[7] Named after Jacques Arcadelt, of the early sixteenth century, one of the many natives of Flanders who so distinguished that period of Madrigal composition; a first-rate man. [8] Doubtless the author refers to the tendency in the sixteenth century for voice parts to be made interchangeable with instrumental parts. Many instances might be given both in Italy and England, _e.g._ if a tenor voice were absent, the part was played by a tenor instrument, viol, cornetto, trombone, or what not. This was the more easily made habitual since instrumental accompaniment merely consisted in doubling the vocal parts. [9] This paragraph replaces some rather obscure sentences in the original, and aims at conveying their general sense. [10] An excellent book, which ought to be known widely, containing many examples of early lute music, is W. G. v. Wasielewski’s History of sixteenth century instrumental music. Berlin, 1878. [11] Meaning the “Tablature,” a system of writing music for the lute which has nothing in common with our “staff” notation. A set of six horizontal lines (representing six strings), was used, and letters (_a_, _b_, _c_, etc.) on these indicated the semitones, reckoning _a_ as the “open string,” _b_ as the semitone above that, and so on, for each separate string. [12] Another spelling for Pavana, or Pavan, slow dance in square time. [13] The play was _Gorboduc_, otherwise _Ferrex and Porrex_. The author is better known as Thomas Sackville. [14] See “Shakespeare and Music,” pp. 169-171, for other English examples. [15] “The English call it quite appositely by the name ‘Consort’ (from Latin consortium) when several persons with various instruments, such as ... etc. ... play together in sweet concord with one another.” [16] It is misleading to say “in six parts.” There are six voices, but the canon proper only takes four. The other two sing, independently of the canon, a “bussing bass,” founded alternately on Do and Re. [17] In the early seventeenth century it was matter of complaint in England that “French songs” and instrumental music “in the Italian manner” were more popular than necessary. [18] These were also called by the plain English name “fancies.” [19] When Sir Toby says to the caper-cutting Sir Andrew: “I did think, by the excellent constitution of thy leg, it was formed _under the star_ of a galliard,” may he not refer to one of these dedications of dances to noblemen? [20] _Drehleier._ The instrument referred to is of the ninth century. [21] _Bundfrei_ and _gebunden_, the former only was capable of striking any combination of notes at once--_e.g._, four or five adjacent semitones.