally offendent [to] the aeris, to nam uthe[r]wayis dissonance, quhilk corruup and defull the curiouss extention and reser[v]ation of harmony be dudss evill discribut discordis. Of the quhilkis in numer thay ar nyn, that is to say, ane secund, ane ferd, ane sevnt, ane nynt, ane levnt, ane fourtenit, ane saxtenit, ane auchtenit, and ane tuentight-ane, quhilkis dois proffer the same bitter soundis als evill in the octavis as in the unisonis.

Quhow and quhair may discordis in discant be admittit? The declaration thairof is in this wyss: That ane breve or ane semebreve in discant, as the maisteris of the art has institut, may nocht underly discordance for quhy it dois corrup the natur and saiffatie of the modulatione and makis the harmony displesand to the auditouris. Nocht-the-les, discordis in in [sic] cantilenis amang discant ar hord and the sincopation resavis ingress and passaig of temporall mesur, quhilk almoist in all modulationis hapins to be frequentit. Thairfor upon the fruition of discordis ane generall rewill is gevin and institut be the saiddis professouris, that is to say, that all kynd of discord salbe placit upone the first part of the sympill noit and the concord upon the secund part of the samyn noit, quhilk sall descend be ane toun or a semitoun beneth the discord and never abovn. This is the knawleig of the same: Eftir discord callit a levnt, the concord callit a tent sall eftir follow; eftir ane nynt, ane octave; eftir ane sevnt, ane sax[t] eftir ane ferd, [-160-] ane thrid; and eftir ane secund, ane unison. Siclyk jugment, forsuyth, is to be ta[k]n of all the leivf of discordis amang concordis deducit as this exempill dois preiff.

[Anon., Scottish, 160,1; text: (Example 77a.)] [SCOTA3B2 12GF]

[Anon., Scottish, 160,2; text: [fol. 55] (Example 77b.)] [SCOTA3B2 13GF]

[-161-] Be this formall way the saiddis sincopat discordis to the eyris dois lytill offend bot thay ar be the moderen auctoritie moist studiuss observit. Yeit in the absence of tham suppoiss the concordis with all diligence upone the plane sang be inducit in the moist formall way that possibill is and they be nocht decorit wyth intermixtiene of discordis plesan[d]ly convayit, the discant sall nocht appeir plesand to the auditouris, upone the quhilkis dyverss exemplis reall ar consequently inducit followand the form of the aucht ordouris of plan sang, quhilkis dois begyne at discant of any mynnym for a deminut plan sang noit and so furth consequently and at thrie mynnyms, four mynnyms and fyve mynnyms wyth ane curchet augmentin, concludant wyth saxt mynnyms, quhilkis ar with plesand concordis decorit and discordis thairwith intermixit and sincopat and with fraction of figuris divydit for the profytabill instruction of men and childrin thairto giffand thair jugment. Thairfoir it is convenient to begin at the first ordour, quhilk is callit to name Dorius, upone the quhilkis aucht ordouris consequently dyveris exemplis of discant plesandly ar convoyit.

The First Ordour Dorius

[Anon., Scottish, 161; text: (Example 78a.), Of ane schort noit callit ane mynnym, Benedicamus patrem et filium] [SCOTA3B2 13GF]

[-162-] [Anon., Scottish, 162,1; text: [fol. 55v], cum sancto Spiritu.] [SCOTA3B2 13GF]

Heir beginnis tua mynnyms.

[Anon., Scottish, 162,2; text: (Example 78b.), Benedicamus patrem.] [SCOTA3B2 14GF]

[-163-] [Anon., Scottish, 163,1] [SCOTA3B2 14GF]

[Anon., Scottish, 163,2; text: (Example 78c.)] [SCOTA3B2 14GF]

[-164-] [Anon., Scottish, 164,1; text: [fol. 56] (Example 78d.)] [SCOTA3B2 15GF]

[Anon., Scottish, 164,2; text: (Example 78e.)] [SCOTA3B2 15GF]

[-165-] [Anon., Scottish, 165,1; text: (Example 78f.)] [SCOTA3B2 15GF]

[Anon., Scottish, 165,2; text: (Example 78g.), [fol. 56v]] [SCOTA3B2 16GF]

