From Liturgy and the Education of Choirboys to Protestant Domestic Music-Making: The History of the ‘Hamond’ Partbooks (GB-Lbl: Add. MSS 30480-4)

Figures & data

Table I. Part designations on the covers of GB-Lbl: Add. MSS 30480-4.

Modern call no.	Modern title	Original title
30480	Cantus	‘[Tr]iplex’ top left, and ‘C[antus]’ in centre
30481	Contratenor	Counter Tenor
30482	Tenor	All but erased
30483	Bassus	Bassus

Table II. Paper types used in GB-Lbl: Add. MSS 30480-4.

Paper	Watermark	Identification
Main paper for printed staves in 30480-3	Single-handled pot with a crown with a trefoil at the pinnacle and the initials ‘TH’ or ‘HT’ in the body. Chain lines 28–30 mm apart.	Not in Briquet or Gravell^a, but pots with initials were typical of paper mills from Northern France of the mid to late sixteenth century.
Secondary paper for printed staves in 30481 (fols. 16–23, 75–82, 83/88)	Single-handled pot with a crown with a trefoil at the pinnacle and the initials ‘HH’ in the body. Chain lines 18–20 mm apart.
Paper for 30484	Single-handled pot with a crown with a quatrefoil at the pinnacle and the initials ‘DM’ in the body.	Similar to Gravell no. FOL 1026 (1577).
Replacement pages of plain paper in 30482 (fols. 66–7)	Single-handled pot with a crown with the initials ‘P’ over ‘DB’ (no top visible).	Similar to Briquet no. 12794 (1591-2) and Gravell nos. FOL 0244 (1603/4); FOL 1270 (1604); FOL 1292 (1604); FOL 0639 (1610); FOL 0935 (1614); FOL 0638 (1615); FOL 0529 (1624); FOL 0943 (c.1630).
Pages of plain paper added at the end of 30483 (fols. 89–90)	Three loops – fingers of a hand?	Unidentifiable.

^aC.M. Briquet, Les filigranes: dictionnaire historique des marques du papier dès leur apparition vers 1282 jusqu'en 1600 (Paris, 1907), iv, 635–9 and nos. 12691–12816; Briquet Online, ‘Pot à une anse pot d' étain’: www.ksbm.oeaw.ac.at/_scripts/php/loadWmIcons.phpksbm.oeaw.ac.at/_scripts/php/loadWmIcons.php?rep=briquet%26IDsubtypes=1039%26lang=fr; The Thomas L. Gravell Watermark Archive www.gravell.org Accessed 20 August 2017.

Table III. Summary of contents of GB-Lbl: Add. MSS 30480-4.

Phase	No.	Composer	Title	Parts	Texted?
I	1	R. Partyne	Magnificat [inc.]	4	Yes
I	2	R. Partyne	Nunc Dimittis [inc.]	4	Yes
I–II	3	[Osbert] Parsley	Te Deum	4	Yes
[Blank staves in 30480-1 and 30483]
II	4	Robert Adams	Venite	3	Yes
II	4a	Anon.	Venite [30481 only]	?	Yes
II	5	Anon.	Benedictus	4	Yes
II	6	[Osbert] Parsley	Benedictus	4	Yes
II	7	[William] Mundy	Te Deum	4	Yes
II–IIIa	8	[Christopher] Tye	O God be Merciful Unto Us [Deus Misereatur]	4	Yes
II	9	Anon.	Jubilate	4	Yes
IIIa	10	Robert Adams	Nunc Dimittis	4	Yes
IIIa	11	[Christopher] Tye	Nunc Dimittis	4	Yes
IIIa	12	[William] Whitbroke	Magnificat	4	Yes
IIIb	13	[Christopher Tye]	Give Alms of thy Goods	4	Yes
IIIb	14	[Robert] White	O Praise God in His Holiness	4	Yes
IIIb	15	[Christopher] Tye	Praise ye the Lord ye Children	4	Yes
IIIb	16	[John] Sheppard	Christ Rising Again from the Dead	4	Yes
IIIb	17	Feryng	O Merciful Father, We Beseech Thee	4	Yes
IIIb	18	John Franclynge	O God for thy Name's Sake Save Me	4	Yes
IIIb	19	[John] Sheppard	I Give You a New Commandment	4	Yes
IIIb	20	Anon.	In Judgment Lord	4	Yes
IIIb	21	Anon.	Our Father [30483 only]	?	Yes
IV	22–5	Thomas Causton	Service for Children: Venite, Te Deum, Benedictus, Gloria	4	Yes
(>IV)	26	Anon.	O Death Rock Me Asleep	5	30481 only
(>IV)	27	[Robert] Johnson	Come Pale-Faced Death	4	30480 only
[Blank staves in 30483]
VI	28	[William Mundy]	Prepare You Time Weareth Away		Yes
VI	29	[Thomas] Tallis	When Jesus Went [lost from 30484]	[5]	Yes
VI	30	[Christopher Tye]	Save Me O God		Yes
[Blank staves in 30481-2]
I–II	31	[Christopher] Tye	From the Depth I Call	4	Yes
IIIa	32	[Thomas Tallis]	Wipe Away My Sins	5	Yes
IIIa	33	Philip van Wilder	Blessed Art Thou that Fearest God	5	Yes
[Blank staves in 30480]
IIIb	34	[Christopher] Tye	My Trust O Lord in Thee is Grounded	5	Yes
IIIb	35	[Thomas Tallis]	With All Our Hearts and mouth	5	Yes
[Blank staves in 30481]
II	36	[Thomas] Tallis	When Shall My Sorrowful Sighing Slake	4	Yes
II	37	[Thomas] Tallis	Purge Me O Lord From All My Sin	4	Yes
II	38	Anon.	[Deliver Us Lord] Both Night and Day	4	Yes
II	39	[John Sheppard]	I Will Give Thanks unto the Lord	4	Yes
II	40	[Robert] Johnson	Defiled is My Name	4	Yes
II	41	[Christopher] Tye	Deliver Us Good Lord	4	Yes
II	42	Baruch/Barick Bulman	Lord Thou Hast Commanded	4	Yes
IIIa	43	[John] Taverner	O Give Thanks unto the Lord	4	Yes
IIIa	44	[Christopher] Tye	I Have Loved	4	Yes
[Blank staves in 30483]
IIIa	45	[Christopher Tye]	O Lord Rebuke Me Not [30480-1 inc.]	4	Yes
VI	46	[Robert] Parsons	Ut re mi fa	4	No
VI	47	[William Byrd]	Jesum Nazarenum	3	Yes
[Blank staves in 30480-1]
V	48	[William] Byrd	Triumph with Pleasant Melody	5	30480 only
V	49	[Alfonso Ferrabosco (I)]	Susanna Fair [30480 only]	[5]	Yes
V	50	Anon.	As One in Care I do Lament [30484 only]	?	Yes
VI	51	[Thomas] Weelkes	Lachrimae	5	No
V	52	E[dward] Johnson	Elisa is the Fairest Queen	5	30480 only
V	53	[Edward] Johnson	Come Again Sweet Nature's Treasure	5	30480-1 only
VI	54	[Thomas Tallis]	Facti sunt nazarei eius candidi	5	Yes
[Blank staves in 30480-2]
V	55	[Thomas Tallis]	(Sermone blando) Illae dum pergunt	5	No
V	56	[Thomas Tallis]	In manus tuas Domine	5	No
V	57	[Thomas Tallis]	O sacrum convivium	5	No
V	58	[William Byrd]	Emendemus in melius	5	No
V	59	[Robert White]	Precamur sancte Domine (II)	5	No
V	60	[John] Sheppard	Kyrie (Paschali)	6	No
V	61	[John Sheppard]	[(Haec) dies quam fecit Dominus]	6	No
V	62	[Robert] Parsons	De la court	5	No
V	63	[William] Byrd	Ne irascaris Domine	5	No
IIIb	64	[William] Byrd	Precamur sancte Domine (II)	4	No
V	65	Anon.	Galliard	5	No
IIIb	66	[Osbert] Parsley	Parsley's Clock	5	No
II	67	Robert Johnson	Deus misereatur nostri	4	No
II	68	William More	‘Levavy Occilose’ [Levavi oculos]	4	No
II	69	Anon.	In nomine	4	No
IIIa	70	Anon.	[Untitled]	5	No
IIIa	71	Anon.	‘Non neamo’ [Non ne amo?]	5	No
IIIa	72	[Thomas] Tallis	O salutaris hostia	5	30483 only
IIIa	73	Anon.	Without Redress I Waste My Mind	4	30480 only
IIIa	74	[Thomas Crecquillon]	Cor mundum crea	4	30483 only
IIIa	75	Anon.	Deus in nomine tuo	5	30483 only
IIIa	76	[Robert] Johnson	Domine in virtute tua (B)	5	30483 only
IIIa	77	Anon.	Ami tu te plains	5	No
IIIa	78	W. P.	Vostre jamais par heritage	5	No
IIIa	79	Anon.	D'ung nouveau dart je suis frappé	5	30483 only
IIIa	80	[Philip van Wilder]	D'ung nouveau dart je suis frappé	5	30483 only
IIIa	81	[Jacobus Clemens non Papa]	Venit vox de caelo	5	30483 only
IIIa	82	[Christian/Sebastian Hollander]	Dum transisset sabbatum	5	30483 only
IIIa	83	[Jacobus Clemens non Papa]	Caecilia virgo	4	No
IIIa	84	[Robert] Johnson	Domine in virtute tua (A)	5	Yes
IIIa	85	[Cipriano de Rore]	Quel foco che tanti anni	4	No
IIIb	86	[Jacobus Clemens non Papa]	Or il ne m'est possible	5	No
IIIb	87	Anon.	‘Cy je me playns’ [Si je me plains]	5	No
IIIb	88	Anon.	A che cerchar	5	No
IV	89	Anon.	O Lord Turn Not Away Your Face	4	No
(>IV)	90	Anon.	Mistrust Oft Times Amiss [30484 inc.]	5	30480 only
(>IV)	91a-c	Anon.	Mass Extracts	4	No
(>IV)	92-4	Anon.	[Untitled pieces/ fragments, 30481 and 30483]	?	No

