Source list of music for viol in French tablature

by Joëlle Morton

Inspired by the pioneering and seminal studies begun by the late Frank Traficante in the 1960s and 1970s, this work, compiled by Joëlle Morton (and listed online here with the invaluable assistance of Bettina Hoffmann) brings up to date the 129 known printed and manuscript sources that include music for the English lyra viol, as well as continental music written for viola da gamba in French tablature. Materials date from the 1590s into the 1700s. Although there are 59 different scordaturas that make an appearance, ‘normal’ viol tuning is the most common, appearing in more than 60 sources. 26 tunings are unica that appear in just a single source. At present, the single consistent defining feature for the lyra viol is that its music is notated in French tablature. Future scholarship will need to determine exactly what else defines the lyra viol, and if/when music in French tablature is instead of a different genre.

82 of the materials are English, while 47 are continental in content and/or provenance. All together, they contain more than 5200 pieces. The three largest collections are Paris Rés. 1111 (273 pieces in 12 tunings), the Manchester manuscript (246 pieces in 22 tunings) and the Merro partbooks at Oxford Bodleian D.245-7 (243 pieces in 12 tunings), but more than 20 volumes contain 90 or more pieces. Ornamentation is common and the types of music extremely varied, not just for single viol, but also duos and trios, tablature viol as part of a consort, for tablature viol with basso continuo or as an accompaniment for songs.

Each source is documented below, with an up-to-date shelf mark and links to online sources and scholarly articles and inventories, wherever currently available. An attempt has been made to assign plausible dates if the source is not formally marked with one. All tunings are listed, along with the number of pieces and names of any known composers. Representative examples of ornaments and symbols in each manuscript have been snipped and saved as jpegs, for quick reference. This information should prove useful for players who want to broaden their musical horizons, as well as for scholars who may now start to address any manner of specific subjects related to the lyra viol and viola da gamba in general, in an informed and contextual manner. As an additional aid, a pdf file that lists the sources by date, tunings, scoring and terminology is available here.

It is my fervent hope that in the not-too-distant future, all of these tablature materials can be made available as an online archive (ideally, for free). Options are currently being discussed and explored about who might fund and host that kind of resource. If you have suggestions or feel you could assist, please get in touch.

A printable list of sources (without the copious details found online) is available to download here.
A bibliography of the articles, chapters, dissertations etc etc concerning the lyra viol (and related subjects, such as 17th century ornamentation) is available for download here.