[-166-] [Anon., Scottish, 166,1] [SCOTA3B2 16GF]

[Anon., Scottish, 166,2; text: (Example 78h.)] [SCOTA3B2 17GF]

[-167-] [Anon., Scottish, 167,1; text: (Example 78i.)] [SCOTA3B2 17GF]

[Anon., Scottish, 167,2; text: [fol. 57] (Example 78j.)] [SCOTA3B2 18GF]

[-168-] [Anon., Scottish, 168,1] [SCOTA3B2 18GF]

[Anon., Scottish, 168,2; text: (Example 78k.)] [SCOTA3B2 18GF]

[-169-] [Anon., Scottish, 169,1; text: [fol. 57v] (Example 78l.)] [SCOTA3B2 19GF]

[Anon., Scottish, 169,2; text: (Example 78m.)] [SCOTA3B2 19GF]

[-170-] [Anon., Scottish, 170,1; text: [fol. 58]] [SCOTA3B2 19GF]

[Anon., Scottish, 170,2; text: (Example 78n.)] [SCOTA3B2 20GF]

[-171-] [Anon., Scottish, 171,1] [SCOTA3B2 20GF]

[Anon., Scottish, 171,2; text: (Example 78o.), [fol. 58v]] [SCOTA3B2 20GF]

[-172-] [Anon., Scottish, 172,1; text: (Example 78p.)] [SCOTA3B2 21GF]

[fol. 59] Heir beginnis ane lesson of thrie mynnyms.

[Anon., Scottish, 172,2; text: (Example 78q.)] [SCOTA3B2 21GF]

[-173-] [Anon., Scottish, 173,1] [SCOTA3B2 21GF]

[fol. 59v] Ane lesson of four mynnyms.

[Anon., Scottish, 173,2; text: (Example 78r.)] [SCOTA3B2 22GF]

[-174-] [Anon., Scottish, 174; text: [fol. 60]] [SCOTA3B2 22GF]

Exempill of fyve mynnyms.

[-175-] [Anon., Scottish, 175,1; text: (Example 78s.)] [SCOTA3B2 23GF]

[fol. 60v] Ane exemple and ane lesson of sax mynnyms.

[Anon., Scottish, 175,2; text: (Example 78t.)] [SCOTA3B2 23GF]

[-176-] [Anon., Scottish, 176; text: [fol. 61]] [SCOTA3B2 24GF]

[-177-] [Anon., Scottish, 177,1] [SCOTA3B2 24GF]

The Secund Ordur Hypodor[i]us

[Anon., Scottish, 177,2; text: (Example 79a.)] [SCOTA3B2 25GF]

[-178-] [Anon., Scottish, 178,1; text: (Example 79b.), [fol. 61v]] [SCOTA3B2 25GF]

[Anon., Scottish, 178,2; text: (Example 79c.)] [SCOTA3B2 26GF]

[-179-] [Anon., Scottish, 179,1] [SCOTA3B2 26GF]

[Anon., Scottish, 179,2; text: (Example 79d.)] [SCOTA3B2 26GF]

[fol. 62] Everie ane of [them] till uther of thir tua sightis of discant upon the plane sang followand with formal concordance ar convoyit.

[-180-] [Anon., Scottish, 180; text: (Example 79e.), Secund vox. a, b, c, d, e, f, g, h] [SCOTA3B2 27GF]

[-181-] [Anon., Scottish, 181,1; text: (Example 79f.), [fol. 62v]] [SCOTA3B2 28GF]

[Anon., Scottish, 181,2; text: (Example 79g.)] [SCOTA3B2 29GF]

[-182-] [Anon., Scottish, 182,1, [fol. 63]] [SCOTA3B2 29GF]

[Anon., Scottish, 182,2; text: (Example 79h.)] [SCOTA3B2 30GF]

[-183-] [Anon., Scottish, 183,1] [SCOTA3B2 30GF]

[Anon., Scottish, 183,2; text: (Example 79i.)] [SCOTA3B2 30GF]

[fol. 63v] Ane lesson of four mynnymis.