Note: Charcoal shading for blank staves; pale grey shading for later infill (see Appendix 1 for further details and folios).

Figure 1. Basic structure of GB-Lbl: Add. MSS 30480-4. Black arrows indicate the original copying layer. Patterned sections indicate layer infill.

Figure 2. The first phase of copying in GB-Lbl: Add. MSS 30480-3.

Image 1. Text and notation hands in Phase I. a) GB-Lbl: Add. MS 30481, fol. 3^v with flame-shaped noteheads; b) GB-Lbl: Add. MS 30483, fol. 4^r with round noteheads; both copying Partyne’s Magnificat. © British Library Board.

Example 1a–b. Variants in Christian/Sebastian Hollander’s Dum transisset in the manuscripts GB-Lbl: Add. MSS 30480-4, GB-Och: Mus. 979-83 (Baldwin Partbooks) and GB-WA: MS B. VI. 23 (Stonyhurst Partbooks); and the printed collections Liber primus cantionum sacrarum (Leuven, 1554, 1555) and Liber decimus ecclesiasticarum cantionum quinque vocum (Antwerp, 1555).

Figure 3. The second phase of copying in GB-Lbl: Add. MSS 30480-3. Phase II in dark grey (Phase I in black).

Image 2. A selection of the Phase II hands. a) GB-Lbl: Add. MS 30482, fol. 2^v, Osbert Parsley’s Te Deum; b) 30482, fol. 6^r, Robert Adams’s Venite; c) GB-Lbl: Add. MS 30482, fol. 7^v, Anon., Benedictus. © British Library Board.

Figure 4. The third phase of copying in GB-Lbl: Add. MSS 30480-4. Phase III in pale grey (Phase I in black; Phase II in dark grey).

Image 3. A selection of the Phase III hands. Phase IIIa: a) GB-Lbl: Add. MS 30481, fol. 20^v, Robert Adams's, Nunc Dimittis; b) GB-Lbl: Add. MS 30481, fol. 62^v, Christopher Tye’s O Lord Rebuke Me Not and fol. 79^r, Anon., ‘Non neamo’. Phase IIIb: c) GB-Lbl: Add. MS 30481, fol. 75^v, Osbert Parsley’s Clock; d) GB-Lbl: Add. MS 30481, fol. 90^v, Jacobus Clemens non Papa, Or il ne m’est possible. © British Library Board.

Image 4. The mature hand in Phase IV, GB-Lbl: Add. MS 30483, fol. 36^v, Thomas Causton’s Te Deum. © British Library Board.

Figure 5. The placement of sacred songs or anthems in Phase III of GB-Lbl: Add. MSS 30480-4.

Figure 6. Family Tree of the Hamonds of Hawkedon. Adapted from J.J. Muskett, ed., Suffolk Manorial Families, Being the County Visitations and Other Pedigrees (Exeter, 1900), i, 261.

Image 5. A selection of Phase IV novice hands. a) 30482, fol. 31^r; b) 30480, fol. 33^r; c) 30483, fol. 33^v; d) 30481, fol. 39^v. © British Library Board.

Image 6. Childish features in the Phase IV hands in Thomas Causton’s Service for Children. a) extended directs: 30482, fol. 32^r; b) dotted ditto marks; 30482, fol. 34^v; c) extended ‘fininininininis’: 30480, fol. 36^v; d) dotted pause, extended ‘finininis’ and substitution of ‘Hamond’ for ‘Causton’: 30483, fol. 39^v. © British Library Board.

Table IV. The opening group of canticles for Morning and Evening Prayer in GB-Lbl: Add. MSS 30480-3.

Phase	Composer	Canticle	Clefs	Total Range		Service
I	Partyne	Magnificat	C1/C3/LOST/F4	F-c''	19 notes	Evening
I	Partyne	Nunc dimittis	LOST/C3/LOST/LOST	-	-	Evening
I–II	Osbert Parsley	Te Deum	C2/C3/C4/F4	F-c''	19 notes	Morning
II	Robert Adams	Venite	C3/C4/F4	F-g'	16 notes	Morning
II	Anon.	Venite	C4 (incomplete)	-	-	Morning
II	Anon.	Benedictus	C1/C3/C4/F4	F-c''	19 notes	Morning
II	Osbert Parsley	Benedictus	C2/C3/C4/F4	F-c''	19 notes	Morning
II	William Mundy	Te Deum	C2/C2/C3/F3	B-c''	16 notes	Morning
II–IIIa	Christopher Tye	Deus misereatur	C2/C4/C5/F4	F-c''	19 notes	Evening (alt. to Nunc dimittis)
II	Anon.	Jubilate	C3/C4/C4/ F4	G-g'	15 notes	Morning (alt. to Benedictus)
IIIa	Robert Adams	Nunc dimittis	C2-C3/C3/C4/F4	F-g'	16 notes	Evening
IIIa	Christopher Tye	Nunc dimittis	C2/C3/C4/F4	F-c''	19 notes	Evening
IIIa	William Whitbroke	Magnificat	C2/C3/C4/F3	B-d''	17 notes	Evening

Note: Shading indicates those pieces with a narrower range in comparison to the typical octave and a fifth.

Table V. The sacred songs and secular laments added to the mid-section of GB-Lbl: Add. MSS 30480-3 in Phase II.

No.	Composer	Title
36	[Thomas] Tallis	When Shall My Sorrowful Sighing Slake
37	[Thomas] Tallis	Purge Me O Lord from All My Sin [Contrafact of Fond Youth is a Bubble]
38	Anon.	[Deliver Us Lord] Both Night and Day [Translation of Libera nos, salva nos]
39	[John Sheppard]	I Will Give Thanks unto the Lord [Contrafact of O Happy Dames]
40	[Robert] Johnson	Defiled is My Name
41	[Christopher] Tye	Deliver Us Good Lord
42	Baruch/Barick Bulman	Lord Thou Hast Commanded

Note: Shaded sections highlight the two secular songs.

Table VI. The sacred songs / anthems added during Phase III.

