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: SCOTA3B3_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), 2:258-332. Used by permission.
Graphics: SCOTA3B3 01GF-SCOTA3B3 51GF

[-258-] [fol. 85] HEIR BEGINNIS COUN[T]IRIN[G]

To proceid furth with the proceis musicall of dyverss wayss of modulation, the rewlis of discant and setting of sangis beand formaly dressit and ordarly extendit, it followis now, eftir the form and ordour of the process first in the beginnyng devysit, to scheit be rewlis and exemplis the wayiss and diversiteis of ane plesand maner of harmony to name callit countering.

Quhairfoir it is to be inquirit: Quhat is countering? It is ane formall fractione of sympill noittis be numeris trinar and binar in music figurative deducit, quhilk be musicians in plesand soundis of harmony craftellie is convoyit.

Quhow mony mesuris of countering ar usit? Thrie. Quhilk thrie? Countering of sax mynnyms for ane sympill noit, of fyve mynnyms and of four mynnyms, of the quhilkis thr[i]e mesuris, sax mynnyms ar commundly maist in uss. Thrie mynnyms, tua, and ane mynnyms ar of sa schort tym that litill in tham of plesand harmony may be comprehendit.

Quhow mony rewlis of countering ar nemit? Twelf. Quhilk twelf? The first rewill is: In the breking of the sympill noit that the modulator sall begin his first noit in the samyn key quhairin the symple noit standis and sall end it in the samyn key and sua furth sall he do with the noitis to the compleit ending of his verss, except that the noit befoir the cloiss may ascend abouve the boundis to [the crossed out] cloiss plesandly.

[fol. 85v] The secund rewill is: Quhairever the fynall noit in ony key is fund havfand the nerest noit befoir the fynall in the [-259-] same key signat, that is to say, fa fa, or soll soll, etc. and sua furth, it is institut that the cloiss salbe maid upone [the] last of the saiddis nottis and nocht on the first and attour quhair the fynall noit in ony key is fund nocht havand the noit precedent in the same key signat as la sol, or fa sol, it is institut that eftir the fynall noit [another] in the same key salbe understand, upone the quhilk noit the cloising punct plesandly salbe maid. This present rewill statut is siclik in fynall closingis to be observit in discant allanerly.

The thrid rewill is: Gef the countering be of tua partis, the plane sang sall hav facultie at the plesur of the arbiter to descend fra the beginny[n]g [to crossed out] of his sympill noit to diapason and beneth and neid be, and sall ascend als hye as his voic will serve hym fra the simpill noit and to uss all concordis beneth the plane sang and ab[o]ve according to plesand harmonye.

The ferd rewill is: Quhan the plan sang dois cloiss descendent in diapason the baritonant sall ascend and cloiss in the samyn key quhairin the sympill noit standis and, giff the countering be of tua partis, the baritonant sall have facultie to ascend abouve the plane sang als hye as it plesis the modulator.

The fyvft rewill is: Quhair tua or thrie of four noittis of plane sang or may[r] ar sett all togidder in ane key, the modulator tendent to the first cloiss sall flieit to the next [cloiss crossed out] and sall flieit to the thrid and sall fleit and sua furth ay and quhill [-260-] he cum to the last noit and thair he sall mak his cloisss. But this rewill fallis an[e] is throw reson of the ditty, that is to say, upon quhat noit that the last sillabe of ane word fallis, thair sall the cloiss be plesandly maid, and siclyk [pre??? crossed out] preceipt in gevin of all utheris noittis variable. Of the first rewill, of the secund, [fol. 86] and the thrid ane exempill eftir dois follow:

[Anon., Scottish, 260; text: (Example 132.), 1, 2, The plane sang brokin.] [SCOTA3B3 01GF]

[-261-] [Anon., Scottish, 261] [SCOTA3B3 01GF]

[fol. 86v] Upone the fyvft rewill ane uther exempill dois eftir follow be resone of ditty, quhilk dois agrie wit[h] the rewlis forsaidis.

[-262-] [Anon., Scottish, 262; text: (Example 133.), 1, 2, (Esurientes implevit bonis et divites di-] [SCOTA3B3 02GF]

[-263-] [Anon., Scottish, 263; text: -misit inanes.)] [SCOTA3B3 02GF]

[fol. 87] The saxt rewill is: Gif the countering be of thrie partis, the plane sang sall keip the proprie bundis and sall nocht ascend abouve the boundis except allanerly to fech on ane plesand cloiss, bot beneth it sall nocht haiff facultie to discend at the plesur of the modulator.