[Anon., Scottish, 183,3; text: (Example 79j.)] [SCOTA3B2 31GF]

[-184-] [Anon., Scottish, 184; text: [fol. 64]] [SCOTA3B2 31GF]

[-185-] The thrid ordour is call Phrigius, upon the quhilk ordur the proces of tua mynnymis and four mynyms beneth the plane sang baritonant schortly dois proceid.

[Anon., Scottish, 185; text: (Example 80a.)] [SCOTA3B2 32GF]

[-186-] [fol. 64v] Four mynnyms.

[Anon., Scottish, 186; text: (Example 80b.)] [SCOTA3B2 33GF]

[-187-] [Anon., Scottish, 187,1; text: [fol. 65]] [SCOTA3B2 33GF]

The ferd ordor is callit Hypophrigius, upon the quhilk ordur the process of fyve mynnyms and ane curchet is extendit.

[Anon., Scottish, 187,2; text: (Example 81.), V mynnyms and ane curchet.] [SCOTA3B2 34GF]

[-188-] [Anon., Scottish, 188,1; text: [fol. 65v]] [SCOTA3B2 34GF]

The fyvft ordor is callit Lydius, upone the quhilk ordor the process of tua mynny[m]is with ane schort introduction of tripla dois eftir proceid.

[Anon., Scottish, 188,2; text: (Example 82a.)] [SCOTA3B2 35GF]

[-189-] [Anon., Scottish, 189,1; text: [fol. 66]] [SCOTA3B2 35GF]

[Anon., Scottish, 189,2; text: (Example 82b.)] [SCOTA3B2 36GF]

[-190-] [Anon., Scottish, 190,1] [SCOTA3B2 36GF]

[Anon., Scottish, 190,2; text: (Example 82c.)] [SCOTA3B2 37GF]

[-191-] [Anon., Scottish, 191,1; text: [fol. 66v]] [SCOTA3B2 37GF]

The saxt ordor is callit Hypolidius, upon the quhilk ordor consequent the process of the plan sang nottis suthly ar soung.

[Anon., Scottish, 191,2; text: (Example 83.)] [SCOTA3B2 38GF]

[-192-] [Anon., Scottish, 192,1] [SCOTA3B2 38GF]

The sevnt ordor is callit Mixolidius, upone the quhilk ane swift process to the finall end is deducit.

[Anon., Scottish, 192,2; text: [fol. 67] (Example 84.)] [SCOTA3B2 39GF]

[-193-] [Anon., Scottish, 193,1] [SCOTA3B2 39GF]

The aucht ordor is callit Hypomixolidius, upon the quhilk ane schort exemple dois proceid.

[Anon., Scottish, 193,2; text: (Example 85.)] [SCOTA3B2 40GF]

[fol. 67v] Ane schort exempill of scala ficta.

[Anon., Scottish, 193,3; text: (Example 86.)] [SCOTA3B2 40GF]

[-194-] [Anon., Scottish, 194] [SCOTA3B2 40GF]

Heir endis the mesuris of discant with mony reall exemplis of everry mesur and followis the ordour of setting of sangis as sall be cler[l]ie and ordarlie schawin be riall exemplis folluing.

[-195-] [fol. 68] THE FIVFT CHAPTOR IS OF THE FORMATION OF DIV[E]RSS VOCIS IN SETTING OF SANGIS

The mesuris of discant befoir writtin formaly beand put in ordor, it is necessare to knaw the formatione of dyverss partis of contrapunct, quhilkis be the doctouris ar institut and, in thair commentis assignat to lectoris, prolixit and difficill to understand. Thairfoir, guid it is to proceid be reall exemplis wyth closing punctis thairto conform placit in dyverss keyis, quhilkis sall sonar inform the lectouris nor the prolixit and difficill comme[n]tis forsaidis. Quhairfor in this exemplar consequent mony plesant punctis and formall reportis of harmony ar contenit, quhilkis ar extract furth of the warkis of dyverss practicians of music for instruction of young men and studentis desyrand to hav practik of setting of sangis. So that be speculation of thir consequent punctis harmonicall thay may tak intelligence and perceuf the wayis and direction of nottis and plesand punctis gevin [in] the saiddis practicians to all and sindrie modulatouris of music to be exercit and usit.