No.	Composer	Title	Liturgical features
Phase IIIa: four-part sacred songs (at the end of the mid-section)
43	[John] Taverner	O Give Thanks unto the Lord	Contrafact of ‘in nomine’ from Taverner’s Missa Gloria Tibi Trinitas. Composite text. Opens with a generic verse common to the start of Psalms 106, 107 and 136; closes with Psalm 113: 2.
44	[Christopher] Tye	I Have Loved	Psalm 116: 1–8 including doxology. Text from King’s Primer (1545) where it is the opening psalm of the Dirige.
45	[Christopher Tye]	O Lord Rebuke Me Not [inc.]	Psalm 6 (no doxology). Set for Ash Wednesday in Book of Common Prayer [BCP] 1549.
Phase IIIa–b: five-part sacred songs/anthems? (towards the start of the mid-section)
32	[Thomas Tallis]	Wipe Away My Sins	No biblical or liturgical origin, a loose translation of Tallis’s Latin motet text Absterge Domine
33	Philip van Wilder	Blessed Art Thou that Fearest God	Metrical version of Psalm 128 from Sternhold’s Certain Psalms (1549 or 1551)
34	[Christopher] Tye	My Trust O Lord in Thee is Grounded	Metrical version of Psalm 31: 1–6 including doxology
35	[Thomas Tallis]	With All Our Hearts and Mouth	Vernacular version of Sarum antiphon for Trinity Sunday ‘Te deum patrem ingenitum’. Includes doxology. Labelled as an ‘anthem’
Part IIIb: four-part anthems? (adjacent to the service music)
13	Christopher Tye	Give Alms of thy Goods	Offertory Sentence from Communion Service
14	Robert White	O Praise God in His Holiness	Psalm 150. Set for Feast of the Apostles Simon and Jude in BCP 1549
15	Christopher Tye	Praise ye the Lord ye Children	Psalm 113. Set as the psalm before the Magnificat in King’s Primer (1545) – source of Tye’s text. Also set for Evening Prayer on Easter Day in BCP 1549-59 and for Communion on Easter Tuesday and the Feast of St Michael and All Angels in BCP 1549.
16	John Sheppard	Christ Rising Again	To be said in place of the Venite on Easter Day in BCP 1552 and 1559 (in BCP 1549 to be used as well as the Venite)
17	Feryng	O Merciful Father We Beseech Thee	Communal prayer – occasional? Composite text with some phrases from Magnificat.
18	John Franclynge	O God for Thy Name’s Sake Save Me	Psalm 54 with doxology. Psalm set for Communion on the fifth Sunday in Lent in BCP 1549.
19	John Sheppard	I Give You a New Commandment	Scriptural text: John 13:34-5
20	Anon	In Judgment Lord	Vernacular version of ‘Domine secundum actum’, sixth responsory at Matins in Officium Mortuorum, found in several Sarum primers. Text altered from first person singular to first person plural during copying. Also found in the Wanley partbooks, GB-Ob: Mus. Sch. e. 420-2 (an Edwardian liturgical manuscript)

Table VII. Four-part anthems added to the service music section during Phase IIIb.

Composer	Canticle	Clefs	Total range
Christopher Tye	Give Alms of thy Goods	C2 / C3 / C4 / F4	F-d''	20 notes
Robert White	O Praise God in His Holiness	C1 / C3 / C4 / F4	F-c''	19 notes
Christopher Tye	Praise ye the Lord ye Children	C2 / C4 / C5 / F4	F-d''	20 notes
John Sheppard	Christ Rising Again	C4 / C4 / C5 / F5	C/D-f'	17/18 notes
Feryng	O Merciful Father We Beseech Thee	C3 / C4 / C5 / F4	F-a'	17 notes
John Franclynge	O God for Thy Name’s Sake Save Me	C3 / C4 / C5 / F4	F-a'	17 notes
John Sheppard	I Give You a New Commandment	C4 /C4 / C5 / F5	E-f'	16 notes
Anon.	In Judgment Lord	C2 / C3 / C4 / C5	A-c''	17 notes

Note: Shading indicates those pieces with a narrower range in comparison to the typical octave and a fifth.

Table VIII. Henrician and Edwardian repertory in the sacred music sections of GB-Lbl: Add. MSS 30480-4.

No.	Composer	Title	Evidence of early date
4	Robert Adams	Venite	Unusual text combining a mixture of verses from the Coverdale Bible (1535), the Great Bible (1539) and translations from the Vulgate^a
6	[Osbert] Parsley	Benedictus	Text from King’s Primer (1545) or the 1549 Book of Common Prayer
8	[Christopher] Tye	O God be Merciful unto Us [Deus misereatur]	Shorter version found in Lumley Partbooks (GB-Lbl: Royal Appendix 74-6), copied c.1547–8. This longer version is dated 1555 in the Chirk Castle partbooks^b
11	[Christopher] Tye	Nunc Dimittis	Closest text identified is Tyndale’s New Testament (1526). Found in the Wanley partbooks (GB-Ob: Mus. Sch. e. 420-2), copied c.1549–52
12	[William] Whitbroke	Magnificat	Found in the Wanley partbooks (GB-Ob: Mus. Sch. e. 420-2,) copied c.1549–52. Text from the 1549 Book of Common Prayer or earlier
15	[Christopher] Tye	Praise ye the Lord ye Children	Text from the King’s Primer (1545)
16	[John] Sheppard	Christ Rising Again	Composer died in 1558
19	[John] Sheppard	I Give You a New Commandment	Composer died in 1558 Found in the Wanley partbooks (GB-Ob: Mus. Sch. e. 420-2,) copied c.1549–52
20	Anon.	In Judgment Lord Do Thou Not Proceed	Found in the Wanley partbooks (GB-Ob: Mus. Sch. e. 420-2,) copied c.1549–52
21	Anon.	Our Father [Inc.]	Text from the King’s Primer (1545)
22–5	Thomas Causton	Service for Children: Venite, Te Deum, Benedictus, Gloria	From Morning and Evening Prayer and Communion, Set Forth in Four Parts, to be Sung in Churches (1565), but this collection had probably been compiled for publication in Edward VI’s reign^c
31	[Christopher] Tye	From the Depth I Call	Text from the King’s Primer (1545)
33	Philip van Wilder	Blessed Art Thou that Fearest God	Composer had died by 1533. Text from 1549 or 1551 edition of Sternhold’s psalms^d
36	[Thomas] Tallis	When Shall My Sorrowful Sighing Slake	Found in the Lumley Partbooks (GB-Lbl: Royal Appendix 74-6), copied c.1547–8
38	Anon.	[Deliver Us Lord] Both Night And Day	Translation of an older ‘Libera nos, salva nos’ (antiphon for Trinity Sunday) with the plainsong in the tenor
39	[John Sheppard]	I Will Give Thanks Unto the Lord	Composer died in 1558
41	[Christopher] Tye	Deliver Us Good Lord	Text from the King’s Primer (1545)
43	[John] Taverner	O Give Thanks Unto The Lord	Composer died in 1545 though contrafact could be later
44	[Christopher] Tye	I Have Loved	Text from the King’s Primer (1545)

^aWith thanks to Roger Bowers for sharing his analysis of this text with me.

^bUS-NYp: Mus. Res. *MNZ (Chirk) [2], c.1618–33. The 1555 date is somewhat strange given it falls within the Catholic reign of Mary I, but as the text is Psalm 67 the song might be used devotionally as well as liturgically as an alternative to the Nunc Dimittis.

^cJohn Aplin, ‘The Origins of John Day’s “Certaine Notes”’, Music and Letters, 62 (1981), 295–9; Howard M. Nixon, ‘Day’s Service Book, 1560–1565’, British Library Journal 10 (1984), 1–31.

^dThomas Sternhold, Certain Psalms Chosen Out of the Psalter of David, and Drawn into English Metre (London, 1549), sig.[D6]v; and All Such Psalms of David as Thomas Sternhold Late Groom of the King’s Majesty’s Robes, Did in his Life Time Draw into English Metre (London, 1549), sig.Gii^r. This version continues throughout the editions of 1550–5, but is slightly varied in the editions from 1560 onwards.

Figure 7. Placement of the first infill copying (Phase V) in GB-Lbl: Add. MSS 30480-4. Original layer in black; Phase V, first layer of infill (c.1581–91) is striped; Phase VI, second layer of infill (1590s–1600s) is dotted.

Image 7. A novice scribe contributing to the copying of Robert Johnson’s Deus misereatur, GB-Lbl: Add. MS 30481, fol. 76^r. © British Library Board. The novice scribe takes over at the sixth note of line two. After initially attempting to imitate the preceding diamond noteshapes, the novice scribe reverts to a round hand after a few notes.