Printed Sources

26 sources, in chronological order

Jones, Robert, The Second Book of Songs and Ayres | Set Out to the Lute, the Base Violl | the playne way, or the Base by tablature after the leero fashion, London, 1601
Content: 21 English songs
Scoring: All songs for cantus (medium high voice) and bassus (bass voice), with any combination of a 7-course lute, lyra viol and bass viol in normal tuning as accompaniment options.
Layout: All songs notated on 2 facing pages: on the left page the treble voice part with lute part in tablature, on the right page the bass voice part (with text underlaid), and the lyra viol part in tablature (“The tablature Base”).
Tuning: fefhf, with top string tuned to e’
Facsimile edition: Scolar Press, A Collection of Facsimile Reprints #7, 1971
Facsimile online: Early English Books Online
More bibliographical information: Catalogue Hoffmann
Index: Included in the published editions by PRB Productions, 2012, and Green Man Press, 2005.
Robinson, Thomas, The Schoole of Musicke wherein is taught, the perfect method, of true fingering of the lute, pandora, orpharion, and viol de gamba, London, 1603
Content: 5 short exercises and 8 psalm songs, in the section Rules to instruct you to Sing, fol. Nv-Ov.
Scoring: The pieces, written both in staff notation and in tablature, are for voice and lyra viol unison, the viol is used for pitch guidance while learning to sing. The voice parts are without text; the ranges are for soprano, alto and bass (clefs: G2, C1, C3, F4).
Tunings: ffeff, with top string tuned to d’ and to g’.
Ornaments and other symbols: Fingerings are notated throughout. No ornament signs, no slurs, no holds.
Facsimile edition: Theatrum Orbis Terrarum, 1973
Facsimile online: IMSLP
More bibliographical information: Catalogue Hoffmann
Hume, Tobias, The First Part of Ayres, French, Pollish, and others together, some in Tabliture, and some in Pricke-Song; With Pavines, Galliards, and Almaines for the Viole de Gambo alone, and other Musicall Conceites for two Base Viols, expressing five partes, with pleasant reports one from the other, and for two Leero Viols, and also for the Leero Viole with two Treble Viols, or two with one Treble. Lastly for the Leero Viole to play alone, and some Songes to bee sung to the Viole, with the Lute, Also an Invention for two to play upon one Viole. London, 1605
Content: 125 pieces.
Scoring: 63 pieces for solo lyra viol; 5 pieces for voice (different ranges) and lyra viol; 4 pieces for 2 lyra viols; 1 piece for a treble instrument and lyra viol; 1 piece for 3 lyra viols (2 treble viols and 1 bass viol or 1 treble viol and 2 bass viols); 1 piece for 2 players on 1 lyra viol. In addition to the pieces in tablature, the volume contains 36 pieces for solo viol in staff notation.
Tunings: ffeff, ffefh, fefhf (“Bandora set”). Hume does not verbally address the tuning for the viol, but from the ensemble pieces with parts written in staff notation, it can be inferred that the pitch of the first string is sometimes d’ (bass viol) and sometimes g’ (tenor viol). 2 of the vocal pieces (Soldiers Song and Fain Would I change that note) require a G-tuned instrument, while the 3 others (Tobacco, What greater grief and Alas poor men) require a D-tuned instrument. Piece #108, a trio for 3 lyra viols all tuned in bandora set, requires ‘trebles’ for at least one, if not both of the top parts. In order to work, all 3 instruments must be tuned to the same nominal pitches, probably in D.
Note: Tobias Hume uses the term “Leero Viole” only for parts with scordatura.
Facsimile edition: Hebden Bridge, Ruxbury Publications, 2002
Facsimile online: IMSLP
Index: Viola da Gamba Society of Great Britain
More bibliographical information: Catalogue Hoffmann
Hume, Tobias, Captaine Hume’s Poeticall Musicke. Principally made for two Basse-Viols, yet so contrived, that it may be plaied 8, several waies upon sundry Instruments with much facilitie.
1 The first way or musicke is for one Bass-Viole to play alone in parts. Which standeth always on the right side of this Booke.
2 The second musicke is for two Basse-Viols to play together.
3 The third musicke, for three Basse-Viols to play together.
4 The fourth musicke. For two Tenor Viols and a Basse-Viole.
5 The fift musicke. For two Lutes and a Basse-Viole.
6 The sixt musicke for two Orpherions and a Basse-Viole.
7 The seventh musicke. To use the voice to some of these musicks, but especially to the three Basse-Viols, or to the two Orpherions with one Basse-Viole to play the ground.
8 The eight and last musicke, is consorting all these Instruments together with the Virginals, or rather with a winde Instrument and the voice
London, 1607
Content: 25 pieces, of which 22 instrumental and 3 vocal.
Scorings. All instrumental pieces: 2 lyra viols (tablature) and bass (staff notation). 2 vocal pieces: voice, 2 lyra viols (tablature) and bass (staff notation). 1 vocal piece: voice alternated to some measures for lyra viol.
Instrumentation: The 22 instrumental pieces can be performed by solo lyra viol, by 2 lyra viols or by 2 lyra viols and bass viol (instrumentations no. 1-4 of the title). 2 vocal pieces can be performed with voice, 2 lyra viol and bass viol (instrumentation no. 7) or with a mixed ensemble (instrumentation no. 8). 1 vocal piece is for voice and 1 lyra viol. The other instrumentations (no. 5 and 6) do not imply the lyra viol.
Tunings: ffeff. The pitch of the first string for most of the tablature in this book is g’ (tenor viol), with staff notation parts for a bass instrument accompaniment pitched accordingly. The 3 songs reflect more variety, and one implies a top string tuned to d (bass viol).
Facsimile edition: Hebden Bridge, Ruxbury Publications, 2004
Facsimile online: IMSLP
Index: Viola da Gamba Society of Great Britain
More bibliographical information: Catalogue Hoffmann
Ford, Thomas, Music of Sundrie Kindes, Set forth in Two Bookes. The First Whereof are Aries for 4. Voices to the Lute, Orphorion, or Basse-Viole, with a Dialogue for two Voices, and two Basse Viols in parts, tunde the Lute way. The Second are Pavens, Galiards, Almaines, Toies, Jigges, Thumpes and Such like, for two Basse-Viols, the Lieraway, so made as the greatest number may serve to play alone, very easie to be performde, London, 1607
Content and scoring: In book 1, A Dialogue for soprano, tenor and 2 lyra viols. In book 2, 18 Lessons for 2 lyra viols.
Tunings: ffeff, fefhf. At the end of M Southcote’s Paven, the first piece in Book 2, in a copy of the book someone has written both the tuning in fret numbers and in pitches, (d a f c F C). This, and the Dialogue in Book 1, confirm that Ford was envisioning bass D-sized instruments.
Ornaments and other symbols: holds and thumpes
Facsimile edition: Performer’s Facsimiles #219, 1998
Facsimile online: Early English Books Online
Modern edition: A-R Editions (Oleg Timofeyev), 1998
Index: Viola da Gamba Society of Great Britain
More bibliographical information: Catalogue Hoffmann
Ferrabosco, Alfonso II, Lessons for 1, 2 and 3 Viols, London, 1609
Content and scoring: 53 pieces for solo lyra viol, 12 pieces for 2 lyra viols, 2 pieces for 3 lyra viols
Tunings: fefhf, ffhfh, fhfhf
Facsimile edition: Scolar Press, A Collection of Facsimile Reprints #20, 1978
Facsimile online: Early English Books Online
Index: Viola da Gamba Society of Great Britain
More bibliographical information: Catalogue Hoffmann
Corkine, William, Ayres to Sing and Play to the Lute and Basse Violl. With Pavins, Galliards, Almaines, and Corantos for the Lyra Violl, London, 1610
Content: 12 lessons for lyra viol. Moreover, the book contains 12 lute songs for voice, lute and bass viol in staff notation
Scoring: Solo lyra viol
Tuning: ffhfh
Facsimile edition: Scolar Press, A Collection of Facsimile Reprints #11, 1978
Facsimile online: IMSLP
Index: Viola da Gamba Society of Great Britain
More bibliographical information: Catalogue Hoffmann
Maynard, John, The XII Wonders of the World. Set and composed for the Violl de Gambo. The Lute, and the Voyce to Sing the Verse, all three iointly, and none several: also Lessons for the Lute and Base Violl to play alone: with some Lessons to play Lyra-wayes alone, or if you will, to fill up the parts, with another Violl set Lute-Way, London, 1611
Content and scoring: 7 pavins for lyra viol (tablature) with bass viol accompaniment (staff notation).
Tunings: fefhf, ffhfh. Four pavins require fefhf tuning. Three of them require a top string tuned to e in order to work with the bass parts as printed. The fourth, however, requires top d, as do the 3 pieces in ffhfh.
Facsimile edition: Scolar Press, A Collection of Facsimile Reprints #32, 1978
Facsimile online: Early English Books Online
Index: Viola da Gamba Society of Great Britain
More bibliographical information: Catalogue Hoffmann
Corkine, William, The Second Booke of Ayres, Some, to Sing and Play to the Base-Violl alone: Others, to be sung to the Lute and Base Violl. With new Corantoes, Pavins, Almaines; as also divers new Discants upon old Grounds, set to the Lyra-Violl, London, 1612
Content: 12 lessons for lyra viol. Moreover, the book contains 18 songs with accompaniment by lute or bass viol in staff notation.
Scoring: 1 lessons for 2 lyra viols, 11 lessons for solo lyra viol
Tunings: ffhfh, fhfhf
Facsimile edition: Scolar Press, A Collection of Facsimile Reprints #12, 1977
Facsimile online: IMSLP
Index: Viola da Gamba Society of Great Britain
More bibliographical information: Catalogue Hoffmann
Tailour, Robert, Sacred Hymns. Consisting of fifti select Psalms of David and others, Paraphrastically turned into English Verse. And by Robert Tailour, set to be sung in Five parts, as also to the Viole, and Lute or Orph-arion. Published for the use of such as delight in the exercise of Music in hir original honour, London, 1615
Content: 12 hymns/psalm settings
Scoring: All pieces are scored for 5 voices, lyra viol and lute. The vocal parts are labeled treble (G2), meane (C2), countertenor (C3), tenor (C4), base (F4). Only the top voice (treble) has text underlaid. The lyra viol and lute parts are not identical, and may be intended as compliment to each other.
Tunings: ffeff, ffefh
Ornaments and other symbols: holds
Facsimile edition: Theatrum Orbis Terrarum, 1973
Facsimile online: IMSLP
Modern edition: Joëlle Morton, IMSLP
Index: Viola da Gamba Society of Great Britain
More bibliographical information: Catalogue Hoffmann
Neumark, Georg, Der Hochbetrübt=verliebte Hürte Myrtillus wegen seiner Edlen und Holdseligen Schäferin Eufrosillen, Königsberg, Johann Reussner, s. d. (1649)
Content: 2 lieder involve the viol: «Mein’ Augen allzeit von sich giessen», «Pakke dich Feindin! weg von mir Dione!». Moreover the publication contains a Braut=Tantz.
Scoring: The first song is for treble voice, violin and basso continuo, the second for treble voice and basso continuo; there is no part for the viola da gamba. But the author asks that in these pieces the viol shall play the bass with some «Concordantzen».
Tunings: 1st piece: iedfh, 2nd piece: fhihc. The author describes the tunings with this words: «Das erstlich die Melodie des ersten Liedes / aus der Viol=digam=Verstimmung D / B moll da die Quinta mit der Secunden A / die Quarta mit der Prima F / die Tertia mit der Baß seiten D / muß wolgestimmet seyn / billiger massen mit ihrem Baß und andern Concordantzen solte gespielet werden / worein ein guter Discantist oder Tenorist den Text singen kan / das Violinchen aber / sol sanfte ohn alle Coloraturen / sondern wie es stehet / darzu gestrichen / der General=Baß auff einer Laute / Pandor / Violon / oder auf einem gedempfften Corpus gemacht werden. Mit dem anderen Liedchen / soll es eben so gehalten werden / nur daß die Viol=digam eine andere Verstimmung erfordert nemlich F / B moll: Die Quinta D / die Quarta / A / die Tertia mit der Prima F / die Secunda mit der Baß Seite C.»
Facsimile online: uni-tuebingen.de
More bibliographical information: Catalogue Hoffmann
Neumark, Georg, Hürten-Lied, welches zu Ehren und wolgefallen dem Abrahem Josaphat von Kreytzen und Julian-Elisabeth George Rauschkens Tochter aufgesetzet (Unverhofft hochgewünschte Liebes=Geschicht / zwischen dem Hochedlen Schäfer LILIDOR und seiner IULIENEN. der gleich Hochedlen vnd holdseligen Schäferin), Königsberg, Johann Reusner, 1650
Content: Hürten=Lied, “Als Thyrsis nun ganz war gesonnen”. The poem contains one more musical piece, without viola da gamba.
Scoring: treble voice, violin, viola da gamba in tablature, basso continuo
Tuning: fefhf (indicated in note names: d-a-f-c-F-C).
Ornaments and other symbols: none
Concordances: The Lied appears as well in the publications Poetisch= und Musikalisches Lustwäldchen, 1652 (without a part for viola da gamba), and Fortgepflantzter musikalisch=poetischer Lustwald, 1657 (transposed down a fifth, see here below)
Facsimile online: uni-tuebingen.de
More bibliographical information: Catalogue Hoffmann
Neumark, Georg, Georg Neumarks Poetisch Verhochteutschte Geschichte (Georg Neumarks von Mühlhausen aus Thür: Verhochteutschte Fryne Bozene), Danzig, author, Andreas Hünefeld, 1651
Content: Lied “Mein! bin ich denn darum zu schmähen”. The poem contains one more song, without viola da gamba.
Scoring: soprano, viola da gamba in tablature and basso continuo
Tuning: fedfh
Ornaments and other symbols: slurs, no ornaments.
Concordances: The Lied appears as well in the publications Poetisch= und Musikalisches Lustwäldchen, 1652, Poetisch verhochteutschte Geschichte, 1653, and Fortgepflantzter musikalisch=poetischer Lustwald, 1657 (all without a part for the viol).
Facsimile online: uni-jena.de
More bibliographical information: Catalogue Hoffmann
Playford, John, A | Musicall Banquet, | Set forth in three choice Varieties of MVSICK. | The first Part presents you with Excellent new Lessons for the Lira Viol, set to severall | New Tunings. | The second a Collection of New and Choyce Allmans, Corants, and Sarabands for one | Treble and Basse Viol, composed by Mr. William Lawes, and other Excellent Authours. | The third Part containes New and Choyce Catches or Rounds for three or foure | Voyces. To which is added some few Rules and Directions for such as | learne to sing, or to play on the Viol, London, T. H., John Benson, John Playford, 1651
Composers: Charles Coleman (1 piece), George Hudson (2 pieces), Simon Ives (3 pieces), John Jenkins (2 pieces), John Lillie (1 piece), William Paget (1 piece), William Young (2 pieces), anonymous (15 pieces)
Content: 27 pieces for solo lyra viol. Moreover the book contains 31 pieces for treble and bass viols and 9 songs for 3 voices, all in staff notation.
Tunings: defhf (harpe way sharpe), edfhf (harpe way flat), fefhf (lyra way)
Ornaments and other symbols: Examples. Straight lines are used commonly throughout the lyra viol pieces, and are perhaps sometimes intended as slurs, not holds.
Facsimile online: Early English Books Online
Index: Viola da Gamba Society of Great Britain
More bibliographical information: Catalogue Hoffmann
Playford, John, Musicks Recreation | ON THE | LYRA VIOL. | Being a choice Collection of New and Excellent Lessons for the Lyra Viol, both easie and delight- | full for all yong Practitioners. To which is added some few plain Directions as a Guide | for Beginners, London, John Playford, 165[?]
Date: The final number of the date is missing or illegible in all the extant copies and for many years was listed as 1652. Pullen (Five Collections of Lyra Viol Music, dissertation, University of British Columbia, 1979, pp. 14-21) has shown it more likely to have been 1655, by which time all three sections of Palyford’s Musicall Banquet (1651) had been separated into new and expanded volumes.
Composers: Thomas Ford (2 pieces), William Lawes (6 pieces), Charles Coleman (15 pieces), Ives (14 pieces), George Hudson (8 pieces), William Young (2 pieces), John Lillie (1 piece), John Jenkins (8 pieces), Withie (3 pieces), Thomas Gregory (1 piece), John Esto (5 pieces), Thomas Bates (3 pieces), Paget (1 piece), anonymous (40 pieces)
Content: 108 pieces for lyra viol
Scoring: All pieces are for lyra viol solo, but 2 pieces are texted.
Tunings: defhf, edfhf (Harp way flat), fdefh (high Harp way sharp), fedfh (high Harp way flat), fefhf (Lyra Way), Bagpipe tuning (= fhn). The bagpipe tuning is not spelled by letter, but by the instruction: “The Bag-pipe Tuning. changing the 5. string into the fourth strings place, and Tune it an eighth to the 3. String.”
Ornaments and other symbols: Examples. Straight lines are probably intended as slurs, not holds. On p. 29 Playford clarifies that the 3 dots are to be “Struck with the finger and not with the Bow”.
Facsimile edition: Faksimile-Edition Rara, 34. Stuttgart, 2000
Facsimile online: Early English Books Online
Index: Viola da Gamba Society of Great Britain
More bibliographical information: Catalogue Hoffmann
Neumark, Georg, Poetisch Lobthonende Ehrenseule Welche Dem Durchleuchtigen Hochgebohrnen Fürsten und Herrn Herrn Wilhelm Hertzogen zu Sachsen/ Jülich/ Cleve und Bergen / Land=Grafen in Thüringen / Markgrafen zu Meißen / Grafen zu Mark und Ravensburg / Herrn zu Ravenstein etc. Seinem gnädigen Fürsten und Herrn / in einem Kupferstiche abgebildet / mit Trochaischen Verschen beschrieben / und zu Bezeugung unterthänigster und gehorsamster Dienstfertigkeit aufgerichtet. Georg Neumark von Mühlhausen aus Thüringen, Mühlhausen, Hüter, 1652
Content: Lied “So schwingt man sich recht nach den Sternen”
Scoring: [voice], viola da gamba in tablature. Text, but no music for the voice.
Tuning: fdefh
Ornaments and other symbols: none
Concordances: The Lied appears as well in Poetisch= und Musikalisches Lustwäldchen, 1652 (on different text, with the part for the voice but without the part for viola da gamba)
Facsimile online: staatsbibliothek-berlin.de
More bibliographical information: Catalogue Hoffmann
Neumark, Georg, Georg Neumarks von Mühlhausen aus Thür: Fortgepflantzter musikalisch=poetischer Lustwald, Jena, Georg Sengenwald, 1657
Content and scoring: Lied n. 83 “Als Thyrsis nun war gantz besonnen” for voice, 2 violins, 1 or 2 tenor viola da gamba and basso continuo. The collection contains 54 poetries with music.
Tuning: “F moll Verstimmung” (scordatura in f minor)
Note: The viol part is in staff notation, but the author declares: “Dieses Lied ist eigendlich auf 2. Violdagammen gesetzt / in F moll Verstimmung / wie denn viel andere mehr in diesem Lustwalde in unterschiedlichen Verstimmungen / weil aber die Tabulatur nicht bey Jedes hat können beygesetzet werden / muß man es bey den schlechten Noten bewenden lassen / und wird ein Violdagamista und Liebhaber selbst sehen / welche sich zu dieser oder jener Verstimmung schikken.” There is only one part for viol.
Concordances: The Lied appears as well in the publications Unverhofft hochgewünschte Liebes=Geschicht, 1650 (see above), and Poetisch= und Musikalisches Lustwäldchen, 1652 (without viol part); here it is transposed a fifth lower.
Facsimile online: stimmbuecher.digitale-sammlungen.de
More bibliographical information: Catalogue Hoffmann
Playford, John, Musicks Recreation | ON | The Viol, Lyra-way. | Being a Collection of New LESSONS Lyra-way. To which is added a PREFACE, | Containing some brief Rules and Instructions for young Practitioners, London, W. Godbid, John Playford, 1661
Composers: Thomas Bates (3 pieces), Charles Coleman (6 pieces), John Esto (14 pieces), Gaultier (1 piece), William Gregory (6 pieces), George Hudson (8 pieces), Simon Ives (16 pieces), John Jenkins (25 pieces), William Lawes (7 pieces), John Lillie (2 pieces), Paget (1 piece), Christopher Simpson (7 pieces), Dietrich Steffkens (1 piece), John Withy (9 pieces), William Young (2 pieces), Anonymous (12 pieces)
Content: 123 pieces for lyra viol. A few of these pieces have duplicates; some also appeared in Playford’s earlier collections.
Scoring: All pieces are for lyra viol solo.
Tunings: Tunings: defhf (Harp way sharp), edfhf (Harp way flat), fdefh, fedfh (high Harp flat), Bagpipe tuning (= fhn)
Ornaments and other symbols: In the preface Playford explains that a straight line is “for one drawing of the bow” i.e. a slur. In the preface he also shows the sign for a thump, but he does use it in the music. Examples.
Facsimile online: Early English Books Online
Index: Viola da Gamba Society of Great Britain
More bibliographical information: Catalogue Hoffmann
Playford, John, Musicks Recreation | ON | The VIOL, Lyra-way. | Being a Collection of LESSONS Lyra-way. To which is added a PREFACE, | Containing some brief Rules and Instructions for young Practitioners, London, W. Godbid, John Playford, 1669
Composers: Thomas Bates (11 pieces), Charles Coleman (4 pieces), John Esto (14 pieces), Thomas Ford (1 piece), Thomas Gregory (7 pieces), George Hudson (11 pieces), Simon Ives (14 pieces), John Jenkins (10 pieces), John Lillie (2 pieces), John Moss (17 pieces), Paget (1 piece), John Withy (9 pieces), William Young (2 pieces), anonymous (49)
Content: 152 pieces for lyra viol. Some of these pieces also appeared in Playford’s earlier collections.
Scoring: All pieces are for lyra viol solo.
Tunings: Tunings: defhf (Harp way sharp), edfhf (Harp way flat), fdefh (High harp-way sharp), fedfh (high Harp-way flat)
Ornaments and other symbols: In the preface Playford explains that a straight line is a slur. However, there are quite a few pieces where the line extends across the same note, so this symbol must also now be considered a ‘hooked’ bowing (see example on p. 25). Examples.
Facsimile online: Early English Books Online
Index: Viola da Gamba Society of Great Britain
More bibliographical information: Catalogue Hoffmann
Moss, John, LESSONS / FOR THE / BASSE-VIOL / ON / The Common=Tuning, and many other New=Tunings: / CONTAINING / Almanes, Corants, Sarabands, Jigg Allmans; in all the usual Keys / of the scale of MUSICK; together with a Thorough-Bass. / Composed by JOHN MOSS, for the Use of his SCHOLARS, London, W. Godbid, Author, John Playford, 1671
Title of the part book of the bass: The / THOROUGH-BASE / To the LESSONS on the / BASSE-VIOL, / ON / The Common=Tuning, and many other New=Tunings: / Composed by John Moss, London, W. Godbid, Author, John Playford, 1671
Content: 104 pieces, grouped by key and tuning into 26 sets or suites of 4 dances each (alman, corant, saraband and jigg)
Scoring: lyra viol with thorough bass accompaniment
Tunings: ffeff, ffedf, ffefh, ffede, ffefc, ffeec
Ornaments and other symbols: Straight lines are seemingly used both as slurs and as holds, but no explanation is given. Curved lines are only employed above the staff as ties for rhythmic notation. Examples. No other ornament symbols are employed.
Facsimile online: Gallica, IMSLP
Index: Viola da Gamba Society of Great Britain
More bibliographical information: Catalogue Hoffmann
Mace, Thomas, Musick’s Monument / OR, A / REMEMBRANCER / Of the Best / Practical Musick, / Both DIVINE, and CIVIL, that has ever / been known, to have been in the World. / Divided into Three Parts […] In the Third PART, / The Generous Viol, in Its Rightest Use, is Treated upon; with / some Curious Observations, never before Handled, concerning It, and / Musick in General. By Tho. Mace, one of the Clerks of Trinity Colledge, in the / University of Cambridge, London, T. Rathcliffe, N. Thompson, 1676
Content: 3 pieces for lyra viol
Scoring: The three pieces are for lyra viol solo, but one is given, for illustrative purposes, also for treble and bass in staff notation, with the addition of a second treble.
Tunings: defhf (Harp-Way-Tuning Sharp), ffeff, ffefh
Ornaments and other symbols: Holds, pauses, loud, soft and organ shake are explained close to the lyra viol pieces (pp. 253, 255, 264) examples; other symbols are explained in the lute section of the book.
Facsimile edition: Éditions du Centre national de la recherche scientifique, 1958
Facsimile online: IMSLP
Index: Viola da Gamba Society of Great Britain
More bibliographical information: Catalogue Hoffmann
Simpson, Christopher, The Principles of Practical Musick, London, W. Godbid for Henry Brome, 1665
Reprinted as A Compendium of Practical Musick, London, W. Godbid for Henry Brome 1678
Note on the editions: Simpson’s book appeared in different editions, with various modifications (including the title) between 1665 and 1775. The 1665 and 1678 editions are not identical, but are the only ones that contain the pieces for lyra viol. The music plates of these pieces have been reset in a different type for the 1678 edition, but the music is identical.
Note on the composer: The six pieces should all be by Christopher Simpson, author of the entire treatise, but the sixth bears the initials “J. B.” which could refer to a different composer, or possibly be identified with the dedicatee of the pieces, Sir John St. Barbe.
Content: 6 ayres for lyra viol and bass, “For Sir John St. Barbe, Baronet”
Scoring: lyra viol with bass accompaniment in staff notation
Tuning: ffeff
Ornaments and other symbols: none
Facsimile online: Early English Books Online
Index: Viola da Gamba Society of Great Britain
More bibliographical information: Catalogue Hoffmann
Playford, John, Musick’s Recreation | ON | The VIOL, Lyra-way: | Being a choice Collection of LESSONS Lyra-way. To which is added a PREFACE, | Containing some Brief Rules and Instructions for young Practitioners | The Second Edition, Enlarged with Additional New LESSONS, London, A. G., John Playford, 1682
Composers: John Banister (2 pieces), Thomas Bates (2 pieces), Charles Coleman (5 pieces), John Esto (10 pieces), Thomas Ford (1 piece), George Hudson (3 pieces), Simon Ives (15 pieces), John Jenkins (4 pieces), John Moss (3 pieces), Paget (1 piece), William Young (2 pieces), anonymous (69)
Content: 117 pieces for lyra viol. Many of these pieces also appeared in Playford’s earlier collections.
Scoring: All pieces are for lyra viol solo.
Tunings: defhf (Harp way sharp), edfhf (Harp way flat)
Ornaments and other symbols: In the preface Playford explains that a straight line is a slur. However, there are a few pieces where the line extends across the same note, so this symbol must also now be considered a ‘hooked’ bowing. Examples.
Facsimile edition: Hebden Bridge, Ruxbury Publications, 2002
Facsimile online: Early English Books Online
Index: Viola da Gamba Society of Great Britain
More bibliographical information: Catalogue Hoffmann
Ziegler, Johann Christoff, Intavolatura zur Viola di Gamba besthend in Entraten, Allemanden, Correnten, Sarabanden, und Capriccien Allen dieses Instruments Liebhabern zur Übung und Ergözligkeit auff gessetzt und herausgegeben Von Johann Christoff Zieglern Acad. Witteb. Mus. Direct. et Org., (without editor, without date), 1680 circa
Content: 30 pieces grouped into 6 sets, each is in its own tuning, with 5 pieces each, all titled Entrata, Allemanda, Corrente, Sarabanda and Capriccio. The final piece of the 6th set is incomplete; there is no table of contents to make sure that it was the last set.
Scoring: “Viola di Gamba” solo
Tunings: defhf; edfhf, fdefh, efdef, dfedf, ffeff (“L’accorde Ord.[inaire]”)
Ornaments and other symbols: Examples
Facsimile online: IMSLP
Index: Viola da Gamba Society of Great Britain
More bibliographical information: Catalogue Hoffmann
De Machy (Demachy), Le Sieur, Pieces de Violle / En Musique et en Tablature, differentes les unes des / autres, et sur plusieurs Tons. / Elles contiennent deux Livres, et sont les premiers qui jusques / à present ayent paru au jour / Composées par Mr. Demachy, Paris, Bonneüil, 1685
Content: 28 movements grouped by key into 4 sets or suites, for 7-string viol, in tablature. Moreover the book contains 4 suites for 7-string viol in staff notation. The structure of the suite is clearly observed by the succession of the movements and by the keys, although Demachy does not distinguish them by any term.
Scoring: 7-string viol solo.
Tuning: ffefff
Ornaments and other symbols: Symbols are explained in two tables of the preface, both in staff notation, and tablature. Examples of their use in music.
Facsimile online: Gallica
Index and discussion: Shaun Kam Fook Ng, Le Sieur de Machy and the French solo viol tradition, Viola da Gamba Society of Great Britain
More bibliographical information: Catalogue Hoffmann
Kremberg, Jacob, Musicalische Gemüths-Ergötzung, oder Arien, samt deren unterlegten hochdeutschen Gedichten, theils hoher Standes-Personen und vortrefflicher Leute, theils eigener Erfindung. Welche also eingerichtet, daß Sie mit einer Stimme allein zu singen benebenst dem General-Bass, oder aber zugleich und besonders auf der Lauthe, Angelique, Viola di Gamba, und Chitarra, können gespielt werden. Alles nach der neuesten Italienisch und Frantzösischen Manier mit großer Müh und Fleiss verfertigt, und nach eines jeden Instruments Natur und Eigenschafft gantz bequehm in die Hand gesetzt, Dresden, Author, Mathesuis, 1689
Content: 40 German arias
Scoring: The arias are all written for soprano voice and figured bass (both in staff notation) and for lute, angelique, viola da gamba and guitar (all in tablature). As the author himself specifies on the title page, they can be performed by voice and instruments together or separately; the tablatures in fact incorporate both the vocal line and the bass, so the arias may be played by one of those instruments on its own as fully functional music.
Tunings: defhf, dfefh, efdef, efdhf, fedfh, ffdef, ffefd, ffeff, ffefh, fgdff, fgdfh
Ornaments and other symbols: Examples.
Facsimile online: IMSLP
Index: www.researchcatalogue.net
More bibliographical information: Catalogue Hoffmann