The sevnit rewill is: Gif it be of thrie partis, the barritonant sall keip the boundis beneth the plane sang, bot quhan the plane sang dois in diapason descend, the barritonant sall ascend in the octave as befoir in the ferd rewill saiddis and nocht above the octave bot to fech in ane plesand clois allanerly.

Th[e] aught rewill is: That the thrid sicht, knawand the rewlis of the plane sang and the baritonant, sall have facultie to ascend above the plane sang and beneth eftir as the exigeus of the sang dois requir bot the boundis of the thrid sicht is moir to be usit above the plane sang nor beneth.

[-264-] [Anon., Scottish, 264; text: (Example 134.), 1, 2, 3, Contracenture Trium Pracium, [fol. 87v]] [SCOTA3B3 03GF]

[-265-] [Anon., Scottish, 265; text: [fol. 88]] [SCOTA3B3 04GF]

[-266-] The nynt rewill is: Be constitucion of musicians quhilk dois convey the noittis [of the] baritonant in dyverss greis of concordans and dois the noitis craftaly infer be the maner of canon in dyverss wayis quhilk with provision to be modulat is nocht deficill[t], apon the quhilk rewill ane exempill in sympill music and ane uther in contracenture eftir dois follow:

[Anon., Scottish, 266; text: (Example 135a.), Pleni sunt celi.] [SCOTA3B3 05GF]

The intelligence of this present rewill is this: that the musicians to the baritonant be ane precept hes directit thrie concordances beneth the plane sang to be usit with itera[ti]on of the saiddis concordance in this maner, that is to say, the first concord with the first noitt of the plane sang salbe sett in ane unison with the plane sang or beneth the [plane crossed out] sang in diapasone, eftir as the nixt noit may formaly be [fol. 88v] inducit. The secund concord apone the nixt noit of the plane sang salbe sett in ane thrid beneth or in ane tent eftir as the formalitie of the nixt noit dois requir. The thrid concordance apone the thrid noit of the plane sang salbe sett in ane [-267-] fyvft beneth or in ane towlft eftir as the exigeus of the nixt noitt followand dois requir and sua furth sall uss iteracion of thir thrie concordis foirsaiddis to the fynall completing of the quaverss and so the thrid sycht seand the passaig of the concordance may lyghtly fluris his noittis apone the saiddis baritonant and sympill noittis, as be thir exemplis precedent and subsequent may cleirly be recognoscit:

[Anon., Scottish, 267; text: (Example 135b.), 1, 2, 3, Pleni sunt celi, etc.] [SCOTA3B3 05GF]

[-268-] [Anon., Scottish, 268; text: [fol. 89]] [SCOTA3B3 06GF]

Of Four Partis

The tent rewill is: Gif the countering be of four partis, quhen the plane sang dois ascend be ane grie fro ane noit up till ane uther approchand to the cloiss, the baritonant sall place the nixt noit befoir the cloiss in ane thrid beneth the plane sang, of the quhilk fraction [-269-] salbe maid descendent gr[i]e be grie to the cloiss quhilk salbe in the diapason beneth the plane sang in this form, or in this form, so that the formis keip alternitie, that is to say, everrie ane of tham in thair turn ay thair courss about salbe modulat with iteration as eftir at mair leynth salbe declarit.

[Anon., Scottish, 269; text: (Example 136a.)] [SCOTA3B3 06GF]

The twelf rewill is: Quhan the plan sang dois descend allanerly be ane grie fro ane noit till ane uther approchand to the cloiss the baritonant sall place the nixt noit befoir the cloiss in ane fyvft beneth the plane sang, for the quhilk fyvft it sall nocht descend gr[i]e be grie, bot immediatly furth of the fyvft to the cloiss quhilk salbe in diapason foir nemmit, except quhan the plan sang dois descend fra fa to mi, than the baritonant placit in ane thrid beneth sall descend nocht grie be grie bot immediatly to the nixt fyvft, quhilk salbe the closing noit as be thir exemplis may be knawin.

The tent rewill beand forgeit is: Giff the plan sang sall haiff na facultie, gif the countering be of four partis, to descend beneth the propir boundis nor abouv except the fechin in of ane plesand [-270-] cloiss allanerly.