Table IX. The position of concordances between GB-Lbl: Add. MSS 30480-4 and the Wanley partbooks (GB-Ob: Mus. Sch. e. 420-2).

Piece	Position in 30480-4	Position in Wanley
Tye, Nunc Dimittis	No. 11	No. 11
Whitbroke, Magnificat	No. 12	No. 107
Sheppard, I Give You a New Commandment	No. 19	No. 12
Anon., In Judgment Lord	No. 20	No. 9

Table X. Printed concordances for textless music in GB-Lbl: Add. MSS 30480-4.

No.	Composer	Title	Printed concordances
74	[Thomas Crecquillon]	Cor mundum crea	Liber quartus sacrarum cantionum, quatuor vocum (Antwerp, 1547) Tomus quartus psalmorum selectarum, quatuor et plurimum vocum (Nuremberg, 1554) Secundus liber modulorum quatuor, quinque et sex vocus (Geneva, 1554) Motetti del Laberinto, a quatro voci libro secondo (Venice, 1554) Quartus liber modulorum, quatuor et quinque vocum ([Geneva], [1559])
81	[Jacobus Clemens non Papa]	Venit vox de caelo	Liber primus cantionum sacrarum (Leuven, 1554, 1555) Motetti del Laberinto, a cinque voci libro quarto (Venice, 1554) Secunda pars magni operis musici, continens clarissimorum symphonistarum (Nuremberg, 1559) Quartus liber modulorum, quatuor et quinque vocum ([Geneva], [1559])
82	[Christian/ Sebastian Hollander]	Dum transisset sabbatum	Liber primus cantionum sacrarum (Leuven, 1554, 1555) Evangelia dominicorum et festorum dierum musicis numeris (Nuremberg, 1554) Liber decimus ecclesiasticarum cantionum quinque vocum (Antwerp, 1555)
83	[Jacobus Clemens non Papa]	Caecilia virgo	Liber quartus sacrarum cantionum, quatuor vocum (Antwerp, 1547) Tertia pars magni operis musici continens clarissimorum symphonistarum (Nuremberg, 1559) Clemens non Papa, Liber quartus cantionum sacrarum (Leuven, 1559, 1562, 1567, 1569)
85	[Cipriano de Rore]	Quel foco che tanti anni	Primo libro di madrigali a quatro voci di Perissone Cambrio con alcuni di Cipriano Rore (Venice, 1547) Madrigali de la fama a quatro voci (Venice, 1548) Cipriano de Rore, Il primo libro de madrigali a quatro voci (Venice, 1551, 1552, 1554, 1557, 1563, 1564, 1565, 1569, 1573, 1575, 1582, 1590) Tutti i madrigali di Cipriano di Rore a quattro voci (Venice, 1577)
86	[Clemens non Papa]	Or il ne m'est possible	Premier livre des chansons a cincq et six parties (Leuven, 1553, 1556)

Note: Where a print is most likely to be the source of the version in 30480-4 (directly or indirectly) it is highlighted in bold.

Image 8. Signatures of Thomas Hamond inside GB-Lbl: 30480-4. a) 30483, fol. 39^v; b) 30484, fol. 10^r; c) 30481, fol. 67^r. © British Library Board.

Table XI. The repertory copied in the first phase of infill of GB-Lbl: Add. MSS 30480-4 (Phase V).

No.	Composer	Title
Group 1: Textless music
55	[Thomas Tallis]	(Sermone blando) Illae dum pergunt
56	[Thomas Tallis]	In manus tuas Domine
57	[Thomas Tallis]	O sacrum convivium
58	[William Byrd]	Emendemus in melius [2p. Adjuva nos]
59	[Robert White]	(Christe qui lux es . . .) Precamur sancte Domine (II)
60	[John] Sheppard	Kyrie (Paschali)
61	[John Sheppard]	[(Haec) dies quam fecit Dominus]
62	[Robert] Parsons	De la court
63	[William] Byrd	Ne irascaris Domine [2p. Civitas sancti tui]
65	Anon.	Galliard
Group 2: English songs
48	[William] Byrd	Triumph with Pleasant Melody
49	[Alfonso Ferrabosco the Elder]	Susanna Fair [30480 only]
50	Anon.	As One in Care I Do Lament [30484 only]
52	E[dward] Johnson	Elisa is the Fairest Queen
53	[Edward] Johnson	Come Again Sweet Nature's Treasure

Note: Pieces listed in chronological order. Group 2 were copied onto earlier folios in 30480-3 due to lack of space (the Galliard had already been squashed into blank staves between earlier textless pieces). In 30480 Byrd’s Ne Irascaris also had to be copied out of sequence (before Tallis’s Sermone blando).

Image 9. Comparison of diamond hands in GB-Lbl: Add. MS 47844 and GB-Lbl: Add. MSS 30480-4. © British Library Board. a) 47844, fol. 8^v, John Taverner's (Dum transsiset) sabbatum (II): the more upright and tightly spaced hand begins the page before a wider-spaced hand with a tendency towards squatter forms takes over mid line 2. b) Small diamond in 30481, fol. 72^r copying Robert’s White’s (Christe qui lux es et dies) Precamur sancte Domine (II).

Image 10. Comparison of small round hands in GB-Lbl: Add. MS 47844 and GB-Lbl: Add. MSS 30480-4. © British Library Board. a) 47844, fol. 2^v. Nicholas Strogers, In nomine: one of the narrower-spaced round hands begins the page and a wider-spaced on takes over from the end of line 3. b) Smaller round hand in textless section of 30481, fol. 73^v copying Byrd’s Ne irascaris.

Image 11. Comparison of incipit script for John Sheppard’s Kyrie in GB-Lbl: Add. MS 47844 and GB-Lbl: Add. MSS 30480-4. © British Library Board. a) 30480, fol. 68^v; b) 30483, fol. 69^v; c) 47844 fol. 3^r.

Image 12. Ornamental features from GB-Lbl: Add. MS 47844 imitated in GB-Lbl: Add. MSS 30480-4. © British Library Board. a) 47844 fol. 8^r; b) 47844, fol. 6^r; c) 30482, fol. 62^v; d) 30481, fol. 72^v; e) 30481, fol. 72^r.

Image 13. Ornamental features from GB-Lbl: Add. MSS 30480-4 imitated in GB-Lbl: Add. MS 47844. © British Library Board. a) barline coloured black to leave curving white line: 30480, fol. 74^r; 47844, fol. 8^r,. b) dotted barline: 30480, fol. 66^v; 47844, fol. 7^v.

Image 14. The round-composite hand copying William Byrd’s Triumph with Pleasant Melody, GB-Lbl: Add. MS 30484, fol. 9^v. © British Library Board.

Table XII. Chronology of pieces copied during Phase VI of infill.

Repertory
Thomas Tallis, Facti sunt nazarei eius candidi	William Mundy, Prepare You Time Weareth Away and Thomas Tallis, When Jesus Went
Thomas Weelkes, Lachrimae
Robert Parsons, Ut re mi fa
Christopher Tye, Save Me O God
William Byrd, Jesum Nazarenum

Note: Mundy’s Prepare You and Tallis’s When Jesus were copied concurrently across the partbooks and their chronological relationship to the Tallis-Weelkes-Parsons trio cannot be determined with certainty.

Image 15. Thomas Hamond III as music notator in GB-Lbl: Add. MSS 30480-4 and GB-Ob: MS. Mus. f. 7-10. a) 30481, fol. 44^v, William Mundy’s Prepare You Time Weareth Away (text in his secretary hand) © British Library Board. b) Mus. f. 9, fol. 3^r, Thomas Hamond’s Mine Eye Why Didst thou Light (text in his italic hand) © Bodleian Library, Oxford.

Image 16. Comparison of notation scribes in GB-Lbl: Add. MSS 30480-4 and GB-Ob: MS. Mus. f. 7-10 (© British Library Board and © Bodleian Library, Oxford). a) Above: Mus. f. 8, fol. 4^v; below: 30482, fol. 49^v. b) Above: Mus. f. 7, fol. 21^r; below: 30480, fol. 58^r. c) Above: Mus. f. 8, fol. 17^v; below: 30482, fol. 61^v. d) Above: Mus. f. 7, fol. 9^v; below: 30483, fol. 65^v.