Manuscript Sources

103 sources, in alphabetical order by nations and towns of the hosting library

Austria

Schloss Ebenthal, Carinthia (A-ET)

A–ET Goëss Ms. A
Date: 1664. The indication on the manuscript «a Utrecht le de[cem]bre 1664» is thought to be the time of binding, not of the compilation.
Place: Utrecht
Composers: Christian Herwich, Nicolas Hotman, Constantijn Huygens, Simon Ives, John Jenkins, Dietrich Stoeffken, Friedrich Stoeffken, [Johann Christoph] Wolff, William Young and anonymous
Tunings: fdefh, fedef, fedfh, ffeff, fhfde, ffefh, efdef, edefh, defhf, defde
Content: 134 pieces for viol in tablature
Scoring: In the manuscript all pieces are for solo viol, but one piece by William Young is known through a different source in a version for two viols.
Ornaments and other symbols: Examples. Slurs are notated both under and over the letters; holds are indicated with a straight diagonal line under the letters.
Facsimile edition: Tree Edition
Facsimile online: Lute Society (Tree Edition)
Indexes: full index in Tree Edition online; Viola da Gamba Society of Great Britain. A complete catalogue by Francois-Pierre Goy is in preparation.
A-ET Goëss Ms. B
Date: 1668. The indication on the manuscript «a Utrecht le 6 de May 1668» is thought to be the time of binding, not of the compilation.
Place: Utrecht
Composers: Ambrosius Scherle, Charles Coleman, John Lillie, John Jenkins, Christian Herwich, William Young, Simon Ives, William Lawes, Nicolas Hotman, Nicolas de Merville, François Dufaut, Dubuisson, John Price, Jean Mercure, Denis Gautier, Bocquet, Dietrich Stöeffken, anonymous.
Tunings: fdefh, fedfh, ffeff, ffefh, edfhf, defhf
Content: 93 pieces for viol in tablature
Scoring: All pieces are for solo viol.
Ornaments and other symbols: Examples. Slurs are notated both under and over the letters; holds are indicated with a straight diagonal line under the letters.
Facsimile edition: Tree Edition, 1997
Facsimile online: Lute Society (Tree Edition)
Indexes: full index in Tree Edition online; Viola da Gamba Society of Great Britain. A complete catalogue by Francois-Pierre Goy is in preparation.
A-ET Goëss Ms. II
Date: ca. 1660-70. Unlike Goëss A and B, this manuscript has no inscription or date at the beginning, but the composers it represents are similar to those in the other 2 vols. The Gautier piece marking Christina of Sweden’s entry to Paris (Sept 8, 1656) serves as a terminus post quem.
Composers: Nicolas Hotman, William Young, Christian Herwich, Denis Gautier, Betkofsky, Wolff, Ditrich Stöeffken, John Jenkins, Du Buisson (?), anonymous
Tunings: ffeff, fdedf, ededf
Content: 49 pieces for viol in tablature
Scoring: All pieces are for solo viol.
Ornaments and other symbols: Examples. Slurs are notated both under and over the letters; holds are indicated with a straight diagonal line under the letters.
Facsimile edition: Tree Edition
Facsimile online: Lute Society (Tree Edition)
Indexes: full index in Tree Edition online; Viola da Gamba Society of Great Britain. A complete catalogue by Francois-Pierre Goy is in preparation.

Belgium

Brussels, Conservatoire Royale de Musique (B-Bc)

B-Bc MS Litt. XY 24910
Date: 1670s
Composer: «GL» (George Loosemore, active 1638-ca. 1682)
Copyist: probable autograph
Content and scoring: 6 untitled pieces in G major a 3, for an unspecified treble instrument, lyra viol and bass
Layout: Separate parts. These pieces are bound into a collection of mostly later music, none for viol.
Tuning: defhf (not specified)
Ornaments and other symbols: Slurs, but no ornament signs.
Index: No index VdGSGB, but full details in JVdGS vol 5, 2011 and in A. Ashbee, edition
Notes: Should not be mistaken for a second manuscript in the same library, that is a 19^th century copy.

France

Paris, Bibliothèque Nationale (F-Pn)

F-Pn Rés. 1111
Date: 1674
Title: Pièces pour la viola da gamba
Composers named in the manuscript: Nicolas Hotman, Dubuisson, August Verdufen
Composers identified from concordances: William Young, Tobias Hume, Thomas Ford, Daniel Farrant, Charles Coleman, John Jenkins, Simon Ives, George Hudson, Dietrich Stöeffken, Willem Deutekom, François Dufaut
Content: 259 pieces for viol in tablature, besides 14 pieces for viol in staff notation
Tunings: defhf, dfedf, edefh, edfhf, efdef, fdefh, fedef, fedfh, fefde, fefhf, ffeff, fhfhf. Several times string pitches are notated next to the scordatura indicating a first string in d’.
Scoring: All 273 pieces are for solo viol, but 4 of them are marked as duos, and 60 are marked as ensemble parts. The other parts, however, are not included in this manuscript.
Ornaments and other symbols: Examples
Facsimile edition: prepared by F.-P. Goy for Minkoff, but not ever published.
Facsimile online: Gallica
Index: Viola da Gamba Society of Great Britain

Germany

Berlin, Staatsbibliothek Preussischer Kulturbesitz (D-B)

D-B Mus ms. autogr. Hove 1
Date: 1615 circa
Place of origin: Leiden
First owner (and probably scribe): Joachim van den Hove
Composers: Alfonso Ferrabosco II, anonymous. The source does not provide names of authors for the 4 lyra viol pieces, but one of them is attributed to Alfonso Ferrabosco II thanks to its concordance with a piece published in his Lessons, 1609.
Content: The manuscript is mainly a lute book, among its 108 pieces only 4 are for lyra viol solo, the remaining for lute.
Tunings: ffefh, fhfhf, fefhf
Ornaments and other symbols: Dots. The sign appears in all 4 lyra pieces, but also in the lute pieces. For the viol, it’s probably a bowing indication (pull bow) because it appears on weak beats both in the viol and the lute pieces.
Facsimile edition: Glinde, Jarchow Verlag, 2006
Index: Viola da Gamba Society of Great Britain

D-B Mus. ms. autogr. theor. Tappert, W. 3,1 (olim D-DS)
Date and place: According to Noack’s information the manuscript has been sent by Voelckel from Frankfurt to Darmstadt in 1640. Stylistical considerations suggest a later date in the second half of the century.
Title: Höchlich werde gezwungen ich | a la Viole Bastarda
Source: This single sheet was held in the Großherzöglichen Bibliothek Darmstadt, where it was destroyed during World War II. There is, however, a copy in Wilhelm Tappert, 900-1900. Tausend Jahre Entwicklungsgeschichte der musikalischen Zeichenschrift, Berlin, ms., 1901, a manuscript study preserved in Berlin.
Composer: anonymous. Noack suggests a connection with the Kapellmeister Christian Theodor Voelckel (1593-1644).
Content: 1 German aria, “Höchlich werde gezwungen ich”.
Scoring: The single page contains at the upper part a tablature for viola da gamba with the melody and some accompanying notes; at the lower part the melody with the text. It is not clear whether the two parts are to be performed together (thus with the doubling of the melody) or alternately.
Tuning: ffeff
Ornaments and other symbols: None.
Facsimile online: (Tappert’s copy)
Bibliography: F. W. E. Both, Musik-Handschriften der Darmstädter Hofbibliothek, “Monatshefte für Musik-Geschichte”, vol. XX, 1888, pp. 89-90. Elisabeth Noack, Musikgeschichte Darmstadts vom Mittelalter bis zur Goethezeit, Mainz, Schott, 1967, p. 95. Catalogue Hoffmann

Kassel, Landesbibliothek und Murhard’sche Bibliothek (D-Kl)

D-Kl 2º Ms. Mus. 61 L1
Dates: 1653, 1669, 1670
Composers: Simon Ives (1 piece), Germain Pinel (3 pieces), Walter Rowe (1 piece), Gaultier (3 pieces), John Jenkins (5 pieces), Dietrich Stöeffken (6 pieces), William Young (1 piece), Dubuisson (4 pieces), Lully (1 piece), Strobel (1 piece), Blancrocher (1 piece), anonymous (30 pieces)
Content and scoring: 53 pieces for “Bariton”. Moreover the manuscript contains 4 pieces for theorbo.
Tunings: ededf, fdefh, fedfh
Ornaments and other symbols: Examples
Notes: The music is prominently marked for “bariton” and contains regular underlay of numbers to indicate bass manual use of the baryton. However, many of the pieces are known from lyra viol concordances and the three tunings employed are common in lyra viol repertoire. The manuscript is therefor of relevance here, not least as indication that the repertoire was transferred among the two instruments.
Facsimile online: D-Kl
Index: Gottwald. Viola da Gamba Society of Great Britain
Bibliography: Carol Gartrell, A History of the Baryton and Its Music, Scarecrow Press, 2009
D-Kl 2º Ms. Mus. 61 L2
Date: late 17th century (conjecturally)
Content and scoring: 18 pieces for solo viol in tablature, 10 pieces for viol in tablature and bass in staff notation.
Composers: Carl Hacquart (4 pieces from Chelys, op. III), A[ugust] K[ühnel] (1 piece), G. Tielche (8 pieces for viol and bass), [Jean Baptiste Lully] (transcription, 1 piece), anonymous (14 pieces, 2 of which for viol and bass)
Tuning: ffeff
Ornaments and other symbols: Examples
Note: This is not a unitary manuscript but a collection of fragments and loose sheets of various sizes and hands.
Facsimile online: D-Kl
Index: Gottwald. Viola da Gamba Society of Great Britain
D-Kl 4° Ms. Mus. 108.2
Date: after 1681 (conjecturally, the 27 psalm melodies here transcribed first appeared in 1681)
Composers: Nicolas Hotman (1 piece), J.B. Lully (13 pieces), William Deutekom (1 piece), Dietrich Stöeffkens (1 piece), J. F. Salomon (1 piece), Strobel (1 piece), Daniel Eberlin (2 pieces), Daniel Farrant (1 piece), Pinel (3 pieces), Pierre Dubut (1 piece), François Dufault (1 piece), anonymous (circa 90 various pieces; 27 psalm tune melodies from: Ambrosius Lobwasser, Die CL Psalmen Davids nach Frantzös. Melodey in Teutsche Reimen gebracht […], Marburg, Jod. Kürßner, 1681)
Content and scoring: 100 pieces for viol in tablature solo; 48 pieces for viol and bass, both in tablature.
Tunings: defhf, fedfh, fefhf, ffeff
Ornaments and other symbols: Examples
Facsimile online: D-Kl
Index: Gottwald, Viola da Gamba Society of Great Britain
D-Kl 4° Ms. Mus. 108.3
Date: late 17th century (conjecturally)
Composers: Daniel Eberlin (9 pieces), J. C. de Chambonnières (1 piece), Robert Taylor (1 piece), Richard Hudson (1 piece), Pierre Dubut (2 pieces), François Dufaut (3 pieces), Nicolas Hotman (5 pieces), Jean Mercure (1 piece), Dubuisson (9 pieces), J. B. Lully (5 pieces), Simon Ives (3 pieces), Charles Coleman (1 piece), Dietrich Stöeffkens (4 pieces), Willem Deutekom (3 pieces), anonymous (6 psalm settings and 91 various pieces)
Content: 145 pieces in tablature
Scoring: 28 pieces for solo viol in tablature; 12 pieces for viol in tablature with bass in tablature, contained in this volume; 105 pieces for viol in tablature with bass in staff notation, contained in Ms. 4º Mus. 108.4.
Tunings: defhf, edfhf, efffe, efhff, fedfh, ffeff
Ornaments and other symbols: Examples
Notes: companion volume to Ms. 4º Mus. 108.4
Facsimile online: D-Kl
Index: Gottwald, Viola da Gamba Society of Great Britain
D-Kl 4° Ms. Mus. 108.4
Date: late 17th century (conjecturally)
Composers: anonymous (5 pieces)
Content and scoring: 3 complete pieces and 1 fragment for viol in tablature (fol. 32v, 78v, 79r, 92v-93r). Moreover, the volume contains 1 fragment for baryton in tablature (fol. 52v), 16 pieces for viol in staff notation and the bass part for 105 pieces contained in Ms. 4º Mus. 108.3.
Tuning: ffeff
Ornaments and other symbols: Examples
Notes: companion volume to Ms. 4º Mus. 108.3
Facsimile online: D-Kl
Index: Gottwald. Viola da Gamba Society of Great Britain (index of bass parts to 108.3)
D-Kl 4° Ms. Mus. 108.5
Date: late 17th or early 18th century (conjecturally)
Composers: J. B. Lully (4 pieces), Pinel (3 pieces), W[illem] D[eutekom] (9 pieces), Dietrich Stöeffkens (3 pieces), Christopher Simpson (1 piece), John Jenkins (1), G[ottfried] T[ielke] (1 piece or presumably an entire suite), anonymous (87 pieces)
Content and scoring: 95 pieces for solo viol in tablature; 12 pieces for viol and bass, both in tablature; 1 piece for viol in tablature with bass in staff notation.
Tunings: defhf, efdef, fdefh, fedef, fedfh, ffeff
Ornaments and other symbols: Examples
Facsimile online: D-Kl
Index: Gottwald. Viola da Gamba Society of Great Britain
D-Kl 4° Ms. Mus. 108.6
Date: late 17th or early 18th century (conjecturally)
Composers: Aüg[gust] Kühnel (19 pieces), Piere Dubut (1 piece), Le Fevre (1 piece), anonymous (21 pieces)
Content and scoring: 5 pieces for solo viol in tablature; 34 pieces for viol and bass, both in tablature; 1 piece for 2 viols in tablature; 2 texted songs (melody not notated) with a bass in tablature.
Tunings: defhf, ffeff
Ornaments and other symbols: Examples
Facsimile online: D-Kl
Index: Gottwald. Viola da Gamba Society of Great Britain
D-Kl 4° Ms. Mus. 108.7
Date: late 17th or early 18th century (conjecturally)
Composers: August Kühnel (5 pieces), John Jenkins (4 pieces), Simon Ives (1 piece), William Drew (2 pieces), Charles Coleman (1 piece), Sainte Colombe (1 piece), anonymous (19 pieces)
Content and scoring: 28 pieces for solo viol in tablature; 5 pieces for viol in tablature with bass in staff notation. Moreover the volume contains one piece for theorbo.
Tunings: feded, fedef, ffeff, ffefff
Ornaments and other symbols: Examples
Note: Clytus Gottwald catalogued the whole manuscript as music by Kühnel, but the Index of the VdGSGB, compiled by Richard Carter, shows many concordances with English composers.
Facsimile online: D-Kl
Index: Gottwald. Viola da Gamba Society of Great Britain
D-Kl 4° mus ms 185
Date: late 17th century (conjecturally)
Composers (all deduced from concordances): Robert De Visée, Le Fèvre, Simon Ives, Willem Deutekom, Jean-Baptiste Lully, Nicholas Hotman, anonymous
Content and scoring: 22 pieces for solo viol in tablature and 1 piece for 2 viols in tablature.
Tunings: defhf, edfhf, fedfh, fefhf, ffeff
Ornaments and other symbols: Examples
Note: This is not a unitary manuscript, but a folder with scattered sheets and fascicles, of different formats, hands and scorings. It contains 4 manuscripts with tablatures for the viol (No. 6-10; No. 7 and 9 form a single manuscript). Moreover, the fascicle No. 16 contains the bass part in staff notation of some tablature pieces known from D-Kl 4° Ms. Mus. 108.2 (see here above).
Facsimile online: D-Kl
Index: Gottwald. Viola da Gamba Society of Great Britain (also downloadable here in xlsx with active links)
D-Kl 4° Ms. Mus. 289
Date: late 17th century (conjecturally)
Composer: anonymous (1 piece)
Content and scoring: piece without title for solo viol in tablature.
Tuning: ff[eff] The piece doesn’t go below the 3rd string.
Ornaments and other symbols: Examples
Facsimile online: D-Kl
Index: Gottwald.
D-Kl Israël-Anhang 8
Date: after 1695
Content and scoring: bass parts in tablature for 20 airs on a poem by François Passerat (François Passerat, Oeuvre de monsieur Passerat, published Bruxelles, De Backer, 1695, and Den Haag, Bulderen, 1695)
Ornaments and other symbols: none
Tuning: ffeff
Facsimile online: D-Kl
Index: Gottwald
D-Kl Israël-Anhang 28
Date: circa 1700 (conjecturally)
Composer: August Kühnel (15 pieces)
Content and scoring: 15 pieces for viol and bass, both in tablature.
Tuning: ffeff
Ornaments and other symbols: Examples
Note: 14 of the 15 piece are found also in A. Kühnel, Sonate ô Partite ad una ô due Viole da Gamba, con il Basso Continuo, Kassel, author, 1698. This publication is entirely in staff notation.
Facsimile online: D-Kl
Indexes: Gottwald. Viola da Gamba Society of Great Britain
D-Kl Israël-Anhang 30
Date: late 17th or early 18th century (conjecturally)
Composers: J. B. Lully (3 pieces), anonymous (3 pieces)
Content and scoring: 6 pieces for solo viol in tablature
Tuning: ffeff
Ornaments and other symbols: Examples
Facsimile online: D-Kl
Index: Gottwald. For concordances with Lully: Viola da Gamba Society of Great Britain, p. Lully-2