[Anon., Scottish, 270; text: [fol. 89v] (Example 136b.)] [SCOTA3B3 06GF]

The thretent rewill is: Gif, in countering of four partis, the plane sang dois ascend above C sol-fa-ut, D la-sol-re, E la-me, Ff fa-ut, G sol-re-ut in the alt, than the ferd sycht sall keip the boundis betuix the plane sang and the baritonant in the maner of ane tenor and the thrid sycht salbe boundit in the way of ane counter quhillis abouve the plane sang and quhyllis beneth, and gif the plane sang dois descend in C fa-ut, D sol-re, E la-me, Ff fa-ut, G sol-re-ut greves, than the ferd sycht sall be the lawest part abov the plane sang and the thrid syght salbe the hyest, the quhilkis thrid and ferd partis sall gif eyris everry ane till uther, that is to say, quhan the thrid sight dois ascend the ferd sall descend ane econtray keipand alternitie fro ane till ane uther in thair turn ay with iteracion eftir as the formalitie of the plane sang to perfyt melodie dois confirm, so that the thrid and the ferd sycht do knaw the ordour and passaig of the barritonant, apon the quhilk barritonant and the plane sang togidder the thrid and the ferd [-271-] syght sall thair partis infer and in thair proprie boundis plesandly convoy, for the quhilkis, dyverss rewlis of instructione to the rewlis afoir nemit ar annixit as eftir be reall exemplis perfytly salbe knawin.

[Anon., Scottish, 271; text: [fol. 90] (Example 137.), This is the thrid seicht quhilk sall proceid, The ferd syght is in this maner. Quhan the plane sang dois descend or ascend, descendent, The baritonant sall proceid in this way. ascendent, discend] [SCOTA3B3 07GF]

[-272-] [Anon., Scottish, 272; text: ascend, discend, discendent, ascendent, [fol. 90v]] [SCOTA3B3 08GF]

[-273-] [Anon., Scottish, 273; text: discendent, ascendent, -ent, [fol. 91]] [SCOTA3B3 09GF]

[-274-] [Anon., Scottish, 274; text: ascendent, discendent] [SCOTA3B3 10GF]

[-275-] [Anon., Scottish, 275,1] [SCOTA3B3 10GF]

[Anon., Scottish, 275,2; text: [fol. 91v; Bassus on fol. 92] (Example 138.)] [SCOTA3B3 11GF]

[-276-] [Anon., Scottish, 276] [SCOTA3B3 11GF]

[-277-] [Anon., Scottish, 277] [SCOTA3B3 12GF]

[fol. 92] The fourtend rewil is: Be institucioun of musicians is devysit, putand the plane sang figurateuff aucht noittis abov the propir seitt, quhilk dois keip the rewill of the plane sang forsaid, to the quhilk plane sang [deducit crossed out] thrie artificiall partis ar all beneth the said plane sang deducit, that is to say, ane tenor, ane counter and ane baritonant, the quhilkis thrie partis fra the rewlis forsaidis ar all declynit. Nocht-the-les, it is ane craft of countering be the self, quhilk may be usit at the plesur of modulatouris, the quhilk rewill eftir dois follow in this maner as saidis:

[-278-] [Anon., Scottish, 278; text: [fol. 92v] (Example 139.), 1, 2, 3, Deus creator omnium.] [SCOTA3B3 13GF]

[-279-] [Anon., Scottish, 279; text: [fol. 93]] [SCOTA3B3 14GF]

[-280-] [Anon., Scottish, 280] [SCOTA3B3 14GF]

Heir endis the rewlis of c[o]untering with thair exemplis and foll[o]wis faburdun.

[fol. 93v; blank]

[-281-] [fol. 94] HEIR BEGINNIS FABURDUN

The rewlis of countering beand all rehersit, with the exemplis of the samyn, now consequently it is necessar to discryve the process and ordor of faburdoun be rewlis and exemplis ostensyve, quhairthrow studentis be speculation ma recev understanding and information of the samyn. Thairfor, it is to be requirit: Quhat is faburdoun? Ffaburdoun is ane melodius kynd of harmony quhilk dois transmut and brek sympill noittis in figuris colorat be numeris trinar and bynar conform to the way of music mensurall.

Quhow mony kyndis of fabur[doun] ar nemmit? Four. Quhilk four? The first, the secund, thrid, and the ferd.