Nocht-the-les, suppois I have collectit the saiddis punctis and put tham in [the] ordour followand, I beleve that sum men will reprove the takking furth of the punctis harmonicall of utheris menis warkis to furnes furth, set, and decoir the exemplis of my warkkis, to the quhilkis my answer is in this wyss: Dispiter, Pilliso, Sulpicius and mony utheris writ and apone grammer hes collectit and drawin mony auctoriteis furth of the warkis of Virgill, Cicero, Tyrenc[e], Ovid, et cetera and dyverss [-196-] otheris oratouris and poetis, the quhilkis auctoriteis thay have allegit in the gloiss of thair commentis to verefy and appreif thair warkis. Quhairfor, it is als leyfull to me to collect the punctis harmonycall of auld practicians of music and put tham in exemplis of my warkis siclyk as thay hava dowin affoir. Latt everie arbeter say efter his concept quhilk I believ sall nocht be far [fol. 68v] from the way as heir is writtin.

Thairfoir, the lectoris of this present comment unto your faculteis be it knawin that as the skansing of versis poeticall, the quantaties of sillabes throw position, rewill, and exemple perfyctlie is knawin. So in the settin[g] of sangis the formall way of harmony--pacition, rewill, and exemplie--plesandly to memorie is reportit. Throwe pacition--quhow? As be signis of augmentation and diminution and roctione of canonis with elevation and depression of groundis and be arsis and thesis quhilkis formaly ar disponit. Throw rewill--quhow? As the first part of music, the secund, and the thrid [part crossed out] ordarly disponit is and in dyverss chaptouris of rewlis befoir writtin is intitulat, quhilkis beand sersit and soght, the rycht way sall do proceid. Throw exempill--quhow? As in this clarification of harmony consequent dyverss plesand punctis ar contenit, the quhilkis ar collectit and extract furght of the conceptis of dyverss practicians of music auld and new, togidder witht ane table of situation of concordis precedent, quhilkis in exemplis for young men and studentis to the effect forsaid plesandly is deducit.

Be this calculatione of fyguris consequent studentis may perceuf the ordor of concordance quhilkis within the sisterm ar directit.

[-197-] [Anon., Scottish, 197; text: [fol. 69], b, ff, C, dd, 1, 3, 5, 8, 10, 12, 15, 17, 19, 22, 24] [SCOTA3B2 41GF]

Off this precellent art ane suttell and formall description be exemplis is disponit, quhilk is trectit be scansing of versis and be the mesur and quantatie of tham quhilkis [ar crossed out] the[e] sall find in the sevntynt canon, the thrett-four leiff, quhairby oft syiss we ar sein with our sang, lyik ar it war with the feit of versis to ascend and discend putand our neumes and tenoris and utheris kindis of sangis in placis of the feit of versis be canonis expremand be name the feit of everry verss at the will of the positour to be colocat, as Dactalus, [-198-] Spondicis, et cetera, and thair fallouis quhilkis ar tablit in the threttie-fyve leiff.

[Anon., Scottish, 198; text: [fol. 69v] (Example 87.), Triplex, Countra, Tenor, Bassus] [SCOTA3B2 41GF]

[-199-] [Anon., Scottish, 199; text: (Example 88.), 1, 2, 3, 4] [SCOTA3B2 42GF]

[-200-] [Anon., Scottish, 200; text: [fol. 70] (Example 89.), 1, 2, 3, 4] [SCOTA3B2 42GF]

[-201-] [Anon., Scottish, 201; text: (Example 90.), Triplex, Countra, Tenor, Bassus] [SCOTA3B2 43GF]

[-202-] [Anon., Scottish, 202; text: [fol. 70v] (Example 91.), Triplex, Countra, Tenor, Bassus] [SCOTA3B2 44GF]

[-203-] [Anon., Scottish, 203; text: (Example 92.), 1 Tri, 2 Cou, 3 Te, 4 Bas, [fol. 71]] [SCOTA3B2 45GF]

[-204-] [Anon., Scottish, 204; text: (Example 93.), Tri, Cou, Te, Bas] [SCOTA3B2 46GF]