Table I. Parts that were entirely or partially recopied by later hands are highlighted in bold. Pages of entirely blank staves are given in italics. Infill copying (1580s onwards) is shaded in pale grey. Pages of blank staves are shaded in dark grey.

Phase	No.	Composer	Title	30480	30481	30482	30483	30484	Concordances
?	i	Anon.	[rough fragment of notation]				2r		None
I	1	R. Partyne	Magnificat [inc.]	2^r–v [inc.]	2^r–3^v	[lost]	4^r–v [inc.]		None
I	2	R. Partyne	Nunc Dimittis [inc.]	3^r–v [frag.]	4^r–v	[lost]	[lost]		None
I–II	3	[Osbert] Parsley	Te Deum	4^r–6^v	5^r–7^v	2^r–5^ra	5^r–7^v		None
			[Blank staves]	7^r	8^r		8^r
II	4	Robert Adams	Venite	7^v–9^r		5^v–7^r	8^v–10^r		None
II	4a	Anon.	Venite [inc.]		8^v–10^r				None
II	5	Anon.	Benedictus	9^v–11^r	10^v–12^r	7^v–9^r	10^v–12^r		None
II	6	[Osbert] Parsley	Benedictus^b	11^v–13^r	12^v–14^r	9^v–11^r	12^v–14^r		None
II	7	[William] Mundy^c	Te Deum [from the Service in Four Parts for Men]	13^v–15^v	14^v–17^r	11^v–14^r	14^v–17^r		Durham; Peterhouse 2
II–IIIa	8	[Christopher] Tye	O God be Merciful unto Us [Deus Misereatur]	16^r–17^r	17^v–19^r	16^r–17^r	17^v–18^v		Barnard1641; BL 15166; BL 29289; ChCh 6; Chirk; Ely 28; Lumley (shorter version); Queens; SHR 227
II	9	Anon.	Jubilate	17^v–18^v	19^r–20^r	14^v–15^v	19^r–20^r		None
IIIa	10	Robert Adams	Nunc Dimittis	19^r–v	20^r–v	17^v–18^r	20^v–21^r		None
IIIa	11	[Christopher] Tye	Nunc Dimittis	19^v–20^r	21^r–v	18^v–19^r	21^v–22^r		Wanley
IIIa	12	[William] Whitbroke	Magnificat	20^v–21^v	22^r–23^v	19^v–21^r	22^v–23^v		Wanley^d
IIIb	13	[Christopher Tye]	Give Alms of thy Goods	22^r	24^r–v	21^v–22^r	24^r		None
IIIb	14	[Robert] White	O Praise God in His Holiness [2p. Praise Him in the Cymbals]	22^v–23^v	24^v–25^v	22^v–23^v	24^v–25^r		None^e
IIIb	15	[Christopher] Tye	Praise ye the Lord ye Children	24^r–25^v	26^r–27^v	23^v–25^r	25^r–27^r		Peterhouse 2; Queens (Praise the Lord ye Servants)
IIIb	16	[John] Sheppard	Christ Rising Again from the Dead [2p. Christ is Risen]	25^v–27^r	28^r–29^r	25^r–26^v	27^r–28^r		BL 29289
IIIb	17	Feryng	O Merciful Father, We Beseech Thee [2p. O God, Confound the Proud]	27^r–28^r	29^r–30^r	26^v–27^v	28^v–29^v		None
IIIb	18	John Franclynge	O God for Thy Name's Sake Save Me	28^r–29^r	30^v–31^r	27^v–28^v	29^v–30^v		None
IIIb	19	[John] Sheppard	I Give You a New Commandment	29^r–30^r	31^v–32^r	29^r–v	31^r–v		BL 29289; Day1565; Drexel 4180–5; Mulliner; Peterhouse 2; Wanley
IIIb	20	Anon.	In Judgment Lord Do Thou Not Proceed	30^r–v	32^v–33^r	30^r–v	32^r–v		Southwell; Wanley
IIIb	21	Anon.	Our Father [inc.]				32^v–33^v		None
IV	22	Thomas Causton	Service for Children: Venite	31^r–32^v	33^v–35^r	31^r–32^v	33^v–35^v		Day1565; Queens
IV	23	Thomas Causton	Service for Children: Te Deum	33^r–35^r	35^v–37^v	33^r–35^r	35^v–38^r		Day1565; Queens
IV	24	Thomas Causton	Service for Children: Benedictus	35^r–36^v	37^v–39^r	35^r–37^r	38^r–39^v		Day1565; Queens
IV	25	[Thomas Causton]	Service for Children: Gloria [Contrafact of Rogier Pathie’s D’amours me plains]^f	36^v–37^v	39^v–40^r	37^v–38^v	40^r–v		Day1565; Queens
>IV, <VI	26	Anon.	O Death Rock Me Asleep	37^v	40^v–41^r	38^v	41^r	19^v	BL 18936–9; Tenbury 1464^g
>IV, <VI	27	[Robert] Johnson	Come Pale-Faced Death	38^r–v	41^v	39^r	41^v		None
			[Blank staves]				42^r
VI	28	[William Mundy]	Prepare You Time Weareth Away	38^v–40^r	42^v–44^v	39^v–40^v	42^v–45^r		Harley 7578
VI	29	[Thomas] Tallis	When Jesus Went [inc.] [Contrafact of Salvator mundi (ii)]	40^r–v	42^r	41^r	45^r–v	[lost]	SHR 227
VI	30	[Christopher Tye]	Save Me O God	57^v–58^v	45^r–46^r	41^v–42^r	52^r–v		BL 29289; Chirk; ChCh 6; Queens; SHR 225; SHR 227 (variant ending unique to 30480-4)
			[Blank staves]		46^v	42^v
I–II	31	[Christopher] Tye	From the Depth I Call	41^r–42^v	47^r–48^v	43^r–44^v	46^r–47^v		None
IIIa	32	[Thomas Tallis]	Wipe Away My Sins [Contrafact of Absterge Domine]	42^v–44^r	49^r–50^r	45^r–46^r	48^r–49^v	2^r–3^r	Barnard1641; BL 17792-6; Drexel 4180–84; Loosemore; Lcm 1045-9; ODiamm; Rowe 316; York 29
IIIa	33	Philip van Wilder	Blessed Art Thou that Fearest God	44^r–44^v	50^v–51^r	46^v–47^r	49^v–50^r	3^v–4^r	BL 22597; BL 29427; Glouc 101; Myriell Tristitiae; Odiamm; Ojc 180; Tenbury 389 and McGhie
			[Blank staves]	[44a]
IIIb	34	[Christopher] Tye	My Trust O Lord in Thee is Grounded	45^r–46^r	51^v–52^v	47^r–48^r	50^v–51^v	4^r–5^r	None
IIIb	35	[Thomas Tallis]	With All Our Hearts and Mouth [Contrafact of Salvator mundi (i)]	46^r–^v	52^v–53^r	48^v–49^r	51^v–52^r	5^r–^v	Barnard1641; BL 17792-6; BL 29289; Chirk; Loosemore; Gloucs 101; Lcm 1045-7, 9; Myriell Tristitiae; Ojc 180; Southwell; Tenbury 1162
			[Blank staves]		53^v
II	36	[Thomas] Tallis	When Shall My Sorrowful Sighing Slake	48^r–49^r	54^r–55^r	50^r–51^r	53^r–54^r		BL4911; Lumley; Mulliner; Wode; York 91
II	37	[Thomas] Tallis	Purge Me O Lord from All My Sin [Contrafact of Fond Youth is a Bubble]	49^r	55^r	51^r	54^r		None
II	38	Anon.	[Deliver us Lord] Both Night and Day [Translation of Libera nos, salva nos]	49^v	55^v	51^v	54^v		None
II	39	[John Sheppard]	I Will Give Thanks unto the Lord [Contrafact of O Happy Dames]	47^r–v	56^r–v	52^r–v	55^r–v		None
II	40	[Robert] Johnson	Defiled is My Name	49^v–50^v	56^v–57^v	52^v–53^v	55^v–56^r		Mulliner
II	41	[Christopher] Tye	Deliver us Good Lord	51^r–^v	57^v–58^v	49^r–v	56^r–57^r		None
II	42	Baruch/Barick Bulman	Lord Thou Hast Commanded	52^r–^v	58^v–59^v	54^r–v	57^v–58^r		None
IIIa	43	[John] Taverner	O Give Thanks unto the Lord [Contrafact of ‘In nomine’ from Missa Gloria Tibi Trinitas]	53^r	59^v	55^r–v	58^v		None
IIIa	44	[Christopher] Tye	I Have Loved	53^v–55^v	60^r–61^v	55^v–57^r	59^r–61^r		BL 29289
			[Blank staves]				61^v
IIIa	45	[Christopher Tye]^h	O Lord Rebuke Me Not in Thy Indignation [inc.]	56^r–57^r [inc.]	62^r–63^v [inc.]	57^v–59^r	62^r–63^v		Queens
VI	46	[Robert] Parsons	Ut re mi fa	57^v	63^v–65^r	59^v–60^v	66^r–67^r		BL 32377
VI	47	[William Byrd]	Jesum Nazarenum	58^v–59^r	65^r–66^r	61^r–61^v			Byrd1605
			[Blank staves]	59^v	66^v