Quhow sall the first kynd of faburdoun be knawin? Be rewills and exemplis. Be rewillis--quhow? The first rewill is that the plane sang notis of all mesuris ma be uprasit fro the propir seit and modulat in diapason ascendent. Bot this rewill is nocht ay observit, for this causs--quhan the plane sang is seit in C fa-ut, D sol-re, E la-me, Ff fa-ut, G sol-re-ut in the scherp and in A la-me-re, B[rob][sqb] fa-be-me, [fol. 94v] C sol-fa-ut, etc. above the scherip, than the noittis sall nocht be transportit in diapason ascendent bot thay salbe in the propir seitis modulat.

The secund rewill is that the baratonantis of the forsaid rewill, quhan quhan [sic] the plane sang is uprasit, salbe all set in thriddis abov the propir sett of the plan sang quhilkis salbe all saxtis beneth the upresit noittis. Bot this rewill is nocht ay observit, for this causs--quhan the plan sang is seitt in C fa-ut, D, E, F, G, in the [-282-] scherp and in A la-me-re, B[rob], C, C, etc., above the scherp, than the nottis of the barratonant sall nocht be sett in thriddis abov the propir seit bot in saxtis beneth the plane sang and siclyk quhen it is sett in the propir seit modulat.

The thrid rewill is: Suppois the plane sang descend or ascend, all the closing punctis of the tribill salbe maid ascendent and never descent, quhilkis to the rewillis of countering ar all contrarry.

The ferd rewill is: Suppois the plane sang ascend or discend, all the closing punctis of the baritonant sall never ascend, bot fro the saxt in the octav immediatlie sall descend.

The fyvft rewill is: Suppois the plane sang be uprasit fro the proprie seit or modulat in the propir seit, the thrid part of faburdon--callit the counter--sall ay be sett in ferdis beneth the plane sang and [in] the thriddis abov the baritonant, except quhan the baritonant makkis the closing punctis down in the octav beneth the plane sang, than the closing punctis of the said counter sall cloiss in the fyvft above the baritonant. Of the quhilk counter the modulaturis sall sing nan uther noittis bot the same noittis of the plan sang all in ferdis beneth the same, as it is befoir in the thrid chaptour of the thrid part of music at mair lynth declarit.

The saxt rewill is: Gif the finall noit of ony verss, hyme, antiphon or respond be nocht flexable to resa[r]ve ane plesand c[l]oiss it is admittit be all musicians [fol. 95] to augment the finall with ane sympill noit eftir the last noit of the plane sang for the making of the last closing punct plesand, the quhilk augmentation at the finall ending of versis, hymnis and antiphonis oftand dyverss tymes yeilie dois occur [-283-] in sindrie realmes, apone the quhilkis rewlis forsaidis diverss reall exemplis.

The sevnt rewill is that all nounis barbar[ous] or [H]ebrew, as Israell, Syon, Jacob, David, Affrata, Jherusalem, or monosillabis--sum, es, est, me, te, se, fac, nos, voc--makand the punctis uprasit to cloiss in the mid verss sall discend fro the uprasit nottis and punct in semiditono als weill in binary as trinary and in alls weill corrupt pausis as in [punct crossed out] product paussis or in schort psalmony. The baritonant sall descend fro the meid punct and cloiss in diapenthe; the counter sall descend fro the mid punct in semiditono and sall ascend agane and cloiss up in pleno tono quhilkis perfectly be thir exemplis followand ma be fully understand and persavit:

[Anon., Scottish, 283; text: (Example 140.), Countra, Benedicat te dominus ex Syon qui fecit celum et terram.] [SCOTA3B3 15GF]

[-284-] [Anon., Scottish, 284,1; text: (Example 141.) Ane Exempill, Jherusalem, filiorum edom, in effrata, locutus sum, Israell] [SCOTA3B3 15GF]

Heir for de[c]oring of the finall cloiss thrie sympill noittis ar to the finall noit augmentit.