Lübeck, Bibliothek der Hansestadt (D-LÜh)

D-LÜh Ms. hist. 8° 24, Stammbuch David von Mandelsloh
Date: 1614 («4 Agustus 1614»)
Place of origin: Hamburg
Composer: Walter Rowe
Content: One single piece (Coranto), p. 470. This is the only music in the volume.
Tuning: ffhfh
Ornaments and other symbols: Fingerings indicated in great detail.
Facsimile online: D-LÜh

Weimar, Klassik Stiftung Weimar, Herzogin Anna Amalia Bibliothek (D-WRz)

D-WRz Mus. VIII: 12
Date: Second half of 17th century
Composers: Simon Ives (1 piece), anonymous (101 pieces)
Content and scoring: 102 pieces for solo viol in tablature
Tunings: defhf, efdef, fedfh, ffeff
Ornaments and other symbols: No ornament symbols; 2 pieces with thump symbol; frequent use of the fermata symbol. Examples
Facsimile online: D-WRz
Bibliography with index: Viola da Gamba Society of Great Britain, pp. 59-64 (index on pp. 61-63).

Great Britain

Cambridge, University Library (GB-Cu)

GB-Cu Ms. Add 10356 (formerly GB-HAdolm MS II B 3)
Date: 1625-1640s (conjecturally)
Composers: William Lawes (37 pieces), John Jenkins (36 pieces), Simon Ives (15 pieces), anonymous (13 pieces)
Content and scoring: 101 pieces for 3 lyra viols. Only one part (titled “Tertius” on the cover) is preserved, but some of the pieces can been reconstructed by drawing on concordant sources.
Tunings: defhf, dehfh, edfhf, edfhh, fdefh, fedfh, fhfhf
Ornaments and other symbols: Examples
Notes: Formerly part of the Dolmetsch Library in Haslemere (GB-HAdolm MS II B 3).
Indexes and bibliography: John Patrick Cunningham, Music for the privy chamber: studies in the consort music of William Lawes (1602-45), PhD thesis, University of Leeds, 2007. John Patrick Cunningham, “Let Them Be Lusty, Smart-Speaking Viols”: William Lawes and the Lyra Viol, JVdGSA, Vol. 43, 2006, pp. 32-68.
GB-Cu Dd.5.20 Mathew Holmes
Date: ca. 1588-1597 (provisional date for the whole manuscript)
Composers: John Coprario, Daniel Farrant, Joseph Sherlie, Alfonso Ferrabosco, Andrew Marks, anonymous
Copyist: Mathew Holmes (?-1621)
Content and scoring: 20 pieces for lyra viol, 4 pieces for two lyra viols
Tunings: fefhf, ffeff, ffhfh
Ornaments and other symbols: No ornaments, slurs or holds.
Notes: Dd.5.20 is the bass book of 6 partbooks with music for broken consort copied by Mathew Holmes. In addition to the bass consort parts it contains materials in tablature for lyra viol. The provisional date – based on the broken consort materials – is very early for the lyra viol, but may in fact be correct.
Index: Violanet. A full inventory by John Robinson is in preparation.
GB-Cu Dd.5.78 (III), Mathew Holmes Lute Book II
Date: ca. 1600 (provisional date)
Copyist: Mathew Holmes (?-1621)
Composer: anonymous
Content and scoring: 1 piece for solo lyra viol (fol. 1r)
Tuning: fefhf
Facsimile online: GB-Cu
Index: Viola da Gamba Society of Great Britain
GB-Cu Dd.6.48 (F)
Date: 1671 (fol. 38v bears the handwritten date “June 19, 1671”).
Composers: Charles Coleman, Simon Ives, Robert Jones, William Lawes, Johm Lilly, Thomas Mace, Wilson, anonymous
Content and scoring: 65 pieces for solo lyra viol
Tunings: defhf, edfhf
Ornaments and other symbols: Examples
Index: Viola da Gamba Society of Great Britain
Note: The first pages bears the names of John Butler and John Mace, but the music is not by them, and they should not be confused with Henry Butler and Thomas Mace.
16 of the pieces in this manuscript are published in Playford’s editions for lyra viol.
GB-Cu Dd.9.33, Mathew Holmes Lute Book III
Date: circa 1600
Copyist: Mathew Holmes (?-1621)
Composer: anonymous
Content and scoring: 1 piece for solo lyra viol (fol. 95v)
Tuning: ffeff
Ornaments and other symbols: No ornaments, slurs or holds.
Facsimile online: GB-Cu
Index: Viola da Gamba Society of Great Britain
GB-Cu Nn.6.36, Mathew Holmes Lute Book IV
Date: ca. 1600-1615
Copyist: Mathew Holmes (?-1621)
Composers: Thomas Ford, Joseph Sherlie, anonymous
Content and scoring: 12 pieces for solo lyra viol (fol. 15r-15v, 19r-21r, 34v-36r)
Tunings: fefhf, ffeff, ffhfh
Ornaments and other symbols: No ornaments, slurs or holds.
Facsimile online: GB-Cu
Index: Viola da Gamba Society of Great Britain
GB-Cu Hengrave Hall Deposit 77 (1)
Date: mid 17th century (provisional date based on composers and styles of music)
Composers: Simon Clarke (3 pieces), William Drew (14 pieces), John Jenkins (6 pieces), Christopher Simpson (6 pieces), John Withy (17 pieces), William Young (3 pieces), anonymous (24 pieces)
Content: 73 pieces
Scoring: 63 pieces are for solo lyra viol; 10 pieces are divisions for lyra viol (in efffe tuning) and bass (staff notation). The first piece by Jenkins bears the instructions “for 2 violes” and “to play alone”. Only a single part exists; probably a second part was omitted intentionally.
Tunings: fdefh, feded, fedfh, ffdef, ffedf, fffed, ffhfh, edfhf, efffe, effff, effhf, eff??, defhf
Ornaments and other symbols: Examples. Very few ornaments in the whole manuscript.
Index: Viola da Gamba Society of Great Britain
GB-Cu Hengrave Hall Deposit 77 (2)
Date: mid 17th century (provisional date based on composers and styles of music)
Composers: John Jenkins, anonymous
Content: only two pieces, 1 Coranto by Jenkins and 1 anonymous almain.
Tuning: fhfhf
Ornaments and other symbols: none
Notes: The manuscript consists of 2 pages only.
Index: Viola da Gamba Society of Great Britain
GB-Cu MS Add 9283
Date: mid-17th century (provisional date)
Composer: anonymous
Content and scoring: 5 pieces for solo lyra viol
Tuning: efffe
Ornaments and other symbols: Examples
Notes: Previously in private ownership by Robert Spencer.
GB-Cu Add. MS 9284
Title: «Auff der Viol de Gambe. 2. partey | Adamus Wolray (?)/Kerstone (?)»
Names in the manuscript, possibly referring to composers: (William?) Lawes, I. P. Gertner
Composers identified from concordances: Thomas Gregorie, Simon Ives, William Lawes.
Content: 10 pieces
Scoring: All 10 pieces are for a single lyra viol, but that part is one of an ensemble of 2/3 lyras. The other parts are not extant in this collection.
Tunings: fdefh, fedfh, efdef, edfhf
Ornaments and other symbols: Examples
Notes: Previously in private ownership by Robert Spencer. Mentioned in John Cunningham, Lyra Viol Ecclesiastica, JVdGS vol. 3
Index: Violanet

Cheshire, Record Office (GB-CHEr)

GB-CHEr DLT/B31, Sir Peter Leycester
Date: 1659-1670
Scribe: Sir Peter Leycester (1614-1678)
Composers: Stirrop (1 piece), Richard Pickering (10 pieces), Robert Taylor (1 piece), William Young (2 pieces), Simon Ives (1 piece), Thomas Mace (6 pieces), John Jenkins (20 pieces), Thomas Gregorie (3 pieces), Warner (3 pieces), Peter Leycester (7 pieces), William Lawes (3 pieces), R. Bannester (18 pieces), Daniel Farrant (1 piece), Thomas Ford (2 pieces), Nicolas Hotman (1 piece), Gerrarede (1 piece), Thomas Campion (1 piece), Polewheele (1 piece), Christopher Simpson (1 piece), Peter Stanton (2 pieces), John Esto (1 piece), Charles Coleman (2 pieces), Robert Blagreave (3 pieces), anonymous (63 pieces)
Content: 155 pieces, all in the 3rd part of the manuscript, titled A Booke of Lessons for the Lyro=Viole. It contains, moreover, instructions on viol playing and on ornamentation symbols.
Scoring: lyra viol solo
Tunings: dedeh, defhf, eded[], edfhf, efdef, efhfh, fdefh, fedfh, fefhf, fhn, ffeff, ffefh, ffhfh, fhfhf
Ornaments and other symbols: Examples
Facsimile online: Newtunings
Index: Viola da Gamba Society of Great Britain
Bibliography: Hermione Abbey, Sir Peter Leycester’s Book on Music, Journal of VdGSA, vol. XXI, 1984, pp. 28-44.

Dundee, Public Libraries (GB-DU)

GB-DU Mus 10445, Andrew Bla[i]kie
Date: original from 1683, copies from 1692 on.
Composers: Thomas Campion (1 piece), anonymous (39 pieces)
Content and scoring: 40 short Scottish tunes for solo lyra viol
Tunings: defhf (“Harp Sharp”), edfhf (“Harp flat”), fdefh (“High Harp sharp”)
Ornaments and other symbols: #
Notes: The first Blaikie ms (dated 1683, once owned by Lady Katherine Boyd, daughter of William, first Earl of Kilmarnock) is no longer extant. This version is a copy of several surviving copies, made by Andrew John Wighton, ca. 1866 or earlier.
Index: Viola da Gamba Society of Great Britain

Durham, Cathedral Library (GB-DRc)

GB-DRc Bamburgh Mus 179-180
Composers: John Jenkins, possibly others.
Content: 36 pieces, all attributed to Jenkins in the collection. Only half of them are complete, the other half has the treble and lyra viol parts but is missing its bass. The pieces are seemingly grouped in sets of 6, comprising a total of 6 suites, each in its own tonality, and with different lyra viol tunings.
Scoring: unspecified treble instrument, lyra viol, unspecified bass instrument.
Tunings: dehfh, edfhf, fdefh, fedfh, ffdef, ffedf
Symbols: Occasional slurs, double dots which appear many times in this ms, always in places where their function as rests is obvious. See GB-Ob C.84.
Bibliography: mentioned in Chelys 6, 1975-76; Frank Traficante, A-R Editions, Recent Research in the Music of the Baroque Era, Vol.67-68 1992; Ila Stolzfus, The Lyra Viol in Consort With Other Instruments, dissertation, 1982; Brian Crosby, Durham Cathedral Music Manuscript catalogue, 1986.

Edinburgh, National Library of Scotland (GB-En)

GB-En Dep. 314/24, Sutherland Lyra Viol Manuscript
Date: circa 1660-70
Former owner: This volume is part of the Sutherland Papers. The initials «L / M C» impressed on front and back original leather covers are thought to indicate ownership by Lady Margaret Cochrane, eldest daughter of William, Lord Cochrane (1605-1685).
Composers (all attributed thanks to concordances): William Young (2 pieces), Simon Ives (2 pieces), John Dowland (1 transcribed piece), Richard Sumarte (1 piece, uncertain attribution), anonymous
Content: 40 pieces for lyra viol. 18 of the pieces appear in volumes by John Playford.
Scoring: solo lyra viol
Tunings: defhf, edfhf, edefh
Ornaments and other symbols: Examples.
Index: Viola da Gamba Society of Great Britain

Edinburgh, University of Edinburgh (GB-Eu)

GB-Eu Mus. m.1, (formerly P637 R787.1) Magdalen Cockburn John music booke
Date: ca. 1660-80 (conjecturally)
Composers: Matthew Locke (1 piece), Thomas Campion (1 piece), William Young (2 pieces), John Esto (3 pieces), William Gregorie (15 pieces), John Jenkins (5 pieces), John Withy (1 piece), Christopher Simpson (1 piece), Mr. Growme (4 pieces), John Lillie (3 pieces), George Hudson (2 pieces), Simon Ives (2 pieces), John Moss (4 pieces), anonymous (34 pieces)
Content and scoring: 78 pieces for solo lyra viol. Moreover, airs in staff notation on the reversed side of the book.
Tunings: defhf (Harp way sharp), edfhf (Harp flat), fdefh (High harp way sharp), fedfh (High harp flat)
Ornaments and other symbols: Examples
Index: Viola da Gamba Society of Great Britain

London, British Library (GB-Lbl)