V	48	[William] Byrd	Triumph with Pleasant Melody	60^r–61^v	67^r–v	62^r–v	64^r–v	9^v–10^r	Bod f20-4; Dow
			[Blank staves]		[67a]^i
V	49	[Alfonso Ferrabosco (I)]	Susanna Fair Sometime of Love Requested [inc.]	62^r [inc.]					MT1588
V	50	Anon.	As One in Care I Do Lament [inc.]					10^r	None
VI	51	[Thomas] Weelkes	Lachrimae	62^v	68^r	63^r	65^r	10^v–11^r	None
V	52	E[dward] Johnson	Elisa is the Fairest Queen	63^r	68^v	63^v	65^v	10^v	None
V	53	[Edward] Johnson (Philips in 30482)	Come Again Sweet Nature’s Treasure	63^r–v	68^v	63^v	65^v	10^v	None
VI	54	[Thomas Tallis]	Facti sunt Nazarei eius candidi	63^v–64^r	68^v–69^r	63^v–64^r	65^v–66^r	11^r	CS1575; Dow
			[Blank staves]	64^v–65^r	69^v–70^r	[64a]-65^r
JSS	54a	Anon.	[A few bars of score in the hand of John Stafford Smith]					11^r
V	55	[Thomas Tallis]	(Sermone blando) Illae dum pergunt	66^v	70^v	65^v	67^v	5^v–6^r	CS1575; Tenbury 341-4
V	56	[Thomas Tallis]	In manus tuas Domine	66^v–67^r	70^v–71^r	65^v–66^r	67^v–68^r	6^r	CS1575; Mad Soc A6-11; HM 461; Myriell 4109; York 5
V	57	[Thomas Tallis]	O sacrum convivium [Later hand in 30483: ‘I Call and Cry to Thee’]	67^r–v	71^r–v	66^r	68^r–v	6^v–7^r	BL 15117; BL 29247; BL 31390; CS1575; Dow; Drexel 4180-4; Harley 7578; Myriell 4109; Paris; Rowe 316; Sadler; SHR 226; Tenbury 1464
V	58	[William Byrd]	Emendemus in melius [2p. Adjuva nos]	67^v–68^r	71^v–72^r	66^v	68^v–69^r	7^r	BL 18936-9; CS1575; Myriell 4109; Tenbury 341-4; Tenbury 369-73
V	59	[Robert White]	(Christe qui lux es et dies) Precamur sancte Domine (II)	68^r	72^r	67^r	69^r–v	7^v	Baldwin PtB; BL 47844; Dow
V	60	[John] Sheppard	Kyrie (Paschali)	68^v + 69^r	72^r–v	67^r–v	69^v	8^r	BL 32377; BL 47844
V	61	[John Sheppard]	[(Haec) dies quam fecit Dominus]	68^v + 69^r	72^v	67^v	69^v–70^r	8^r	Baldwin PtB; Baldwin Sc; BL 32377; BL 47844; Tenbury 341-4; Tenbury 389 and McGhie
V	62	[Robert] Parsons	De la court	69^v–70^r	72^v–73^r	67^v–68^r	70^r–v	8^v	BL 17786-91; BL 22597; BL 31390; BL 32377; BL 37402-6; Bod e423; Dow; Drexel 4180-4; Holmes; Lcm 2049; TCD; Tenbury 389 and McGhie
V	63	[William] Byrd	Ne irascaris Domine [2p. Civitas sancti tui] [Later hand in 30483: ‘O Lord Turn Thy Wrath Away’]	65^v–66^r	73^v–74^r	68^v–69^r	70^v–71^r	9^rß^v	Baldwin PtB; Baldwin Sc; BL 29247; BL 32377; BL 47844; Bod e423; CS 1589; Dow; Lcm 2089, Myriell Tristitae; Myriell 4109; Petre 1; Sadler; TCD; Tenbury 341-4, Tenbury 369-73; Tenbury 389 and McGhie; Tenbury 1486 and Willmott
IIIb	64	[William] Byrd	[Christe qui lux es et dies) Precamur sancte Domine (II)	70^r	74^v–75^r	69^v–70^r	71^v–72^r		Tenbury 354-8 (a fourth lower)
V	65	Anon.	Galliard	70^r	74^v	70^v	72^r	11^v	None
IIIb	66	[Osbert] Parsley	Parsley's Clock	70^v	75^v	70^v	72^v	11^v	McGhie (only in the index of Tenbury 389); Tenbury 1464
II	67	Robert Johnson	Deus misereatur nostri [2p. Laetentur et exsultent]	71^r–v	76^r–77^r	71^r–v	73^r–74^r		BL 4911; Melvill; Wode [Q, A, T, B1]
II	68	William More	‘Levavy Occilose’ [Levavi oculos]	72^r–v	77^r–v	64^r–v	74^r–^v		None
II	69	Anon.	In nomine	73^r	78^r	72^r	75^r		None
IIIa	70	Anon.	[Untitled]	73^r	78^v	72^v	75^v	12^r and 20^v (top, inc.)	None
IIIa	71	Anon.	‘Non neamo’ [Non ne amo?]	73^v	78^v–79^r	72^v–73^r	75^v–76^r	12^r	None
IIIa	72	[Thomas] Tallis	O salutaris hostia	74^r	79^r–v	73^r–v	76^r	12^v	BL 22597; BL 29247; BL 31390; BL 34049; Dow; Lcm 2089; Petre 1; Rowe 316; Tenbury 389 and McGhie; Tenbury 341-4; Tenbury 1464; Tenbury 1469­-71^j
IIIa	73	Anon.	Without Redress I Waste My Mind	74^v	79^v	73^v	76^v		None
IIIa	74	[Thomas Crecquillon]	Cor mundum crea [2p. Averte faciem tuam]	75^r–^v	80^r–v	74^r–v	76^v–77^v		1547/6; 1554/11; 1554/13; 1554/14; 1559/5
IIIa	75	Anon.	Deus in nomine tuo [2p. Averte mala inimicos]	76^r–^v	81^r–v	75^r–^v	77^v–78^r	12^v–13^r	None
IIIa	76	[Robert] Johnson	Domine in virtute tua [2p. Magna gloria ejus] (B)	76^v–77^v	81^v–82^v	75^v–76^v	78^v–79^v	13^r–v	Petre 1; Sadler; Tenbury 341-4; Tenbury 1464; Wode [C1,T, B1, A; Q]
IIIa	77	Anon.	Ami tu te plains	78^r	83^r	77^r	80^r	14^r	None
IIIa	78	W. P.	Vostre jamais par heritage	78^v	83^r–v	77^r–v	80^r–v	14^r–^v	None
IIIa	79	Anon.	D’ung nouveau dart je suis frappé	78^v	83^v–84^r	77^v–78^r	80^v–81^r	14^v	None
IIIa	80	[Philip van Wilder]	D’ung nouveau dart je suis frappé	79^r	84^r–v	78^r	81^r–v	14^v–15^r	BL 31390
IIIa	81	[Jacobus Clemens non Papa]	Venit vox de caelo [2p. Respondit miles]	79^v–80^r	84^v–85^r	78^v–79^r	82^r–^v	15^r–v	1554/1=1555/2; 1554/16; 1559/1; 1559/5; Stonyhurst
IIIa	82	[Christian/Sebastian Hollander]	Dum transisset sabbatum [2p. Et valde mane]	80^v–81^r	85^v–86^r	79^r–80^r	83^r–^v	15^v–16^v	1554/10; 1554/1=1555/2; 1555/8; Baldwin PtB; BL 31390; Petre 2; Stonyhurst
IIIa	83	[Jacobus Clemens non Papa]	Caecilia virgo [2p. Biduanis ac triduanis]	81^v–82^v	86^v–87^v	80^v–81^v	84^r–85^r		1547/6, 1559/2; C2698-2701
IIIa	84	[Robert] Johnson	Domine in virtute tua [2p. Magna gloria ejus] (A)	82^v–84^v	88^r–90^r	81^v–83^v	85^r–87^r	16^v–17^v	Baldwin PtB; Tenbury 389 and McGhie
IIIa	85	[Cipriano de Rore]	Quel foco che tanti anni	85^r	90^r	83^v	87^r		1547/14; 1548/7; R2501-12, R2513
IIIb	86	[Jacobus Clemens non Papa]	Or il ne m'est possible	85^v	90^v–91^r	84^r	87^v	18^r	1553/24=1556/13; Stonyhurst
IIIb	87	Anon.	‘Cy je me playns’ [Si je me plains]	86^r–v	91^r–v	84^v–85^r	88^r	18^v	BL 29247; BL 31390; Cfm 279; Egerton 2010; Lcm 2089; Tenbury 364-8;
IIIb	88	Anon.^k	A che cerchar	86^v–87^r	91^v–92^r	85^r–^v	88^v	19^r	None
IV	89	Anon.	O Lord Turn Not Away Your Face	87^r	92^r	85^v	89^r		None
>IV?	90	Anon.	Mistrust Oft Times Amiss [inc.]	87^v	92^v	86^r	89^r	20^v [inc.]^l	Brogyntyn; TCD
>IV?	91a	Anon.	‘Cum Sancto’ [Extract of Gloria]	88^r	92^v	86^r–^v	89^r		None
>IV?	91b	Anon.	‘Et expecto resurrectionem’ [Extract of Credo, inc.]	88^r	92^v [rests]		89^v		None
>IV?	91c	Anon.	‘Et vitam’ [Extract of Credo, inc.]		92^v	86^r			None
>IV?	92	Anon.	[Untitled]				89^v		None
>IV?	93	Anon.	[Untitled]		92^v				None
>IV?	94	Anon.	[Erased/struck out fragments of notation and text]		93^r				None
			[Blank staves]	88^v	93^v