[fol. 95v] The first exempill is that the plane sang is all extendit and modulat in diapason abouv the propir seit and the baritonant is sett and modulat all in saxtis beneth the extendit plane sang, except that all the closing punctis of the same dois to the octave descend, to the quhilkis eftir the finall noit of the plane sang for decoring of the closing punct ane sympill noit is augmentit. Heir followis the plane sang:

[Anon., Scottish, 284,2; text: (Example 142.), C(h)riste qui lux es et dies Noctis tenebris detigis Lucisque lumen crederis Lumen beatum predicans.] [SCOTA3B3 15GF]

[-285-] [Anon., Scottish, 285,1; text: C(h)riste qui lux es et dies Noctis tenebris detigis, Lucisque lumen crederis Lumen beatum predicans.] [SCOTA3B3 15GF]

[fol. 96] The secund exempill is that the plane sang is extendit above the propir seit conform to the first exempill precedent and the baritonant is modulat conform to the same except that na sympill noit is to the finall augmentit, ffor quhy the cloiss is in the self decorit.

[Anon., Scottish, 285,2; text: (Example 143.), O lux beata trinitas Et principalis unitas Iam sol recedit igneus In funde lumen cordibus.] [SCOTA3B3 16GF]

[-286-] [Anon., Scottish, 286; text: O lux beata trinitas Et principalis unitas, Iam sol recedit igneus, In funde lumen cordibus.] [SCOTA3B3 16GF]

[fol. 96v] The thrid exempill is that the plane sang is extendit and modulat in diatessaron above the propir seit and the baritonant is sett and modulat all in saxtis beneth the extendit plane sang, except the closing punctis that dois descend as saidis in the first exempill. Item all the closing punctis fro the beginnyng to the finall of this verss followand ar augmentit with ane sympill noit, except the first and penult closingis, quhilkis ar nocht augmentit, for quhy the closis ar decorit in the self.

[-287-] [Anon., Scottish, 287; text: (Example 144.), Kyrie (e)leyson qui precioso sanguine mundi, eripuisti de maledicti fauce draconis., Counter, sanquine mundum] [SCOTA3B3 17GF]

[fol. 97] The ferd exempill is that the plane sang of this hyme subsequent is modulat in the propri seit, to the quhilk na augmentationis ar in the muid punctis nor finalis to be usit, bot the just way of faburdoun to be exercit.

[-288-] [Anon., Scottish, 288; text: (Example 145.), Salvator mundi Domine, qui nos salvasti hodie, in hac nocte protige et salva omni tempore. Countra] [SCOTA3B3 18GF]

[fol. 97v] The fyvft exemple is Te Deum laudamus extendit in diatessaron above the propir seit, of the quhilk all myd punctis and finalis of everye verss ar augmentit with ane sympill noit quhill it cum to this claus--Tu Rex glorie C[h]riste--and fro that furtht all the [-289-] finalis to the ending of the canticle ar augmentit wit[h] ane sympill noit and nan of the mid punctis, for quhy the deminucion dois removff augmentation.

[Anon., Scottish, 289; text: (Example 146a.), Te Deum laudamus Te Dominum confitemur. Te (a)eternum Patrem omnis terra veneratur. Tibi Cherubim et Seraphim incessabili voce proclamant:] [SCOTA3B3 19GF]

[-290-] [Anon., Scottish, 290,1; text: [fol. 98], Sanctus Dominus Deus Sabaoth.] [SCOTA3B3 20GF]

Heir is ane gryt varians in faburdun. The finall noit of Tu Rex glorie, Christe is uprasit fro the propir seit in diapenthe ascendent and in the said place the verss is closit and so ar all the leif of the versis to the compleit end of the canticle, quhilk is contra the rycht rewill of faburdoun, for quhy it suld descend to the finall as the plan sang dois in this maner:

[Anon., Scottish, 290,2; text: Tu Rex glori(a)e, Christe.] [SCOTA3B3 20GF]

Nocht-the-les, auld musicians has devysit it craftelly for eysie of chorist[er]is, plesur of auditouris, and decoring of closing punctis. Heirfoir, it is worthy to be admittit and for trew fabourdoun haldin as fallowss in this maner:

[-291-] [Anon., Scottish, 291; text: (Example 146b.), Tu Rex glori(a)e, Christe. [fol. 98v], Tu ad dexteram Dei sedes, in gloriam Patris.] [SCOTA3B3 20GF]

And so furth to the end dois it of Te Deum laudamus.