GB-Lbl Add. 15117
Date: conjecturally 1614-16
Former owner: In 1630 the manuscript belonged to Hugh Floyd.
Composers: Tobias Hume, Giulio Caccini (anonymous transcriber)
Content and scoring: 2 songs for voice and lyra viol. fol. 6: «Miserere my maker», contrafactum of Caccini’s «Amarilli mia bella», from Le nuove musiche, Firenze, Marescotti, 1602. fol. 23: «Faine would I chainge [sic] that note», from Hume 1605 (see above). The remaining 37 pieces of the volume are mostly English lute songs (treble voice + lute) and a few instrumental lute pieces.
Tunings: ffeff. «Miserere my maker» requires a D viol; «Faine would I chainge that note» requires a G viol, as well as in the printed edition.
Ornaments and other symbols: none.
Notes: Hume’s printed instruction to alternate pizzicato and arco does not appear here. «Miserere my maker» has only a single stanza of text in this manuscript, but 2 more verses can be found in the Turpyn Lute Book (Cambridge, King’s College Rowe Ms 2), used for a different musical setting.
Facsimile edition: English Song 1600-1675, New York, Garland, 1986-9, vol. 1. Facsimile: Harvester Microform Collection, R14
Facsimile online: GB-Lbl
Index: GB-Lbl (Both links currently not active).
GB-Lbl Add. 15118, Richard Shinton
Date: 1633
Former owners: Richard Shinton, then Thomas Shinton
Composers: Daniel Farrant (1 piece), anonymous (9 pieces)
Content and scoring: 9 pieces for solo lyra viol, 1 piece for two lyra viols. The piece for two viols lacks the second part. Moreover the book contains vocal and instrumental music by English composers, in staff notation.
Tunings: defhf, fefhf, ffeff
Ornaments and other symbols: Examples
Facsimile: Harvester Microform Collection, R14
Index: GB-Lbl. A full inventory by John Robinson is in preparation.
GB-Lbl Add. 17795, Merro
Date: circa 1625-1635
Former owners: John Merro (?-1639), then Dr. Matthew Hutton (1638-1711)
Composers: Alfonso Ferrabosco (7 pieces), William Byrd (1 piece), anonymous (4 pieces)
Content and scoring: 6 pieces for two lyra viols, 6 pieces for three lyra viols. Of each, only one viol part is preserved, but they all are known from concordances to retrieve the missing parts.
Tunings: efhf/h (Leero sett), ffeff/h, ffhfh (5te), fhfhf (8te)
Ornaments and other symbols: Examples
Notes: 17795 is the “Quintus” of a set of originally 6 partbook. It is the only volume of the set with music written in tablature. The sixth volume of the set is missing; it is conceivable that it contained at least one of the missing lyra viol parts.
Facsimile: Harvester Microform Collection, R16
Index: Viola da Gamba Society of Great Britain
GB-Lbl Add. 29481
Date: ca. 1630 (conjecturally)
First owner: ‘A. B.’ (initials on the cover), conjecturally identified as Adrian Batten (1591-1637).
Content: The manuscript has no music for lyra viol, but an annotation with 8 lyra viol tunings. Moreover, it contains 28 English songs in staff notation.
Tunings: fefhf, ffefh, fhfhf, , ffeff, fdefh, efdef, defhf, edfhf
Facsimile edition: English Song 1600-1675, New York, Garland, 1986-9, vol 1
Indexes: Catalogue of English Literary Manuscripts 1450–1700; GB-Lbl
GB-Lbl Add. 31431 (II), Sir Gabriel Roberts
Date: in or shortly before 1680
Former owner: Sir Gabriel Roberts
Title of the lyra viol pieces: “Mr John Jenkins his Lira Consort, harpe way flat, for 3. parts viz 1 lira. 1 treb. 1 bas.” (fol. 91r).
Composer: John Jenkins
Content: 20 pieces for lyra viol consort in 3 sets: 9 pieces in g minor, 5 pieces in G major, 6 pieces in g minor. Only the treble part is preserved; there are no known concordances to reconstruct them. Moreover the manuscript contains various English and Italian music, mostly for two trebles and bass with continuo; only the treble part, bound in two volumes, survives. The lyra viol pieces appear in the second volume on fol. 91r-96v.
Scoring: unspecified treble instrument, lyra viol, unspecified bass instrument.
Tunings: edfhf (“harpe way flat”). The tuning for the pieces in G major was probably harp way sharp, defhf.
Index: Viola da Gamba Society of Great Britain
Bibliography: Robert Thompson, The Sources of Locke’s Consort ‘for seaverall friends’, Chelys, vol. 19 (1990); Richard Charteris, A Rediscovered Manuscript Source, Chelys, vol. 22 (1993).
GB-Lbl Add. 31432, Richard Gibbon
Title: Richard Gibbon, his booke
Composer: William Lawes (autograph)
Content and scoring: 3 short pieces (2 Sarab[ands] and 1 Corant) for lyra viol solo, in Lawes’ hand, fol. 2r-2v. Moreover the manuscript contains English songs and 6 short untitled and anonymous airs for bass viol in staff notation.
Tuning: defhf
Ornaments and other symbols: Examples
Facsimile edition: English Song 1600-1675, New York, Garland, 1986-9, vol 2. Facsimile: Harvester Microform Collection, R31
Index: GB-Lbl (In this index, the lyra viol pieces are erroneously catalogued for lute).
GB-Lbl Add. 36993
Date: mid 17th century (conjecturally)
Composers: Richard Dering (2 pieces), Charles Coleman (3 pieces), Morris Webster (1 piece), Alfonso Ferrabosco (3 pieces), John Jenkins (14 pieces), Robert Johnson (1 piece), Ricard Mico (1 piece). 2 pieces are anonymous here, but could be ascribed, thanks to concordances, to Dering and Mico.
Content and scoring: 25 pieces for 4- and 5-part consort. Only the bass part, notated in tablature, is preserved. Some pieces can be completed thanks to concordances, specially with GB-Och Mus. 367-370.
Tuning: ffeff
Ornaments and other symbols: no slurs, no holds, no ornaments or other symbols.
Indexes: GB-Lbl. The single pieces have been indexed in VdGSGB under the names of single composers.
GB-Lbl Add. 56279, Silvanus Stirrop
Date: prior 1629
Scribes and owners: There are many names associated with this commonplace book, but the name Silvanus Stirrop is emblazoned prominently on its own page (‘Silvanus Stirrop His Booke’ on fol. 12, rebound in incorrect order) and his initials (SS) appear after the first lv piece.
Composers: The first piece for lyra viol is by Silvanus Stirrop, the following pieces are anonymous in this source, but from concordances some composers have been identified: Thomas Ford, Tobias Hume, Gaultier or De Moy.
Content and scoring: 20 pieces for solo lyra viol. Moreover the manuscript contains songs for voice and bass.
Tunings: fefhf, ffeff, ffhfh, fhn
Ornaments and other symbols: Examples
Facsimile: Harvester Microform Collection, R38
Index: Viola da Gamba Society of Great Britain
Bibliography: Pamela Willetts, Silvanus Stirrop’s Book, R.M.A. Research Chronicle, vol. 10 (1972), pp. 101-107 (with index)
GB-Lbl Add. 59869, Cartwright manuscript
Date: 1659 or later (conjecturally)
Former owner: J.E and Wm. Cartwright
Composers: John Jenkins (3 pieces), Simon Ives (7 pieces), Richard Hudson (1 piece), William Lawes (8 pieces), John Lilly (12 pieces), Grome (2 pieces), Thomas Mace (3 pieces), Edward Golding (6 pieces), William Young (3 pieces), John Esto (7 pieces), Charles Coleman (3 pieces), Robert Wadham (1 piece), Dietrich Stöeffkens (11 pieces), Drew (1 pieces), anonymous (72 pieces).
Content and scoring: 141 pieces for solo lyra viol.
Tunings: defhf (Harp sharp), edfhf (Flat harp Tuning), fdefh (High harp sharp), fedef, fedfh, ffeff (Plain way), ffhfh (Alfonso way)
Ornaments and other symbols: Table. Examples.
Facsimile online: Newtunings
Notes: Bound in the back of a copy of Christopher Simpson, The Division-Violist, London, 1659. 26 of the pieces appear as well in Playford’s lyra viol publications (see).
Index: Viola da Gamba Society of Great Britain. A full inventory by John Robinson is in preparation.
Bibliography: Graham Nelson, A Case for the Early Provenance of the Cartwright Lyra-Viol Manuscript. Chelys 25 (1996-97), pp. 107-114.
GB-Lbl Add. 63852, Griffith Boynton
Date: mid to late 17th century (conjecturally)
First owner: [Sir] Griffith Boynton (3rd Baronet, 1664-1730)
Composers: Thomas Mace (2 pieces), Simon Ives (9 pieces), Charles Coleman (12 pieces), Thomas Campion (1 piece), William Lawes (3 pieces), William Young (1 piece), Beeland (1 piece), Stirrop (1 piece), John Lillie (4 pieces), John Jenkins (2 pieces), Rogers (2 pieces), John Sherlie (1 piece), Robert Johnson (3 pieces), Carwarden (1 piece), John Withy (1 piece), John Dowland (1 piece), Paget (1 piece), Gaultier (1 piece), John Este (1 piece), anonymous
Content and scoring: 126 pieces for solo lyra viol, 1 piece for lyra viol with a treble melody in staff notation.
Tunings: defhf, edfhf, efffe, fdefh, fedfh fefhf, ffefh, ffhfh, fhn
Ornaments and other symbols: Examples
Facsimile online GB-Lbl
Index: Viola da Gamba Society of Great Britain. A full inventory by John Robinson is in preparation.
GB-Lbl Egerton 2971, Robius Downes
Date: conjecturally early 17th century
Composers: after Giulio Caccini (2 pieces), Coprario (1 piece), Daniel Farrant (1 piece), anonymous (3 pieces)
Tunings: ffeff, fefhf (‘Liero’)
Content and scoring: 4 songs on Italian texts for voice and lyra viol; 3 pieces for lyra viol solo. Moreover the manuscript contains pieces for voice and lute.
Ornaments and other symbols: Table “Characters for ye graces of ye viol”. Examples in music.
Facsimile edition: English Song 1600-1675, New York, Garland, 1986-9, vol. 1. Facsimile: Harvester Microform Collection, R3
Index: Viola da Gamba Society of Great Britain
Bibliography: Mary Cyr, A 17th-century source of ornamentation for voice and viol: British Museum MS Egerton 2971, RMARC 9, pp. 53-72.
GB-Lbl Harley 7578
Date: ante 1655
Former owners: Francis Cartright and John Vaughn
Composers: Coprario (1 piece), Ferrabosco (1 piece), anonymous (16 pieces)
Content and scoring: 18 pieces for solo lyra viol. Moreover, the volume contains middle English verses and songs.
Ornaments and other symbols: holds, very few slurs, no ornament signs.
Tunings: fefhf, ffeff, ffhfh, fhfhf
Facsimile: Harvester Microform Collection, R5
Facsimile online: GB-Lbl
Index: A full inventory by John Robinson is in preparation.
GB-Lbl Mus. 249
Composers: John Jenkins, John Esto, Dietrich Steffkins, William Young, Simon Ives, Thomas Mace, John Taylor, Charles Coleman, William Lawes, Nicolas Hotman. Only the names of Esto, Jenkins and Hotman are marked in the manuscript, the other authorships are deduced from concordances. One piece bears the indication “par De Londi”, which may be the name of an otherwise unknown composer.
Content: 62 pieces (preludes, allemandes, courantes, sarabandes, airs) of which 3 are duplicates
Scoring: solo lyra viol
Tunings: defhf, ededf, edeff, edefh, edfhf, efdef, fdefh, fedef, fedfh, fefff, ffeff
Ornaments and other symbols: Examples.
Facsimile online: Newtuning
Index and bibliography: Robert Smith, JVdGS 2013

London, Royal Academy of Music (GB-Lam)

GB-Lam MS 600, John Browne (Braye/Bowne)
Date: ca. 1625-1630
Front cover: Initials T B embossed on the front cover. Inside front cover is a bookplate of Lord Braye of Stanford, Leicestershire.
Scribes: The collection was started by Thomas Browne (1567-1621), and passed to his son John who used and expanded it, adding much of the lyra viol materials, while a music student at the Middle Temple in the 1620s. The lyra viol pieces are written in 3 different hands.
Composers: Alfonso Ferrabosco II, John Jenkins, Robert Taylor, Stifkin/Stoëffkens, William Lawes, Simon Ives, John Coprario, Thomas Gregorie, Robert Johnson, William Byrd, anonymous
Content: 62 pieces for lyra viol; the rest of the ms is for bandora.
Scoring: solo lyra viol
Tunings: defhf, defhh, edfhf, edfhh, efdef, efffe, efhfh, fdefh, fedfh, ffefh, ffhfh, fhfhf
Ornaments and other symbols: Examples. The plethora of symbols and ornaments that are scattered throughout the lyra viol pieces makes this a particularly noteworthy collection.
Facsimile online: Internet Archive
Notes: formerly in the possession of Robert Spencer.
Index: Viola da Gamba Society of Great Britain

Manchester, Central Public Library (GB-Mp)

GB-Mp BRm/832 Vu51, Manchester lyra viol book
Date: mid-17th century
Composers: Anthonye, Thomas Bates, Thomas Birche, Charles Coleman, Elliot of Oxford, John Esto, Hugh Facie, Alfonso Ferrabosco ii, Gervise Gerrarde, Stephen Goodall, Thomas Goodge, Thomas Gregorie, William Gregorie, George Hudson, Simon Ives, Simon Ives Jr., John Jenkins, William Kinglake, John Laurence, William Lawes, Lillie, Thomas Martine, Oxosbey, Henri Read, John Read, Roger Read, Thomas Read, Joseph Sherlie, Christopher Simpson, Richard Sumarte, Thomas Taylor, Peter Warner, G. Willis, John Withie, Thomas Woodington, Thomas Woodson, William Young.
Content: 246 pieces for lyra viol. Moreover, the manuscript contains 12 pieces for bass viol in staff notation.
Scoring: Solo lyra viol
Tunings: ffeff, ffefh, fefhf, ffhfh, fhfhf, fhn, fff, fdefh, fedfh, fdedf, ffcdh, efhfh, efdef, edfhf, edefh, edeff, ededf, edfed, efffe, defhf, dfedf, hh(haa)
Ornaments and other symbols: The page Graces on the Violl at the beginning of the manuscript lists 16 ornaments and more symbols by name, with a written notation for how they are to be played: «A beate, A fall, A back-fall & beate, A double back-fall, A [back-]fall & [relishe], A relishe, An elevation, A shake, A shake wth the bowe, A pawse, A hold for the finger, A thumpe wth ye fore-finger, A thumpe wth ye middle finger, A thumpe wth ye ringe finger, So many letters as are bound in wth these markes muste be slurde in one bowe, A slurre with sobbinge or iuts at everie letter so inclosed.»
Facsimile edition: Peacock Press, 2003
Facsimile online: IMSLP
Index: Joëlle Morton 2024; Peacock Press (Paul Furnas)
Bibliography: Richard Carter, Journal of VdGS, vol 3-2, p. 169.
Notes: For 20th century transcriptions of the whole manuscript with some useful additional information see here below GB-Lbl Add. 38783, 39556 and 50781.