[-205-] [Anon., Scottish, 205; text: [fol. 71v] (Example 94.), Triplex, Cou, Tenor, Bas] [SCOTA3B2 47GF]

[-206-] [Anon., Scottish, 206,1] [SCOTA3B2 47GF]

[Anon., Scottish, 206,2; text: (Example 95.), Tri, Cou, Te] [SCOTA3B2 48GF]

[-207-] [Anon., Scottish, 207] [SCOTA3B2 48GF]

[-208-] [Anon., Scottish, 208; text: [fol. 72] (Example 96.), 1, 2] [SCOTA3B2 49GF]

[-209-] [Anon., Scottish, 209; text: (Example 97.)] [SCOTA3B2 50GF]

[-210-] [Anon., Scottish, 210; text: [fol. 72v] (Example 98.), 1, 2, 3, 4] [SCOTA3B2 51GF]

[-211-] [Anon., Scottish, 211; text: (Example 99.), 1, 2, 3, 4] [SCOTA3B2 52GF]

[-212-] [Anon., Scottish, 212; text: [fol. 73] (Example 100.), Triplex, Coun, Tenor, Bassus] [SCOTA3B2 53GF]

[-213-] [Anon., Scottish, 213; text: (Example 101.), 1 Tri, 2 Coun, 3 Te, Bas, [fol. 73v]] [SCOTA3B2 54GF]

[-214-] [Anon., Scottish, 214,1] [SCOTA3B2 54GF]

[Anon., Scottish, 214,2; text: (Example 102.), Tri, Coun, Tenor] [SCOTA3B2 55GF]

[-215-] [Anon., Scottish, 215; text: [fol. 74]] [SCOTA3B2 55GF]

[-216-] [Anon., Scottish, 216; text: (Example 103.), Tri, Coun, Te, Bas] [SCOTA3B2 56GF]

[-217-] [Anon., Scottish, 217; text: [fol. 74v] (Example 104.), Tri, Coun, Te, Bas] [SCOTA3B2 56GF]

[-218-] [Anon., Scottish, 218; text: (Example 105.), 1, 2, 3, 4] [SCOTA3B2 57GF]

[-219-] [Anon., Scottish, 219; text: (Example 106.), 1, 2, 3] [SCOTA3B2 57GF]

[-220-] [Anon., Scottish, 220; text: [fol. 75] (Example 107.), 1, 2, 3, 4] [SCOTA3B2 58GF]

[-221-] [Anon., Scottish, 221; text: (Example 108.), 1, 2, 3, 4] [SCOTA3B2 58GF]

[-222-] [Anon., Scottish, 222; text: (Example 109.), Triplex, Countra, Tenor, Bassu(s), [fol. 75v]] [SCOTA3B2 59GF]

[-223-] [Anon., Scottish, 223; text: (Example 110.), 1, 2, 3] [SCOTA3B2 59GF]

[-224-] [Anon., Scottish, 224; text: (Example 111.), 1, 2, 3, 4] [SCOTA3B2 60GF]

[-225-] [Anon., Scottish, 225,1; text: [fol. 76] (Example 112.), Of thrie partis. 1, 2, 3] [SCOTA3B2 60GF]

[Anon., Scottish, 225,2; text: (Example 113.), 1, 2, 3] [SCOTA3B2 61GF]

[-226-] [Anon., Scottish, 226,1] [SCOTA3B2 61GF]

[Anon., Scottish, 226,2; text: (Example 114.), 1, 2, 3] [SCOTA3B2 61GF]

[-227-] [Anon., Scottish, 227,1; text: (Example 115.), 1, 2, 3] [SCOTA3B2 62GF]

[Anon., Scottish, 227,2; text: [fol. 76v] (Example 116.), Triplex, Tenor, Bassus] [SCOTA3B2 62GF]

[-228-] [Anon., Scottish, 228] [SCOTA3B2 63GF]

[-229-] [Anon., Scottish, 229,1] [SCOTA3B2 64GF]

[Anon., Scottish, 229,2; text: [fol. 77] (Example 117.), Triplex, Coun, Tenor, Bassus] [SCOTA3B2 64GF]