The saxt exempil is of the aucht tunis of Magnificat in binary and trinary constitut of the quhilkis I find dyverss noittis befoir thair mid punctis and in the finall of the penult punctis alterat fro the rycht way of faburdoun, the quhilk alteration is in the plane sang and in the baritonant bot the counter standis ay ferm and invariabill fro the just way of faburdoun. Nochtwithstanding, auld musiciance for decoring of melodie has statut dyverss noittis of the plane sang craftely to be uprasit, that is to say, in the first verss of the first toun and of the saxt toun, this clauss, S[p]iritus meutis, [sic] and this clauss, In Deo, nocht [the-les crossed out] allanerly thay clausis, bot in everrie verss of Magnificat of the saiddis tounis, befoir the mid punctis and eftir the penult punctis of the same alteration dois occur.

[-292-] [Anon., Scottish, 292,1; text: Et exsultavit spiritus meus in Deo salutari meo.] [SCOTA3B3 20GF]

The tripill followand eftir suld keip this plane sang in trew faburdun.

[Anon., Scottish, 292,2; text: (Example 147a.), [fol. 99], Et exultavit spiritus meus in Deo salutari meo.] [SCOTA3B3 21GF]

This way subsequent is the way of auld musicians quhilk for decoring of melodie hes statut diverss noittis to be depressit and uprasit as befoir saidis.

[-293-] [Anon., Scottish, 293; text: (Example 147b.), Et exultavit spiritus meus in Deo salutari meo.] [SCOTA3B3 21GF]

Heir the counter keipis the just way of the plane sang and the baritonant dois altir with the tribill.

[Here follows the baritone part transcribed as part of the preceding example.]

The saxt tune dois keip the same way of the first toun except the variation that endis in Ff fa-ut gravif.

[fol. 99v] Heir followis ane exempill of binar nummer of the sam tuun.

[-294-] [Anon., Scottish, 294,1; text: (Example 147c.), Fecit potenciam in brachio suo: dispersit superbos mente cordis sui.] [SCOTA3B3 22GF]

Ane Exemple of the First Toun Four Partis

[Anon., Scottish, 294,2; text: (Example 147d.), Et exultavit spiritus meus in Deo salutari meo.] [SCOTA3B3 22GF]

[-295-] The secund tune and the aucht toun dois boyth altir in the samyn clausis quhair the first toun dois altir and sa dois all the clausis in every verss befoir the myde and penult punctis to the end of the cantikill.

[fol. 100] Ane Exempill of the Secund Tune

[Anon., Scottish, 295,1; text: Et exultavit spiritus meus in Deo salutari meo. The variation of the aucht tun.] [SCOTA3B3 23GF]

[Anon., Scottish, 295,2; text: (Example 147e.), Et exultavit spiritus meus in Deo salutari meo. The variation betuix the secund and the aucht, quhilk is this to the viii toun. The variation of the aucht tun fra the se secund.] [SCOTA3B3 23GF]

[-296-] [fol. 100v] Ane uther exemple foll[o]wis of the secund tuun of binary.

[Anon., Scottish, 296; text: (Example 147f.), The secund toun, Tenor, Counter, Bassus, Fecit potenciam in brachio suo: dispersit superbos mente cordis sui.] [SCOTA3B3 23GF]

The thrid tuun, the ferd toun, and the fyvft tuin--thair is no varians nor alteration of noittis betuix tham bot thay ar all plesandly situat and in rycht faburdoun decorit, quhairfoir it is nocht neidfull [-297-] to writ forder of tham; nocht-the-les, ane reall exem[pill] followis of four partis on everye ane of tham scweitily.

[Anon., Scottish, 297,1; text: [fol. 101] (Example 147g.) Ane Exempill of the Thrid Towin, 1, 2, 3, 4, Esurientes implevit bonis: et divites dimisit inanis.] [SCOTA3B3 24GF]

[Anon., Scottish, 297,2; text: (Example 147h.) Exemple of the Ferd Towin, 1, 2, 3, 4, Et exultavit spiritus meus in Deo salutari meo.] [SCOTA3B3 24GF]

[-298-] [Anon., Scottish, 298,1; text: (Example 147i.) The Fyvft Towin, 1, 2, 3, 4, Et exultavit spiritus meus in Deo salutari meo.] [SCOTA3B3 25GF]

[Anon., Scottish, 298,2; text: [fol. 101v] (Example 147j.) The Saxt Towin, 1, 2, 3, 4, Et exultavit spiritus meus in Deo salutari meo.] [SCOTA3B3 25GF]