Newcastle Upon Tyne, University (GB-Ntu)

GB-Ntu Bell-White 46, Leyden viol manuscript
Date: after 1688 (provisional hypothesis, based on contents and paper)
Composers: all anonymous
Content and scoring: 84 short tunes for solo lyra viol.
Tunings: defhf, edfhf. Moreover, the tunings fdefh and fedfh are named in the instructions, though they are not used in the music.
Ornaments and other symbols: Examples. In the instructions, it is explained that the three dots represent thumps. The commas are added later, by a different hand.
Notes: The manuscript was acquired by John Leyden in 1800 circa. It was formerly catalogued as White ms. 42. The prefatory instructions are copied word-for-word from Playford’s Musicks Recreation, 1682 edition.
Index: JVDGS, vol. 2-1, 2008-2009, pp. 35-52; Viola da Gamba Society of Great Britain
Bibliography: John H. Robinson, John Leyden’s Lyra Viol Manuscript in Newcastle University Library and George Farquhar Graham’s Copy in the National Library of Scotland, JVDGS, vol. 2-1, 2008-2009, pp. 17-57

Oxford, Bodleian Library (GB-Ob)

GB-Ob MS Mus Sch b.15, Mark Coleman
Date: mid to late 17th century (conjecturally)
Name: The name Mark Coleman (hitherto unknown) is written at the end of the pieces; he may be its composer or copyist.
Content: This single leaf contains untitled music which may be considered as at least 4 separate pieces.
Scoring: lyra viol solo.
Tuning: fdefh
Ornaments and other symbols: none.
GB-Ob MS Don. C.57, Colonel Probert
Date: circa 1625-50
Former owner: Colonel Probert (XX century)
Composer: anonymous
Content: 1 song, “Come, come sweet love”, for treble voice and bass viol in staff notation, on fol. 39r. The manuscript contains, moreover, 161 songs for voice and bass in staff notation or lute tablature.
Facsimile online: digital.bodleian.ox.ac.uk
Facsimile edition: English Song 1600-1675, New York, Garland, 1986-9, vol 6
Note: The instrumental part of this song is not in tablature, but its chords are typical for voice accompaniment on the lyra viol.
GB-Ob MS Mus Sch C.61, Francis Withy’s scorebook
Date: copied circa 1688-1700
Title: Divitions for ye Bass Violl / Decemb. 3d. Anno Domini / 1687
Copyist: Francis Withy
Composer: Thomas Mace
Content: Only 2 pages of the manuscript (fol. 85) contain music in tablature for lyra viol, copied from Thomas Mace, Musick’s Monument, 1676, pp. 252-253. Apart from that, the manuscript contains music in staff notation by a wide variety of English composers of the second half of the 17th century (Withy himself, Purcell, Young, Matteis, Finger, Corelli, Jenkins, Blow, Lully, Simspon).
Scoring: solo lyra viol, with additional transcriptions into treble and bass staff notation.
Tuning: ffeff
Ornaments and other symbols: Withy, on fol. 85, copied only a few ornaments of the 15 that were defined and explained in Mace, pp. 106-107. Examples.
Facsimile: Harvester Microform Collection, R2
Index: Viola da Gamba Society of Great Britain, pp. 138-143
GB-Ob MS Mus Sch C.84
Title: Mr J Jenkins his Ayres for the Harpsecon Lyra Viole Base Vyole and Vyolin
Composer: John Jenkins
Content: 14 pieces for lyra ensemble
Scoring: All pieces for violin, lyra viol, bass viol and harpsichord. The manuscript consists of 4 partbooks.
Tuning: dehfh for all pieces. An inscription on the first page of the lyra viol part reads: “Tune Gamut string to Gamut upon the HarpRecall”.
Ornaments and other symbols: Occasional slurs, no other symbols, except these dots in The Sixe Bells, at the end of the Mourners’ section, mm. 103-106, where everyone has the same rhythm with a rest at the beginning of each bar. The dots do not appear in the violin, bass viol or harpsichord parts. It is unlikely to be an indication of rests as they appear in many other places in the lyra viol part without this symbol.
Note: The manuscript is one of several purchased from “Mr. Wood” by Oxford University in 1667. Of those volumes, three contain lyra consorts by Jenkins, that were likely copied for use by the North family at Kirtling, where Jenkins worked during the 1650s, and was formally employed 1660-c1669.
Facsimile: Harvester Microform Collection, R5
Indexes: Viola da Gamba Society of Great Britain; Frank Traficante, A-R Editions, Recent Research in the Music of the Baroque Era, Vol. 67-68, 1992
GB-Ob MS Mus Sch C.85
Composer: John Jenkins
Content: 12 pieces for lyra ensemble: 6 pieces (pavine, almaine, almaine, coranto, coranto, saraband) in G minor, 6 pieces (pavine, aire, aire, coranto, coranto, saraband) in G major.
Scoring: All pieces for unspecified treble, lyra viol, unspecified bass, unspecified keyboard. The manuscript consists of 4 partbooks.
Tunings: defhf, edfhf
Ornaments and other symbols: There are occasional slurs. A diagonal slash (presumed to be a hold) appears in the first piece, but nowhere else. There are no other symbols in the lyra viol part.
Note: The manuscript is one of several purchased from “Mr. Wood” by Oxford University in 1667. Of those volumes, three contain lyra consorts by Jenkins, that were likely copied for use by the North family at Kirtling, where Jenkins worked during the 1650s, and was formally employed 1660-c1669.
Facsimile: Harvester Microform Collection, R5
Indexes: Viola da Gamba Society of Great Britain; Frank Traficante, A-R Editions, Recent Research in the Music of the Baroque Era, Vol.67-68 1992.
GB-Ob MS Mus Sch C.88
Composer: John Jenkins
Content: 18 pieces for lyra ensemble
Scoring: All pieces for unspecified treble, lyra viol, unspecified bass and harpsichord. The manuscript consists of 4 partbooks labelled Treble Parte, Base Parte, Lyra Parte, Harpsecord Parte.
Tunings: fdefh, fedfh
Ornaments and other symbols: There are occasional slurs. A diagonal slash (presumed to be a hold) appears in quite a few places. There are no other symbols in the lyra viol part.
Note: The manuscript is one of several purchased from “Mr. Wood” by Oxford University in 1667. Of those volumes, three contain lyra consorts by Jenkins, that were likely copied for use by the North family at Kirtling, where Jenkins worked during the 1650s, and was formally employed 1660-c1669.
Facsimile: Harvester Microform Collection, R5
Indexes: Viola da Gamba Society of Great Britain; Frank Traficante, A-R Editions, Recent Research in the Music of the Baroque Era, Vol.67-68, 1992.
GB-Ob MS Mus Sch D.217, F[rancis] W[ithy]
Date: 1681-1703
Content: The short fragments that appear on p. 16-17 are Withy’s notation (in tablature for lyra viol) of chordal progressions from a verse anthem by Bartolomew Isaack.
Scoring: unspecified treble instrument, lyra viol and unspecified bass instrument.
Tunings: ffeff; possibly a fragment in fedfh
Ornaments and other symbols: none
Index: GB-Ob
Bibliography: Robert Thompson, Francis Withy of Oxon and his Commonplace Book, Oxford Christ Church, MS 337, Chelys, Vol. 20 (1991)
GB-Ob MS Mus Sch D.221, Richard Langley
Date: circa 1650-1675 (conjecturally)
Composers: Thomas Gregorie (65 lyra viol duos), John Jenkins (25 lyra viol duos and 70 pieces for 2 lyra viols and bc), anonymous (5 lyra viol duos)
Content: ca. 165 pieces for 2 lyra viols and for 2 lyra viols and bass. Only one lyra viol part is preserved.
Tunings: in lyra viol duos defhf, edfhf, efffe, effff, efffh, fhfde, fhfed, fhfhf; in pieces for lyra viol and bass dedeh, dfedh, ededh, efdeh, fdefh, fedfh.
Ornaments and other symbols: Examples.
Index: Viola da Gamba Society of Great Britain
GB-Ob MS Mus Sch D.233 and 236
Dates: 1636, 1641
Copyist: Edward Lowe
Composer: William Young
Title of the lyra viol pieces: Mr. Younges for two Lyra Violls
Content: 11 pieces in d minor, all untitled except for one pavan. The pieces appear on fol. 102v-99v in the partbook D.233 and on fol. 101v-100v in the partbook D.236.
Scoring: The two parts are in staff notation, for a treble and a bass instrument. There are also ‘through bass’ parts, copied by Lowe, in a companion volume now catalogued as Ob MS Mus. Sch. E. 451, item #113, pp. 375-371 (reversed). Those parts are entirely linear and have no chords. It is unknown if these were for larger lyra consorts, with the two lyra viols parts now missing, or if these are settings of pieces originally for just 2 lyra viols, whose tablatures no longer survive.
Tuning: (conjecturally fedfh)
Ornaments and other symbols: no slurs, holds or ornaments.
Notes on the manuscript: Ob MS Mus Sch D.233-236 is a set of 4 partbooks prepared starting before 1636, mostly a collection of vocal music for up to 6 parts. The set of 6 was bought by Edward Lowe in 1636 who, until 1682, copied instrumental music in the unused portions of each book. 2 of the partbooks are missing now.
Facsimile: Harvester Microform Collection, R10
Index: Viola da Gamba Society of Great Britain, Young-7
GB-Ob MS Mus Sch D.245-247, Merro partbooks
Date: late 1620s – early 1630s. A flyleaf annotation in Merro’s hand at back of D.245 refers to an event of 1633. The date 1673 on the frontispiece of each book was later added when, after Merro’s death, the collection passed to Oxford.
Copyist: John Merro (?-1639). The 25 pieces in a different hand at the very end of the manuscript, thought to have been added by John Withy (?-1685), are not for lyra viol but in staff notation. The name Mr. William Iles on the frontispiece of each book was later added, when the collection passed to Oxford.
Composers: Bosley (3 pieces), William Byrd (2 pieces), Colledge (2 pieces), John Coprario (3 pieces), William Corkine (1 piece), William Cranford (3 pieces), Crosby (1 piece), Cutinge (1 pieces), John Dowland (1 piece), Michael East (1 piece), Daniel Farrant (2 pieces), Alfonso Ferrabosco (31 pieces), Thomas Ford (15 pieces), Thomas Gregorie (20 pieces), Tobias Hume (14 pieces), Simon Ives (11 pieces), John Jenkins (6 pieces), Johnson (1 piece), William Lawes (3 pieces), John Maynard (2 pieces), Daniel Norcombe (3 pieces), Thomas Rede (2 pieces), Joseph Sherlie (10 pieces), Robert Taylor (3 pieces), John Withy (1 piece), Thomas Woodington (2 pieces), anonymous (99 pieces)
Content: circa 241-250 pieces in tablature. A few of these pieces are duplicated. Moreover, pieces for consort in staff notation.
Scoring: Pieces for solo lyra viol, for 2 lyra viols, for 3 lyra viols and for lyra viol with bass accompaniment
Tunings: defhf, defhh, edeff, edfhf, efhfh, fedfh, fefhf (Leero), fefhh, ffefh, ffeff, ffhfh (5te, Alfonso sett), fhfhf (8ts). 2 pieces are for “tenor violl” in tablature, ffeff tuning, with bass accompaniment in staff notation.
Ornaments and other symbols: Examples.
Facsimile: D.245; D.246; D.247; Harvester Microform Collection, R11
Index: Viola da Gamba Society of Great Britain
GB-Ob MS Mus Sch E.410-414
Date: Sept 7, 1660
Title: Richard Rhodes, Sept. 7, 1660
Composers: anonymous.
Content: 26 pieces for lyra viol consort, in part books
Scorings: 13 pieces for an ensemble of 2 unspecified treble instruments, lyra viol, lute and unspecified bass; 13 for an ensemble of 1 unspecified treble instruments, lyra viol, lute and unspecified bass.
Bibliography: Tim Crawford, An Unusual Consort Revealed in an Oxford Manuscript, Chelys 6, 1975-1976; Ila Stolztfus, The Lyra Viol in Consort With Other Instruments, dissertation, 1982
Facsimile: Harvester Microform Collection, R12
GB-Ob MS Mus Sch E.430, Francis Withye
Date: 1672/3
Title: Mr Sympson’s Little Consort. Prickt & given mee by Mr Francis Withye. 11 Jan : 1672/3
Composer: Christopher Simpson
Content: 26 numbered pieces which may be grouped into 4 suites according to their tuning and tonality
Scoring: unspecified treble instrument, lyra viol, unspecified bass instrument, basso continuo. Partbooks are labeled Treble, The Lyra Part, Basse, Bassus Continuus
Tunings: defhf, edfhf, fdefh, fedfh
Ornaments and other symbols: Examples. Occasional slurs, sometimes with articulations; occasional fingerings; a number 2 to denote a rhythmic motive that repeats.
Facsimile: Harvester Microform Collection, R13
Index: Viola da Gamba Society of Great Britain
GB-Ob MS Mus Sch F.572
Date: second half 17th century (conjecturally)
Composers: anonymous (6 pieces). A saraband by Charles Coleman, transmitted in other sources in tablature for lyra viol in edfhf tuning, appears here in staff notation (see VdGSGB, Coleman-13, n. 467).
Content and scoring: 6 pieces for solo lyra viol, on fol. 77-82.
Tunings: defhf, edfed
Ornaments and other symbols: single dot, two dots, four dots, //, #, slurs, inverted pause (examples on fol. 77-78).
Index: Viola da Gamba Society of Great Britain
GB-Ob MS Mus Sch F.573
Date: 1690 circa
Composers: All pieces are anonymous in this manuscript, but thanks to concordant versions names of Steffkens, Philip Hacquart, John Jenkins, Charles Coleman, Simon Ives have been identified.
Content: The manuscript contains no music for lyra viol, but transcriptions for treble (violin) of pieces for lyra viol. So far 19 pieces have been identified as transcriptions of lyra viol music; the remaining 55-60 pieces for treble are thought to also have their origins as lyra viol music. Moreover, the manuscript contains pieces for solo bass viol, for two bass viols, and for chamber ensembles.
Scoring: The pieces known to be originally for lyra viol are here transcribed for a solo treble instrument (probably violin, possibly in scordatura), notated in staff notation.
Facsimile: Harvester Microform Collection, R19
Indexes: Bodleian Library; Gordon Dodd in Chelys 9, article 4.
Bibliography: Peter Holman, Thomas Baltzar (?1631-1663): The Incomperable Luciber on the Violin, in Chelys 13
GB-Ob MS Mus Sch F.575, Mr. William Iles
Date: circa 1630 (conjecturally)
Former owner: William Iles
Composers: John Jenkins (7 pieces), Simon Ives (17 pieces), William Lawes (2 pieces), William Drew (6 pieces), George Hudson (9 pieces), Francis Collier (1 piece), John Lillie (10 pieces), William Gregorie (5 pieces), Edward Tanner (1 piece), John Esto (9 pieces), William Young (1 piece), anonymous (11 pieces)
Content and scoring: 79 pieces for lyra viol solo. Moreover, the manuscript contains 10 English lute songs, dated c1630, and keyboard music by Orlando Gibbons.
Tunings: defhf, dehff, edfhf, efffe, fdefh, ffefh, fhfhf
Ornaments and other symbols: Examples.
Facsimile edition: English Song 1600-1675, New York, Garland, 1986-9, vol 6
Index: Viola da Gamba Society of Great Britain
GB-Ob MS Mus Sch F.578
Date: mid 17th century (conjecturally)
Composers: John Jenkins (1 piece), Simon Ives (3 pieces), William Deutekom (1 piece), anonymous (13 pieces)
Content and scoring: 18 pieces for lyra viol solo.
Tunings: defhf, efdef, fdefh
Ornaments and other symbols: Examples.