^aOriginally ended on fol. 4^v but an insertion was added in a later hand (probably that of Thomas Hamond III) on the facing page. He was possibly copying out a loose pastedown correction, as there are signs of an earlier correction on the last line of fol. 4^v.

^bThe highly similar opening of this Benedictus and Parsley’s Te Deum above suggest that they were composed as a pair for Morning Service.

^cAs this is copied early in the manuscript the composer seems less likely to be John Mundy who was only born c.1555.

^dNot that in Day1565.

^eAn eight-part arrangement survives in many later sources including ODIAMM, Southwell, Peterhouse, Ely 28, Ojc 180 and Loosemore, among others.

^fJohn Milsom, ‘Caustun’s Contrafacta’, Journal of the Royal Musical Association 132 (2007), 1–32 (at 11–15).

^gThese are completely different to the versions that are extant in ChCh 371 and BL 15177.

^hRecently identified by Andrew Johnstone.

ⁱWatermarks suggest this unfoliated page of blank staves may originally have been positioned between fols. 66 and 67.

^jVarious versions: see the hypothetical stemma in John Milsom, ‘English Polyphonic Style in Transition: A Study of the Sacred Music of Thomas Tallis’ (D.Phil. dissertation, University of Oxford, 1983), Appendix 2.17 in ii, 57. 30480–4 is not directly related to any other extant source.

^kNot Vincenzo Ruffo’s setting.

^lFol. 20 has become reversed.

Table

Barnard1641	John Barnard, The First Book of Selected Church Music (London, 1641)
Byrd1605	William Byrd, Gradualia: ac cantiones sacrae, quinis, quaternis, trinisque vocibus concinnatae (London, 1605)
CS1575	William Byrd and Thomas Tallis, Cantiones, quae ab argumento sacrae vocantur, quinque et sex partium (London, 1575)
CS1589	William Byrd, Liber primus sacrarum cantionum quinque vocum (London, 1589)
Day1565	John Day, Certain Notes Set Forth in Four and Three Parts / Morning and Evening Prayer and Communion (London, 1560/1565)
MT1588	Nicholas Yonge, ed., Musica Transalpina: Madrigals Translated of Four, Five and Six Parts (London, 1588)

Table

1547/6	Liber quartus sacrarum cantionum, quatuor vocum vulgo moteta vocant (Antwerp, 1547)
1547/14	Primo libro di madrigali a quatro voci di Perissone Cambrio con alcuni di Cipriano Rore (Venice, 1547)
1548/7	Madrigali de la fama a quatro voci composti da l’infrascritta autori, . . .  Cypriano De Rore Francesco Da la Viola Francesco Manara (Venice, 1548)
1553/24 = (1556/13)	Premier livre des chansons a cincq et six parties nouvellement composez & mises en musicque (Leuven, 1553)
1554/1 = 1555/2	Liber primus cantionum sacrarum, (vulgo moteta vocant) quinque vocum (Leuven, 1554)
1555/2 (=1554/1)	Liber primus cantionum sacrarum, (vulgo moteta vocant) quinque vocum (Leuven, 1555)
1554/10	Evangelia dominicorum et festorum dierum musicis numeris pulcherrime comprehensa & ornata. Toni primi (Nuremberg, 1554)
1554/11	Tomus quartus psalmos selectarum, quatuor et plurimum vocum (Nuremberg, 1554)
1554/13	Secundus liber modulorum quatuor, quinque et sex vocum, (quos vulgus motteta vocat) à quibusvis celeberrimus authoribus excerptus (Geneva, 1554)
1554/14	Motetti del Laberinto, a quatro voci libro secundo. Sacrarum cantionem sive mottetorum (Venice, 1554)
1554/16	Motetti del Laberinto, a cinque voci libro quarto. Sacrarum cantionum sive motettorum (Venice, 1554)
1555/8	Liber decimus ecclesiasticarum cantionum quinque vocum vulgo moteta vocant, tam ex Veteri quam ex Novo Testamento, ab optimis quibusque huius aetatis musicis compositarum (Antwerp, 1555)
1556/13 = 1553/24	Premier livre des chansons a cincq et six parties nouvellement composez & mises en musicque (Leuven, 1556)
1559/1	Secunda pars magni operis musici, continens clarissimorum symphonistarum tam veterum quàm recentiorum (Nuremberg, 1559)
1559/2	Tertia pars magni operis musici continens clarissimorum symphonistarum tam veterum quam recentiorum (Nuremberg, 1559)
1559/5	Quartus liber modulorum, quatuor et quinque vocum, (quos vulgus Motteta vocat) à quibusvis celeberrimis authoribus excerptus (Geneva, 1559)
C2698-2701	Clemens non Papa, Liber quartus cantionum sacrarum vulgo moteta vocant, quatuor vocum (Leuven, Phalese, 1559, 1562, 1567, 1569)
R2501-12	Cipriano de Rore, Il primo libro de madrigali a quatro voci (Venice, 1551, 1552, 1554, 1557, 1563, 1564, 1565, 1569, 1573, 1575, 1582, 1590)
R2513	Cipriano de Rore, Tutti i madrigali di Cipriano di Rore a quattro voci (Venice, 1577)