The Sevnt Tuin

Of the sevnt tuin, quhilk has ane noit in the tribill augmentit, [-299-] eftir the mid punct in everry verss discendent in semiditono and the baritonant dois fro the myd punct descend and cloiss in diapenthe and the counter fro the thrid of the myd punct in trynari and fro the half in bynary of the myd punct dois descend in semiditono and dois ascend agane makand the punct in pleno tono, as this subsequent exemple dois furth schew:

[Anon., Scottish, 299; text: (Example 147k.), [fol. 102] Et exultavit spiritus meus in Deo salutari meo. counter, tenor] [SCOTA3B3 26GF]

[fol. 102] To knaw the dependens fro the myd punct of the former rewill [of] the sevnt touin, the numer bynar is subjunit as eftir followis:

[-300-] [Anon., Scottish, 300,1; text: (Example 147l.), Triplex, Countra, Bassus, Fecit potenciam in brachio suo: etc.] [SCOTA3B3 26GF]

[Anon., Scottish, 300,2; text: (Example 147m.) Ane Uther Exemplie vii Toun, 1, 2, 3, 4, Et exultavit spiritus meus in Deo salutari meo.] [SCOTA3B3 27GF]

[-301-] [Anon., Scottish, 301; text: [fol. 102v] (Example 147n.) The Aucht Towin, 1, 2, 3, Fecit potenciam in brachio suo: dispersit superbos mente cordis sui.] [SCOTA3B3 27GF]

Of the quhilk aucht tounis, the choristeris ar all expert and dayly dois uss the samyn in kirkis of God throu[gh]out all Christianytie except [in] the reallm of Scottland send the yeir of God ane thousand fyve hundret fyvftie and aucht yeiris. Theirfoir, to draw tham heir at mair lenth it is nocht expedient becauss thay ar nocht usit, th[air]for I will proceid.

[-302-] [Anon., Scottish, 302; text: (Example 148.), Salva festa dies toto venerabilis evo qua nova de celo gratia humo fulsit. [fol. 103]] [SCOTA3B3 28GF]

[-303-] [Anon., Scottish, 303; text: de celo gratia humo fulsit.] [SCOTA3B3 28GF]

The secund kynd of faburdoun is quhair the tribill and the tenor keipis the just way of fabourdoun; the counter and the barritonant ar partis artificiall to tham annexit as be this exempill upon the first toun of Magnificat is planly demonstrat:

[-304-] [Anon., Scottish, 304; text: (Example 149.), 1, 2, 3, 4, Et exultavit spiritus meus in Deo salutari meo.] [SCOTA3B3 29GF]

[-305-] [fol. 103v] The thrid kynd of faburdun is quhair the plane sang is modulat in saxtis above the [plane crossed out] propir seit; the baritonant is modulat in thridis beneth the propir seit and the counter in ferdis beneth the plane sang, of the quhilk kynd we find tua rewillis. The first rewill is that the haill sang beand transponit beneth the propir seit, it is all modulat in just faburdoun conform to the first kynd except the sang is put in ane uthe[r] key in this wayiss:

[Anon., Scottish, 305; text: (Example 150a.), Countra, Bassus, O lux beata trinitas.] [SCOTA3B3 30GF]

The secund rewill is that the tenor is put dowin to be modulat in thridis beneth the propir seit of the plane sang and thrie artificiall partis thairto annexit--quhilk is fro the rycht way of faburdoun excludit. The exempill followis in this wayis quhilk is be Doctor Fairfax compysit and is haldin autentic:

[-306-] [Anon., Scottish, 306; text: (Example 150b.), [fol. 104], Coun, Tenor, Bas, O lux beata trinitas.] [SCOTA3B3 30GF]

[-307-] [Anon., Scottish, 307] [SCOTA3B3 31GF]

[-308-] [Anon., Scottish, 308] [SCOTA3B3 32GF]

[-309-] [Anon., Scottish, 309] [SCOTA3B3 32GF]

[fol. 104v] The ferd kynd of faburdoun is of four partis quhair the baritonant is sett in thridis, fyvftis, octavis beneth the plane sang or in unison with the plane sang; the tribill is sett all in saxttis above the plane sang; the counter is all sett in ferdis above the plane sang and the plane sang is modulat in the propir seitt, as be thir exemplis followand the way and process of this present kynd of faburdoun may perfytly be understand.