Oxford, Christ Church Library (GB-Och)

GB-Och Mus. 87, Elizabeth Davenant
Date: 1624
Title: Elizabeth Davenant’s book, 1624
Composers: William Webb (1 piece), anonymous (2 pieces)
Content and scoring: 3 songs for voice and bass with simple viol chords, on fol. 7r, 9v, 10r (examples). The manuscript contains further 22 songs for voice and bass accompaniment.
Note: The instrumental part of this song is not in tablature, but its chords are typical for voice accompaniment on the lyra viol.
Facsimile edition: English Song 1600-1675, New York, Garland, 1986-9, vol 7
Index: Christ Church Library
GB-Och Mus. 439, Robert Taylor
Date: prior to 1620 (conjecturally). On p. 114 of the manuscript the date ‘1634’ has been added, but not obviously by a hand that copied any of the musical contents.
Composers: John Dowland (1 piece), Joseph Sherlie (4 pieces), Alfonso Ferrabosco (1 piece), anonymous (7 pieces). [Thomas Campion (1 piece in staff notation)].
Content and scoring: 12 pieces for lyra viol solo, 1 song for voice and lyra viol. 1 further song for voice and bass in staff notation with viol chords (example).
Tunings: defhf, fefhf, ffeff, ffhfh
Ornaments and other symbols: Examples.
Facsimile online: GB-Och (hosted by GB-Ob)
Facsimile edition: English Song 1600-1675, New York, Garland, 1986-9, vol 6. Facsimile: Harvester Microform Collection, R18
Index: Christ Church Library. Viola da Gamba Society of Great Britain.
GB-Och Mus. 531-532
Date: circa 1610-1625 (conjecturally)
Composers: Ferrabosco (6 pieces), Coprario (8 pieces), anonymous (17 pieces). All pieces are unattributed, they are identifiable via concordances, mostly through Ob D.245-7.
Content and scoring: 31 pieces for 3 lyra viol. Only 2 partbooks out of 3 are preserved; some of the pieces have been reconstructed by drawing on other concordant sources.
Tunings: fefhf, fefhh, fhfhf
Ornaments and other symbols: Examples.
Facsimile: Harvester Microform Collection, R22
Indexes: Christ Church Library
Bibliography and index: John Patrick Cunningham, Music for the privy chamber: studies in the consort music of William Lawes (1602-45), PhD thesis, University of Leeds, 2007 (inventory on pp. 138-139).
GB-Och Mus. 725-727
Date: prior to 1635 (conjecturally)
Composers: William Lawes (6 pieces), Robert Taylor (2 pieces), Simon Ives (10 pieces)
Content and scoring: 18 pieces for 3 lyra viols. 8 of these pieces are complete, while the 10 pieces by Ives have only 1 lyra viol part, 6 of these can be reconstructed from other sources.
Tunings: ffhfh (fifts [sic]), fhfhf (Eights)
Ornaments and other symbols: Examples.
Facsimile online: GB-Och (hosted by GB-Ob)
Facsimile: Harvester Microform Collection, R28
Modern edition: John Patrick Cunningham, Music for the privy chamber: studies in the consort music of William Lawes (1602-45), PhD thesis, University of Leeds, 2007, vol. 2.
Index: Christ Church Library.
Bibliography and indexes: John Patrick Cunningham, Music for the privy chamber: studies in the consort music of William Lawes (1602-45), PhD thesis, University of Leeds, 2007. John Cunningham, “Let Them Be Lusty, Smart-Speaking Viols”: William Lawes and the Lyra Viol, JVdGSA Vol. 43, 2006, pp. 32-68
GB-Och Mus. 1006-1009
Date: before 1664
Composer: John Jenkins
Content: 13 airs for lyra consort, in 4 partbooks (Mus. 1007: ‘1 Treble’, Mus. 1009: ‘2d Treble’, Mus. 1008: ‘Bassus’, Mus. 1006: treble part). The partbook for lyra viol is missing, but the instructions in the other partbooks refer to it explicitly. Moreover the manuscript contains instrumental works by Charles Coleman, John Carwarden, George Hudson, James Hinton, John Jenkins and Christopher Gibbons.
Scoring: 2 trebles, bass, lyra viol and harpsichord. The scoring is described explicitly in the partbook 1007: “Mr Jenkins For a base, two Trebles, lyra viol and Harpscord”.
Tunings: Conjecturally fdefh and fedfh, as the 13 airs are in D major and D minor.
Facsimile: Harvester Microform Collection, R35
Index: Christ Church Library. Thematic index (under Lyra Consorts by Jenkins, VdGS #124-136).
GB-Och Mus. 1014, Mr. Rogier
Date: early-mid 17th century (conjecturally)
Composer: Mr. Rogier (1 piece)
Content and scoring: 1 piece (Onse Vader in Hemelrÿjck) for solo lyra viol
Tuning: ffeff
Ornaments and other symbols: none.
Facsimile: Harvester Microform Collection, R36
Index: Christ Church Library

Ratby (Leicestershire, GB), Church Farm (no RISM siglum)

Leicestershire Record Office DE3502
Date: mid-late 17th century
Former owner: likely originally owned by the Bunney family, in Ratby; possibly used by Abraham Bunney.
Composer: anonymous
Content: 2 incomplete pieces (one Saraband and one without title). From the manuscript only a fragment of one page survives, with tablature on both sides.
Scoring: solo lyra viol
Tuning: defhf
Ornaments and other symbols: Examples
Facsimile: Both sides of the fragment are reproduced in Chelys 2002, p. 40.
Bibliography: Anne Graf and David Ramsey, A Seventeenth-Century Music Manuscript from Ratby, Leicestershire, Chelys 30 (2002), pp. 38-46.
Index: Viola da Gamba Society of Great Britain, numbers 7560 and 7561

St. Andrews, University Library (GB-SA)

GB-SA MS 38470/2
Date: mid-17th century (conjecturally)
Former owner: TB (initials embossed on the cover)
Composers: George Hudson (3 pieces), John Jenkins (2 pieces), Stephen Goodall (2 pieces), William Winge (5 pieces), Robert Johnson (1 piece), Dietrich Stöeffkens/William Drew/Stephen Goodall (1 piece), John Withy (1 piece), anonymous (12 pieces)
Content and scoring: 27 pieces for solo lyra viol.
Tunings: defhf, dfedf, edefh, edfhf, fdefh, fedef, ffeff
Ornaments and other symbols: Examples
Index: Viola da Gamba Society of Great Britain

Woking, Surrey History Centre (GB-WOhc)

GB-WOhc MS LM/1083/91/35 (olim GB-GUm), Loseley manuscript
Date: 1687-1688
Former owner: Thomas Gresham of Haslemere (?-1689)
Composers: Wilson (1 piece), Francis Forcer (2 pieces), John Moss (7 pieces), anonymous (17 pieces). None of the pieces are attributed in this manuscript, composers have been identified from concordances.
Content and scoring: 27 short tunes and two fragments for lyra viol solo, mostly grouped in pairs. Moreover, the volume contains on its reversed side pieces for keyboard.
Tunings: defhf, edfhf, fdefh, fedfh
Ornaments and other symbols: Examples
Notes: Formerly in the Guildford Muniment Room. The composer Wilson is not identical with the famous Dr. John Wilson.
Modern edition in staff notation: RMA, 2010, pp. 12-17 and 22.
Index: RMA, 2010, p. 11.
Bibliography: Andrew Woolley and John Cunningham, A Little-Known Source of Restoration Lyra-Viol and Keyboard Music: Surrey History Centre, Woking, LM/1083/91/35, RMA, 2010, pp. 1-22

formerly: Tunbridge Wells, Richard MacNutt private collection (GB-TWmacnutt)

Ms. without shelf mark, Prissylla Herbert
Date: 1655
Title: «Prissylla Herbert her book 1655»
Composer: anonymous
Content: 2 short pieces on fol. 45r and 45v; otherwise, the manuscript contains music for virginal.
Scoring: solo lyra viol
Tuning: defhf
Ornaments and other symbols: No ornament signs, only a few slurs
Modern edition: Joëlle Morton, IMSLP
Notes: The current whereabouts for the manuscript is unknown, but the lyra viol pieces have been copied by Frank Traficante.

Ireland

Dublin, Archbishop Marsh’s Library (IRL-DM)

IRL-DM Z3.4.13, Narcissus Marsh
Composers: Alfonso Ferrabosco, Thomas Gregorie, Simon Ives, Robert Johnson, John Ward, anonymous
Content: 51 pieces with lyra viol (vol. 3, folios 13r-32v)
Scoring: 31 pieces are seemingly for solo lyra viol; 20 pieces are known to be for lyra consorts (2 or 3 lyra viols) but are missing here their other part(s).
Tunings: fefhf, ffhfh, fhfhf
Ornaments and other symbols: Examples
Index: Lyra materials all indexed in John Cunningham, Lyra Viol Ecclesiastica, JVdGS vol. 3
Notes: This is a substantial manuscript in 8 volumes which contains mostly English consort music from early 17th century.
IRL-DM Z3.5.13, Narcissus Marsh
Date: 1666
Composers: Burroughs, John Esto, Goodall, George Hudson, Simon Ives, John Jenkins , William Lawes, John Lilly, Thomas Mace, Dietrich Stöeffkens , Robert Taylor, anonymous
Content and scoring: 61 pieces for solo lyra viol
Tunings: defhf (‘Harp sharp’), edfhf (‘Harp flat’), fdefh (‘High Harp-sharp’)
Ornaments and other symbols: Examples
Facsimile edition: Boethius Press, 1978
Facsimile online: Newtunings
Index: Viola da Gamba Society of Great Britain

Dublin, Trinity College Library (IRL-Dtc)

IRL-Dtc 408/1, (formerly D.1.21) William Ballet
Date: first decades of XVII century
Title: «William ballet his book wittns william vines»
Composers (mostly inferred from concordances): Jeremy Chamberlaine, John Dowland, Daniel Farrant, Alfonso Ferrabosco, Thomas Ford, Gervise Gerrarde, Tobias Hume, Thomas Paye, Richard Pickeringe, Joseph Sherlie, Sylvanus Stirrop, Robert Tayler, anonymous
Content: 69 pieces with lyra viol, besides pieces for lute.
Scoring: 66 pieces for solo lyra viol, 1 duet for 2 lyra viols (missing second part), 2 pieces for voice and lyra viol
Tunings: efhfh, fefhf, ffeff, ffhfh, fhfcf, fhfhf, hfhfh, efhfh
Ornaments and other symbols: Examples. Playing instruction: «For the Back of ye bow» (p. 68)
Facsimile online: IRL-Dtc
Index: Viola da Gamba Society of Great Britain

Norway

Oslo, Universitetsbibliotak, Norsk Musikksamling (N-Ou)

N-Ou ms 294 a/b, Peter Bang notebook
Date: 1679 (?). This date is inscribed on the cover, but according to Goy watermarks suggest a date in 18th century.
Composers: Simon Ives (1 piece), Lully (2 pieces), Playford (1 piece), anonymous (20 pieces)
Content and scoring: 24 pieces for solo lyra viol. The pieces for lyra viol are all found in 294a, pp. 1-34. 294b contains only music in staff notation.
Tunings: defhf, edfhf, fdefh
Ornaments and other symbols: see Goy, Chelys 1994, pp. 70-71.
Facsimile online: Newtunings
Index: Goy, Chelys 1994, pp. 65-69.
Bibliography: François-Pierre Goy, The Norwegian Viol Tablatures, Chelys 1994 (vol. 23), pp. 55-72.

Trondheim, Universitetsbiblioteket i Trondheim (N-Tu)

N-Tu XA HA Mus. 1:1
Date: circa 1716-1720
Title: N° 1, Nodebog til Viola da Gamba
Composers: Johann Schenck, August Kühnel
Content: 3 complete sonatas and parts of 2 sonatinas by August Kühnel (all from Sonate ô partite, 1698); 11 pieces by Johann Schenck (2 from Nymphe di Rheno, s. d.; 9 unpublished). For details on concordances see Violanet index.
Scoring: Single partbook of music for 2 viols in tablature, or for 2 viols in tablature and bc.
Tuning: ffeff
Ornaments and other symbols: Examples.
Note: In the printed sources the pieces are notated in staff notation.
Facsimile online: N-Tu
Index: Violanet
Bibliography: François-Pierre Goy, The Norwegian Viol Tablatures, Chelys 1994 (vol. 23), pp. 55-72.
N-Tu XA HA Mus.1:2
Date: 28 September 1716
Titles: Primo Autor Johan Schench | Secondo Autor Johann Schench
Composers: Johann Schenck, anonymous
Content: 12 movements from Johann Schenck, Nymphe di Rheno, and 9 unpublished movements.
Scoring: 2 viols in tablature, in 2 partbooks.
Tuning: ffeff
Ornaments and other symbols: Examples.
Note: In the printed source the pieces are notated in staff notation.
Facsimile online: N-Tu
Index: Violanet
Bibliography: F.P. Goy, The Norwegian Viol Tablatures, Chelys 1994 (vol. 23), pp. 55-72.

Russia

St. Petersburg Academy of Sciences (RUS-SPan)

RUS-SPan O No 124, Swan Lute manuscript
Date: ca. 1630-1655
Composer: anonymous
Content: 2 pieces Auf der Viol, fol. 84-85. The manuscript contains mostly tablatures for lute, keyboard instrument and baryton.
Scoring: solo viol in tablature
Tuning: efdef
Ornaments and other symbols: No slurs, no holds, no ornament signs
Facsimile edition: Editions Orphée, 1994
Facsimile online (pages with viol music only): Violanet
Index: Viola da Gamba Society of Great Britain

Sweden

Kalmar, Kalmarläns Museum (S-Kl)

S-Kl MS 21.068, Ståhlhammar
Date: post 1697 (based on an advertisement inside the front cover by Maingueneau of Paris, 1697)
First owner: Otto Fredrik Stälhammer (1695-1753)
Composers: Simon Ives (2 pieces), Monsr. Kinele (possibly August Kühnel) (2 pieces), anonymous (40 pieces)
Content and scoring: 43 pieces for solo viol in tablature, 1 piece for viol in tablature and bass. Moreover, the manuscript contains pieces for theorbo, on the first 30 pages of the book.
Tunings: fedef, ffeff, efdef, edefh, defhf, fdefh
Ornaments and other symbols: Examples
Facsimile online: S-Kl
Index: Viola da Gamba Society of Great Britain

Lund, Universitetsbiblioteket (S-L)

S-L MS Wenster G. 28
Date: 1704
Former owner: Christian Wenster Senior (c1681-1727) and Junior (1704-1779)
Composers: Lully (5 pieces), Simon Ives (1 piece), D. Holst (12 pieces), Gaultier (1 piece), Purcell (2 pieces), Dubut (2 pieces), Mons Jean Sibiger (1 piece), Verdier (1 piece), Dietrich Stöeffkens (1 piece) John Lillie (1 piece), anonymous (100 pieces)
Content: 127 pieces. Some of the anonymous pieces are chorales with German or Swedish titles. In addition to the many pieces in tablature, this manuscript also has music in staff notation (treble clef), interspersed.
Scoring: solo lyra viol
Tunings: defhf, edfhf, efdef, fdefh, fedef, fedfh, ffeff
Ornaments and other symbols: Examples
Index: Viola da Gamba Society of Great Britain
S-L MS Wenster G. 35
Former owner: Christian Wenster Senior (c1681-1727) and Junior (1704-1779)
Composers: Simon Ives (1 piece), anonymous (10 pieces)
Content: 11 pieces. 4 of the anonymous pieces are chorales with German or Swedish titles.
Scoring: solo lyra viol
Tunings: defhf, edfhf, fdefh
Ornaments and other symbols: Examples
Index: Viola da Gamba Society of Great Britain

Norrköpings, State Library (S-N)

S-N Finspång 9096.3
Date: 1638
Composers: Thomas Gregorie, anonymous
Content: 4 pieces in tablature without name of author, one of which is attributed to Gregorie thanks to concordances in other manuscripts. Moreover, the manuscript contains an ascending and descending scale in tablature with fingerings.
Scoring: solo lyra viol
Tunings: ffeff, fhfhf
Ornaments and other symbols: Examples
Notes: The volume is housed at Finspång Castle.
Index: Viola da Gamba Society of Great Britain

Stockholm, Musik och teaterbiblioteket (S-SKma)

S-SKma ms Tabulatur 3
Date: late 17th century
Composers: August Verdufen (here spelled Augs. Verduwen and A.J.W., 9 pieces), Gaultier (3 pieces), Dubut (1 piece), Verdier (1 piece), G. Düben (5 pieces), Lully (5 pieces), Simon Ives (1 piece), M. Sp. (4 pieces), C. B. (4 pieces), anonymous (47 pieces)
Content and scoring: 80 pieces for solo lyra viol: dances, French airs, German chorales with titles translated into Swedish, Polish dances.
Tunings: dedfh, defde, defhf, dehfh, dfedf, edfed, edfhf, efdef, efffe, fedef, fedfh, ffeff
Ornaments and other symbols: Examples
Notes: Formerly held at Kungliga Musikaliska akademiens biblioteket.
Index: Viola da Gamba Society of Great Britain

Uppsala, Universitetsbiblioteket (S-Uu)

S-Uu Inst. mus. hs 4:3
Date: circa 1640s
Composer: George Hudson
Content: 6 numbered pieces in G minor by George Hudson: 1. Paven-Alman, 2. Alman, 3. Corrant, 4. Corrant, 5. Saraband, 6. Saraband.
Scoring: Lyra viol consort (lyra viol, violin and theorbo), in part books. A further keyboard part seems to have been added later, circa 1650-1660s; written in German tablature, it yields a score of the violin and theorbo parts for all six pieces.
Tuning of the lyra viol: edfhf
Ornaments and other symbols: very few slurs, no holds, no other ornaments.
Facsimile online: S-Uu
Bibliography with index and modern edition: Ila Stoltzfus, The Lyra Viol in Consort with Other Instruments, Ph.D dissertation, Louisiana State University, 1975 (index on p. 182).
Index: Viola da Gamba Society of Great Britain, p. Hudson-1.
S-Uu Inst. mus. hs 4:3a (1 and 2)
Date: circa 1660s-1670s
Title of part 1: a Violino et Viodigaba di basso Continuo
Title of part 2: a 2 Ver stimbt Violino et Viodigamb de Basso.
Composers: George Hudson (3 pieces), anonymous (3 pieces)
Content: 6 pieces for viol in tablature and violin. The first part (4:3a 1) contains the pieces n° 1, 3 and 5 by Hudson in 4:3, copied in a different hand and lacking the theorbo part. The second part (4:3a 2) contains 3 anonymous pieces, supposedly for violin in scordatura and viol; but the parts of violin and viol do not seem to match and one piece is lacking its violin part.
Tunings: edfhf, efdef
Ornaments and other symbols: none.
Facsimile online: S-Uu
Bibliography: Ila Stoltzfus, The Lyra Viol in Consort with Other Instruments, Ph.D dissertation, Louisiana State University, 1975.
Index of the 3 pieces by Hudson: Viola da Gamba Society of Great Britain, p. Hudson-1.

