1 Sed nunc audiamus rarum miraculum, Regem ipsum cum suis Cantoribus intonantem. Verba erant linguæ Romanæ, illius mutilæ, qua nunc, derelicta uetere Gallorum lingua Gallia balbutit uerius quam loquitur. Sed liberum esto cuique quod notulis uolet subscribere.Google Scholar

Freely translated: “But next we witnessed a strange phenomenon—the King himself singing with his choristers. The text was Latin; which, as it was not in the well known French language, the King stammered rather than pronounced. But let him be at liberty to supply what text he would to the music.”Google Scholar

2 This differs from the conductus, which was written in score.Google Scholar

3 It is only fair to add that the treatise ran into many editions sixty years after the author's death.Google Scholar

“The Queen having a mind one afternoon to be entertained with music, sent to Mr. Gosling, then one of the Chapel, and afterwards Sub-Dean of St. Paul's, to Henry Purcell, and Arabelle Hunt, who had a fine voioe and an admirable hand on the lute, with a request to attend her; they obeyed her commands; Mr. Gosling and Mrs. Hunt sang several compositions of Purcell, who accompanied them on the Harpsichord; at length the Queen beginning to grow tired, asked Mrs. Hunt if she could not sing the old Scots ballad, Cold and Raw, Mrs. Hunt answered Yes, and sang it to her lute. Purcell was all the while sitting at the harpsichord unemployed and not a little nettled at the Queen's preference of a vulgar ballad to his music; but seeing Her Majesty delighted with the tune, he determined that she should hear it upon another occasion, and accordingly in the next birthday song, viz., that for the year 1692, he composed an air to the words “May her bright example” the bass thereof is the tune to Cold and Raw,” (Sir John Hawkins). The work was performed on the Queen's birthday, April 30th, 1692—William was in Holland at the time.Google Scholar

5 Monteverde. Moresca.Google Scholar

Repeats four times: G major, C major, A minor,Google Scholar

D minor, each ending in major chord.Google Scholar

Note his Sonata à 10 which achieves great consistency by the use of a soprano ostinato, which repeats a short phrase “Sancta Maria I Ora pro Nobis” many times throughout the work.Google Scholar

6 From Volume V of D. F. Tovey's Essays in Musical Analysis; published by the Oxford University Press.Google Scholar