[-310-] [Anon., Scottish, 310; text: (Example 151a.), Tri, Coun, Te, Bas, Kyrie eleyson. C(h)riste eleyson, [fol. 105], Ky-] [SCOTA3B3 33GF]

[-311-] [Anon., Scottish, 311; text: rie eleyson.] [SCOTA3B3 33GF]

[-312-] [Anon., Scottish, 312; text: (Example 151b.), Tri, Coun, 3, 4, Et in terra pax hominibus bon(a)e voluntatis. Laudamus te. Benedicamus te. Adoramus, Ado-] [SCOTA3B3 34GF]

[-313-] [Anon., Scottish, 313; text: [fol. 105v], amus te. Glorificamus te. Gracias agimus tibi propter magnam gloriam tu-] [SCOTA3B3 35GF]

[-314-] [Anon., Scottish, 314,1; text: am. Amen.] [SCOTA3B3 35GF]

[Anon., Scottish, 314,2; text: [fol. 106] (Example 151c.), 1, 2, 3, 4, Patrem omnipotentem, factorem c(a)eli et] [SCOTA3B3 36GF]

[-315-] [Anon., Scottish, 315; text: terra(e), visibilium omnium et invisibilium. [fol. 106v], Deum de Deo, lumen de lumine, Deum verum de De-] [SCOTA3B3 36GF]

[-316-] [Anon., Scottish, 316; text: o vero. Genitum non factum consubstancalem Patri: per quem omnia facta sunt. [fol. 107], Tri, Coun, Tenor, Bas, Et incarnatus est de Spiritu Sancto ex Mari-] [SCOTA3B3 37GF]

[-317-] [Anon., Scottish, 317; text: a virgine: Et homo factus est. Amen.] [SCOTA3B3 38GF]

[-318-] [Anon., Scottish, 318; text: (Example 151d.), Tri, Coun, Te, Sanctus, [fol. 107v], Dominus Deus Sabaoth. Pleni] [SCOTA3B3 39GF]

[-319-] [Anon., Scottish, 319; text: sunt c(a)eli et terra gloria tua. (H)osanna in excelsis. [fol. 108]] [SCOTA3B3 40GF]

[-320-] [Anon., Scottish, 320; text: Benedictus qui venit in nomine Domini. (H)osanna in excel-] [SCOTA3B3 41GF]

[-321-] [Anon., Scottish, 321,1; text: [fol. 108v], sis.] [SCOTA3B3 41GF]

[Anon., Scottish, 321,2; text: (Example 151e.)] [SCOTA3B3 42GF]

[-322-] [Anon., Scottish, 322; text: 1, 2, 3, 4, Agnus Dei, qui tollis peccata mundi: [fol. 109], miserere nobis.] [SCOTA3B3 42GF]

[-323-] [Anon., Scottish, 323; text: qui tollis peccata mundi: miserere nobis. [fol. 109v], Agnus Dei qui tollis] [SCOTA3B3 43GF]

[-324-] [Anon., Scottish, 324; text: peccata mundi: dona nobis pacem.] [SCOTA3B3 44GF]

[-325-] [fol. 110] Ane exempill of the ferd kynd of faburdoun and of scala ficta.

[Anon., Scottish, 325; text: (Example 152.), Tri, Coun, Tenor, Bassus, Salva Rex glorie.] [SCOTA3B3 45GF]

[-326-] [Anon., Scottish, 326; text: [fol. 110v]] [SCOTA3B3 46GF]

[-327-] [Anon., Scottish, 327] [SCOTA3B3 47GF]

[-328-] [Anon., Scottish, 328; text: [fol. 111]] [SCOTA3B3 48GF]

[-329-] [Anon., Scottish, 329; text: [fol. 111v]] [SCOTA3B3 49GF]

[-330-] This is the last exemple of the ferd kynd eff faburduun concluding with ane Deo Gracias of sax mynnyms on every sympill noit, of the quhilkis sympill noittis everrie ane of tham in thrie semebrevis is dividit as eftir followis:

[Anon., Scottish, 330; text: (Example 153.), Triplex, Coun, Tenor, Deo Graci-, [fol. 112]] [SCOTA3B3 50GF]

[-331-] [Anon., Scottish, 331; text: as.] [SCOTA3B3 50GF]

Heir endis [the] thrid buik of music mensurall and foll[o]wis the four[th] buik of proporcionis.

[-332-] [Anon., Scottish, 332, text: [fol. 112v], 2, 3, 4, 6, 8, 9, 12] [SCOTA3B3 51GF]