Table

Baldwin PtB	Partbooks of John Baldwin, c.1575­–81; GB-Och: Mus 979-83
Baldwin Sc	Scorebook of John Baldwin, c.1580–1606, GB-Lbl: RM 24 d. 2
BL 15166	Medius partbook, ­c.1567–88; GB-Lbl: Add. MS 15166,
BL 15117	Music for lute and voice, early seventeenth century: GB-Lbl: Add. MS 15177
BL 17786-91	Partbooks, c.1615; GB-Lbl Add. MSS 17786-91
BL 17792-6	John Merro’s partbooks, early seventeenth century; GB-Lbl Add. MSS 17792-6
BL 18936-9	Partbooks probably from Paston collection, c.1615; GB-Lbl Add. MSS 18936-9
BL 22597	Tenor partbook, c.1565–86; GB-Lbl: Add. MS 22597
BL 29247	Lutebook from the Paston collection, c.1610–20; GB-Lbl: Add. MS 29247
BL 29289	Single partbook, c.1625–30; GB-Lbl: Add. MS 29289
BL 31390	Tablebook, c.1578; GB-Lbl: Add. MS 31390
BL 32377	Cantus partbooks, c.1585–90; GB-Lbl: Add. MS 32377
BL 34049	Cantus partbook from Paston collection, early seventeenth century; GB-Lbl: Add. MS 34049
BL 37402-6	Partbooks, c.1596–1600, originally owned by James Pearson; GB-Lbl: Add. MSS 37402-6
BL 47844	Contratenor partbook, c.1581; GB-Lbl: Add. MS 47844
BL 4911	Anonymous treatise with musical examples. ‘The Art of Music Collected out of All Ancient Doctors of Music’, c.1580; GB-Lbl: Add. MS 4911
Bod e423	Contratenor partbook, possibly owned by John Petre, c.1575–86; GB-Ob: Mus. Sch. e. 423
Bod f20-4	Partbooks belonging to Thomas Hamond (d.1662), c.1630–50; GB-Ob: MSS Mus. f. 20-24
Brogyntyn	Lute book, c.1600; GB-AB: Brogyntyn MS 27
Cfm 279	Partbook from the Paston collection, c.1587–85; GB-Cfm: Mu MS 279
ChCh 6	Organ book, c.1630; GB-Och: MS Mus. 6
ChCh 371	Keyboard book from the 1560s; GB-Och: Mus 371
Chirk	Chirk Castle Partbooks, c.1618–33; US-Nyp: MSS Mus. Res. *MNZ (Chirk) [1–4]
Dow	Robert Dow’s partbooks, c.1581–8; GB-Och: MSS Mus. 984–8
Drexel 4180–5	John Merro’s partbooks, c.1620; US-Nyp: MSS Drexel 4180–85
Durham	Organ book, c.1635–65; GB-DRc: MS A 3
Egerton 2010	Partbook from the Paston collection, early seventeenth century; GB-Lbl: Egerton MS 2010
Ely 28	Tenor partbook, mid-seventeenth century; GB-Cu: MS Ely 28
Glouc 101	Bassus partbook, c.1640–41; GB-GL: MS 101
Harley 7578	Superius partbooks from second half of sixteenth century; GB-Lbl: MS Harley 7578
Holmes	Lute book for Matthew Holmes, c.1585–1600, GB-Cu:Dd.3.18
HM 461	Bassus partbook, copied c.1650; US-SM: MS HM 461
Lcm 1045-9	Seven partbooks owned by John Barnard, c.1625–38; GB-Lcm: MS 1045-49
Lcm 2049	Four partbooks, early seventeenth century; GB-Lcm: MS 2049_I-IV
Lcm 2089	Music for lute and voice from the Paston collection, late sixteenth or early seventeenth century; GB-Lcm: MS 2089
Loosemore	Henry Loosemore’s organ book, c.1630; US-Nyp: MS Drexel 5469
Lpro	Single partbook, c.1540­–50; GB-Lpro SP 1/246
Lumley	Three partbooks, perhaps acquired by Henry Fitzalan Earl of Arundel from confiscated library of Archbishop Cranmer, copied c.1547–48; GB-Lbl: Royal Appendix 74-6 (Lumley)
Mad Soc A6-11	Partbooks from the Paston collection, late sixteenth or early seventeenth century; GB-Lbl: Madrigal Society MS A6-11
McGhie	Superius partbook, c.1595–1613, GB: McGhie (private collection), companion to Tenbury 389
Melvill	Bassus partbook copied by David Melvill/Melvine, c.1604; GB-Lbl: Add. MS 36484
Mulliner	Keyboard book of Thomas Mulliner, 1545–70; GB-Lbl: Add. MS 30513
Myriell Tristitiae	Thomas Myriell’s ‘Tristitiae remedium’, six partbooks, 1616–18; GB-Lbl: Add. MSS 29372-7
Myriell 4109	Tablebook of Thomas Myriell, c.1612–16; B-Br: MS II.4109
Odiamm	Contratenor partbook in private collection, c.1591. Images available on DIAMM website www.diamm.ac.uk/sources/4077/#/
Ojc 180	Bassus partbook, c.1630; GB-Ojc: MS 180
Paris	Manuscript additions to an English printed processional of 1545; F-Pn: Rés. B-1852
Peterhouse	Caroline set of partbooks, c.1625–40; GB-Cp: MSS 35, 36, 37, 42, 43
Petre 1	Partbook owned by John Petre, possibly a gift from Edward Paston, c.1590; GB-CF: MS D/DP Z6/1
Petre 2	Partbook owned by John Petre, c.1596; GB-CF: MS D/DP Z6/2
Rowe 316	Medius partbook, c.1565; GB-Ckc: Rowe MS 316
Queens	Tenor parts interleaved with a 1636 edition of The Book of Common Prayer, c.1636; GB-Cq: G.4.17
Sadler	Partbooks of John Sadler, c.1565–85; GB-Ob: Mus. e. 1-5
SHR 225	Bassus partbook copied for use in Church of St Lawrence, Ludlow, c.1570; GB-SHR: LB/15/1/225
SHR 226	Triplex partbook copied for use in Church of St Lawrence, Ludlow, c.1570; GB-SHR: LB/15/1/226
SHR 227	Tenor partbook copied for use in Church of St Lawrence, Ludlow, c.1597; GB-SHR: LB/15/1/227
Southwell	‘Southwell Tenor Book’, c.1617; GB-Ob: MS Tenbury 1382
Stonyhurst	GB-WA: MS B. VI. 23. Quinta and septima partbooks from a once eight-part set. Originating in the vicinity of the imperial court of Charles V, but now believed to have come to England in the mid-sixteenth century.^a
TCD	MS additions to copy of CS1575; IRL-Dtc: OLS 192.n.40
Tenbury 1162	Cantus from a set of six partbooks, early seventeenth century; GB-Ob: MS Tenbury 1162-7
Tenbury 1464	Bassus partbook, c.1575; GB-Ob: MS Tenbury 1464
Tenbury 1469-71	Partbooks from the Paston collection; early seventeenth century; GB-Ob: MS Tenbury 1469-71
Tenbury 1486	Tenor partbook, c.1591; GB-Ob: MS Tenbury 1486 [Braikenridge] (companion to Willmott)
Tenbury 341-4	Partbooks from the Paston collection, early seventeenth century; GB-Ob: MS Tenbury 341-4
Tenbury 354-8	Set of four partbooks from c.1610; GB-Ob: MS Tenbury 354-8.
Tenbury 364-8	Partbooks from the Paston collection, c.1596; GB-Ob: MS Tenbury 364-8
Tenbury 369-73	Partbooks from the Paston collection, early seventeenth century; GB-Ob: MS Tenbury 369-73
Tenbury 389	Discantus partbook, c.1595–1613; GB-Ob: MS Tenbury 389 (companion to McGhie)
Tregian	Scorebook of Francis Tregian, c.1613–19; GB-Lbl: Egerton MS 3665
Wanley	Three partbooks, c.1549–52, GB-Ob: MS Mus. Sch. e. 420-22
Willmott	Tenor partbook, c.1591; GB-SP: Berkeley [Willmott] (companion to Tenbury 1486)
Wode	Thomas Wode’s Partbooks, c.1560–90: GB-Eu: La III. 483(a)-(c) [C1, T, B1]; GB-Lbl: Add. MS 33933 [A]; IRL-Dtc MS 412 [Q]
York 5	Set of partbooks, mid-seventeenth century; GB-Ym: MS M.5/2 (S)
York 29	‘Dunnington-Jefferson MS’, partbook copied in Durham c.1632, GB-Ym: MS 29 (S)
York 91	Score book, c.1550–75; GB-Ym: M 91 S

^aMartin Ham, ‘The Stonyhurst College Partbooks, The Madrigal Society, and a Diplomatic Gift to Edward VI’, Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 63 (2013), 3–64.