USA

Cambridge, Harvard University Music Library (US-CA)

US-CA MS Mus. 70
Date: 1630’s (conjecturally)
Former owner: Robert Trollap of Yorke and Newcastle
Composers: William Lawes (18 pieces, autograph), anonymous (8 pieces)
Content: 26 pieces, all in tablature.
Scoring: 3 lyra viols. Only one part is preserved.
Tunings: defhf, fedfh, fhfhf
Ornaments and other symbols: Examples
Notes: The manuscript is lacking 2 of 3 partbooks, but some of the pieces have been reconstructed by drawing on concordant sources (see bibliography).
Facsimile online: US-CA
Bibliography and index: John Cunningham, “Let Them Be Lusty, Smart-Speaking Viols”: William Lawes and the Lyra Viol, JVdGSA Vol. 43, 2006, pp. 32-68: 47-52.

Los Angeles, University of California

US-LAuc MS M286 M4L992, Mansell
Date: ca. 1635
Composers: John Jenkins (3 pieces), Charles Coleman (3 pieces), Gaultier (1 piece), Dufaut (1 piece), William Young (1 piece), Tobias Hume (1 piece), Ferrabosco (2 pieces), Thomas Gregorie (6 pieces), Simon Ives (2 pieces), Robert Taylor (2 pieces), anonymous (38 pieces).
Content and scoring: circa 60 pieces for solo lyra viol. Moreover, the manuscript contains a few pieces for lute.
Tunings: defhf, ededf, edfhf, fefhf, ffeff, ffhfh, fhfhf
Ornaments and other symbols: Examples in music. Chart with names and signs.
Facsimile online: US-LAuc
Index: Viola da Gamba Society of Great Britain
Bibliography: Frank Traficante. The Mansell Lra Viol Tablature. University of Pittsburgh, Ph. D., 1965

New Haven, Yale University, School of Music (US-NH)

US-NH Misc. 170, Filmer Ms. 3
Date: 1639 (May 9th, 1639)
Former owner: Filmer family of East Sutton, Kent
Composers: Simon Ives (3 pieces), anonymous (1 piece)
Content and scoring: 3 pieces for lyra viol solo, 1 piece for lyra viol and bass. The manuscript contains mostly airs and ballads of English composers, in 3 partbooks. The pieces in tablature are found in the bass partbook (ms. 3c).
Tuning: defhf (with top string tuned to c)
Ornaments and other symbols: Examples. The pieces are ornamented with particular richness.
Index: Violanet

New Haven, Yale University, Beinecke Library (US-NHb)

US-NHb Osborn Music MS 515
Date: ca. 1675-1680
Composer: John Jenkins
Content and scoring: 14 untitled pieces for unspecified treble instrument, 2 lyra viols and bass, as described in the header, fol. 43v: “Base, to a treble & 2 lyra’s. 14. Joh. Jenkin’s”. The manuscript is incomplete, only the bass part (in staff notation) survives.
Facsimile online: https://collections.library.yale.edu/catalog/2007125
Bibliography and index: Robert Ford, Osborn MS 515, A Guardbook of Restoration Instrumental Music, “Fontes Artis Musicae”, Vol. 30, No. 4 (Oktober-Dezember 1983), pp. 174-184

New York, Public Library (US-NYpl)

US-NYpl Drexel 4175, Anne Twice
Date: 1620’s (conjecturally)
Titles: Ann Twice her booke | Songs unto the viol and lute
Composers: John Wilson (2 pieces), Robert Johnson (1 piece), anonymous (1 piece)
Content and scoring: 4 songs for voice and lyra viol. Moreover the volume contains 25 lute songs. Its table of contents lists 58 pieces, so the volume in its current state lacks half the pieces.
Tuning: ffeff, viol in D.
Ornaments and other symbols: none.
Bibliography and facsimile edition: English Song 1600-1675. Facsimiles of Twenty-Six Manuscripts and an Edition of the Texts, Volume 11. Edited by Elise Bickford Jorgens. New York, Garland, 1986-9.

San Marino, Huntington Library (US-SM)

US-SM Ellesmere EL 25/A/46
Date: ca. mid-17th century
First owner: John Egerton, second earl of Bridgewater (1623-1688)
Composers: Jenkins (1 piece), anonymous (6 or 8 pieces)
Content: 7 or 9 pieces (depending on whether music on pp. 1-4 is counted as one long, multisectional piece or as three separate pieces). The complete set of 6 partbooks (EL 25/A/46-51) contains English and Italian polyphonic music; the pieces for lyra viol are all found in the Canto partbook (EL 25/A/46, fol. 1r-5r, 36v-37r).
Scoring: solo lyra viol
Tunings: defhf, fhfhf
Ornaments and other symbols: Examples
Bibliography and index: Richard Charteris, The Huntington Library Part Books, Ellesmere MSS EL 25 A 46-51, Huntington Library Quarterly, Vol. 50, No. 1 (Winter 1987), pp. 59-84. https://www.jstor.org/stable/3817348

Washington, Library of Congress (US-Wc)

US-Wc M2.1.T2 (17C) Case
Date: 1666. The manuscript is dated “le premier Jour De Septembre 1666”.
Composer: Dubuisson [Du Buisson] (3 pieces)
Content and scoring: 3 pieces for viol in tablature. Moreover, the volume contains 21 pieces in staff notation for ‘Viola da Gamba’, 6 dance pieces for an unspecified treble instrument, and 25 ‘signals’ for hunting horn.
Tuning: ffeff
Ornaments and other symbols: Examples
Facsimile editions: Minkoff, 1998.
Indexes: In the preface by Stuart Cheney to Minkoff edition. Viola da Gamba Society of Great Britain

Companion materials

13 sources, in systematical order:

• Companion partbooks (partbooks in staff notation which are companion to lyra viol music)
• Later copies of tablature manuscripts or prints (copies from 19th and 20th century)
• Staff transcriptions of earlier tablature manuscripts or prints
• Other

Companion partbooks

GB-Cf Ms 645
Date: 1660s (conjecturally)
Composers: John Jenkins
Content: Bass part, in staff notation, to 9 lyra ensemble pieces by John Jenkins at GB-Ob C.88 (see there). Moreover the manuscript contains pieces and exercises by Christopher Simpson and anonymous.
Tunings: none.
Ornaments and other symbols: none.
GB-Ob MS Mus Sch E.451
Dates: copied between 1636-1682
Copyist: Edward Lowe
Composer: William Young (11 pieces)
Content: Bass part in staff notation of GB-Ob ms Mus Sch D.233 and D.236 (see).
Index: Viola da Gamba Society of Great Britain, Young-7
GB-Och Mus. 1005
Date: copied circa 1644-1645
Former owner: Sir Nicholas Le Strange (1603-1655)
Composer: John Jenkins (autograph)
Content: The manuscript contains 122 two-part and 84 three-part airs by John Jenkins; 7 of the three-part airs are known to be for lyra consort thanks to the companion manuscript, US-Cn Case MS-VM 1.A18 J52c Newberry, where these airs are found at no. 16-19, 24-27.
Scoring: 2 trebles and bass, in staff notation. In the Newberry manuscript only 2 partbooks (treble and bass) are extant, but a note by Nicholas Le Strange indicates that 7 airs are conceived for lyra consort (assumed to be composed by treble, bass, harpsichord and lyra viol); he does not copy the lyra viol part which he feels to be unnecessary as it duplicates the other parts.
Tunings: Conjecturally fdefh and fedfh, as the 7 pieces are in D major and D minor.
Facsimile: Harvester Microform Collection, R35
Index of the manuscript: Viola da Gamba Society of Great Britain, Christ Church Library. Thematic index (under Jenkins, Lyra Consorts in D major #19-21, in D minor #24-27).
GB-Och Mus. 1021
Date: 1672-1673
Composer: Christopher Simpson
Content and scoring: Bass part, in staff notation, for Christopher Simpson, Little Consort (see GB-Ob MS Mus Sch E.430)
Facsimile: Harvester Microform Collection, R36
Index: Christ Church Library
Bibliography: Ila Stoltzfus, Christopher Simpson’s “Little Consort”, JVdGSA, 21 (1984), pp. 53-63
US-Cn Case MS-VM 1.A18 J52c
Composer: John Jenkins
Former owner: Sir Nicholas Le Strange (1603-1655)
Date: 1644-1645
Content: 7 pieces conceived for lyra consort
Scoring: The manuscript consists of only 2 partbooks (treble and bass part, in staff notation); no tablature parts for lyra viol are extant, neither in this source, nor in its companion manuscript GB-Och mus. 1005 which contains 3 partbooks with the same pieces (2 treble and 1 bass part, in staff notation). A fly-leaf note explains: “The Lyra pt. For those Pag: 16.18.19.24.25.26.27. is forced, and was only made for filling the Musicke at a private Meeting, for they were originally composd for 1 Ba: 2 TR: and are compleate without the Lyra pt”. So these 7 pieces they were originally set for a lyra consort (assumed to be treble, bass, harpsichord and lyra viol), but the lyra viol part has not been copied.
Tunings: Conjecturally fdefh and fedfh, as the 7 pieces are in D major and D minor.
Index: Viola da Gamba Society of Great Britain

Later tablature copies of manuscripts or prints

GB-En Advocates Ms 5.2.19
Date: 1843-1844
Copy of BG-NTu Bell-White 46 Leyden
Title: «Copy of the Tunes in Tablature in Doctor John Leyden’s Manuscript Lyra-Viol Book»
Copyist: George Farquhar Graham
Composers: all anonymous
Content: 83 short tunes. The copy contains only the portion for lyra viol of original Leyden manuscript.
Scoring: solo lyra viol
Tunings: defhf, edfhf
Ornaments and other symbols: Examples. In the instructions, it is explained that the three dots represent thumps.
Index: JVDGS, vol. 2-1, 2008-2009, pp. 35-52
GB-Lbl Add. 39555
Notes: 20th century transcription of Hengrave Hall 77 (1), made by Florence “Chrystabel” G. Attenborough.
For composers, contents and tunings see the original manuscript GB-Cu Hengrave Hall 77 (1).
GB-Lbl Add. 39556
Date: 1913
Copy of GB-Mp BRm/832 Vu51 Manchester lyra viol book.
Scribe: Thomas Lea Southgate
For composers, contents and tunings see the original manuscript GB-Mp BRm/832 Vu51.
Notes: Being an exact copy of GB-Mp BRm/832 Vu51, with text, tablature and page numbers faithfully duplicated, it is particularly useful for completing some of the left margin text that is cut off in the microfilm produced by the library. It also clarifies which pages in the original manuscript were left blank.
US-Wc M140.F675 (Case)
Copy of the first Blaikie manuscript (dated 1683)
Copyist and first owner: Alfred Moffat (1863-1950)
Composers: Thomas Campion (1 piece), anonymous (39 pieces)
Content and scoring: 40 short Scottish tunes for solo lyra viol.
Tunings: defhf (“Harp Sharp”), edfhf (“Harp flat”), fdefh (“High Harp sharp”)
Ornaments and other symbols: Example
Notes: The first Blaikie manuscript (dated 1683, once owned by Lady Katherine Boyd, daughter of William, first Earl of Kilmarnock) is no longer extant. This version is a copy of several surviving copies of copies, referring to one by Andrew John Wighton (GB-DU Mus 10445, see above) done circa 1866.
Index of the manuscript GB-DU Mus 10445: Viola da Gamba Society of Great Britain

Staff Transcriptions of earlier manuscripts or prints

GB- DRc Ms Mus A 27, Philip Falle
Date: ca. 1722-39 (years when the ms. was compiled or completed)
Copyist: Philip Falle
Composer: Christopher Simpson, Thomas Mace
Content: 4 pieces of this manuscript, here in staff notation, are copied from pieces for lyra viol: on pp. 107-108, 3 pieces transcribed from Christopher Simpson, A compendium of Practical Musick, 1678; on pp. 80-81, 1 piece transcribed from Thomas Mace, Musick’s Monument, 1676. The rest of the very sizable manuscript is bass viol music, in staff notation.
Original descriptions of sources: «Transposed from Tablature – Simpson’s Pract. Comp. Apparuit p. 172», «Transposed from Tablature – ibid. p. 174», «Transposed from Tablature – ibid. p. 176», «Mace Musick’s Monument pag 253».
Scoring: Solo lyra viol, without the bass part extant in the Compendium.
Ornaments and other symbols: No ornament signs. Lacks a few slurs from Simpson’s 1678 original; lacks the many holds in Mace’s 1676 original.
Index: Viola da Gamba Society of Great Britain
GB-Lbl Add. 38783
Date: 1913
20th century transcription of GB-Mp BRm/832 Vu51 Manchester lyra viol book: transcription in staff notation and arrangements of some pieces for chamber ensemble.
Scribe: Thomas Lea Southgate
For composers, contents and tunings see the original manuscript GB-Mp BRm/832 Vu51.
Notes: Contains information concerning the origins of the original manuscript. For some materials relating to Southgate’s transcription see GB-Lbl Add. 50781.
GB-Lcm C41/2 (formerly GB-Lcm II.F.10)
Date: after 1671
Former owners: Thomas Jones, Mr Cutts (names on flyleaves)
Composer: John Moss
Content and scoring: 8 pieces for solo viol in staff notation. These pieces match the first 8 pieces for bass viol and bass accompaniment in John Moss, Lessons for the Basse-Viol, London, 1671 (see), where the bass viol part is written in tablature. In the manuscript C41/2 the bass accompaniments are missing. Moreover, the manuscript contains instrumental and vocal music from 16th, 17th and early 18th century, divisions for bass and for treble, and Italian arias.
Tuning: In Moss’s edition the tuning is ffeff.
Ornaments and other symbols: none. At the very beginning of the manuscript portion of this volume appears a page entitled “Rules for Gracing”.
Facsimile online: Internet Archive
Notes: Manuscript bound at the back of a copy of Christopher Simpson, The Division-Violist, London, 1659 (catalogued as C41/1).
Index: Viola da Gamba Society of Great Britain. Thematic index: Viola da Gamba Society of Great Britain, Moss-1.

Other

GB-Lbl Add. 50781
Date: various, but mostly 1914
Scribe: Thomas Lea Southgate
Content: No music, but 20th century notes and materials referring to Add. 38783

created May 2022
last update January 2024