[-230-] [Anon., Scottish, 230] [SCOTA3B2 65GF]

[-231-] [Anon., Scottish, 231,1] [SCOTA3B2 65GF]

[Anon., Scottish, 231,2; text: [fol. 77v] (Example 118.), 1, 2, 3, 4] [SCOTA3B2 66GF]

[-232-] [Anon., Scottish, 232] [SCOTA3B2 66GF]

[-233-] [Anon., Scottish, 233; text: [fol. 78]] [SCOTA3B2 67GF]

[-234-] [Anon., Scottish, 234; text: (Example 119.), 1, 2, 3, 4] [SCOTA3B2 68GF]

[-235-] [Anon., Scottish, 235; [fol. 78v]] [SCOTA3B2 69GF]

[-236-] [Anon., Scottish, 236; text: (Example 120.), Triplex, Cou [Tenor crossed out], Tenor, Bassus] [SCOTA3B2 70GF]

[-237-] [Anon., Scottish, 237; text: [fol. 79] (Example 121.), Triplex, Countra, Tenor, Bassus] [SCOTA3B2 71GF]

[-238-] [Anon., Scottish, 238] [SCOTA3B2 72GF]

[-239-] [Anon., Scottish, 239; text: [fol. 79v] (Example 122.), 1, 2, 3, 4] [SCOTA3B2 73GF]

[-240-] [Anon., Scottish, 240] [SCOTA3B2 74GF]

[-241-] [Anon., Scottish, 241; text: [fol. 80] (Example 123.), Triplex, Countra, Tenor, Bassus] [SCOTA3B2 75GF]

[-242-] [Anon., Scottish, 242,1] [SCOTA3B2 76GF]

[Anon., Scottish, 242,2; text: [fol. 80v] (Example 124.), Tri, Coun, Te, Bas] [SCOTA3B2 76GF]

[-243-] [Anon., Scottish, 243] [SCOTA3B2 77GF]

[-244-] [Anon., Scottish, 244,1] [SCOTA3B2 77GF]

[Anon., Scottish, 244,2; text: [fol. 81] (Example 125.), Tri, Coun, Tenor, Bassus] [SCOTA3B2 78GF]

[-245-] [Anon., Scottish, 245] [SCOTA3B2 78GF]

[-246-] [Anon., Scottish, 246,1] [SCOTA3B2 79GF]

[Anon., Scottish, 246,2; text: [fol. 81v] (Example 126.), Triplex, Coun, Te, Bas] [SCOTA3B2 79GF]

[-247-] [Anon., Scottish, 247] [SCOTA3B2 79GF]

[-248-] [Anon., Scottish, 248; text: (Example 127.), Tri, Coun, Te, Bas, [fol. 82]] [SCOTA3B2 80GF]

[-249-] [Anon., Scottish, 249; text: [fol. 82v]] [SCOTA3B2 81GF]

[-250-] [Anon., Scottish, 250] [SCOTA3B2 82GF]

[-251-] [Anon., Scottish, 251; text: (Example 128.), 1, 2, 3, 4, [fol. 83]] [SCOTA3B2 83GF]

[-252-] [Anon., Scottish, 252] [SCOTA3B2 84GF]

[-253-] [Anon., Scottish, 253; text: [fol. 83v]] [SCOTA3B2 85GF]

[-254-] [Anon., Scottish, 254; text: (Example 129.) Ane Exempill of Tripla, Tripla, Tri, Coun, Tenor, Bas, [fol. 84]] [SCOTA3B2 86GF]

[-255-] [Anon., Scottish, 255,1] [SCOTA3B2 86GF]

[Anon., Scottish, 255,2; text: (Example 130.), 1 Tripla, 2 Countratenor, 3 Coun, 4 Tenor, Bas, Fyve partis, Of fyve partis.] [SCOTA3B2 87GF]

[-256-] [Anon., Scottish, 256,1] [SCOTA3B2 87GF]

[Anon., Scottish, 256,2; text: [fol. 84v] (Example 131.), 1, 2, 3, 4, 5] [SCOTA3B2 88GF]

[-257-] [Anon., Scottish, 257] [SCOTA3B2 88GF]