Item 4 (Verse, Musical score, Song), fol. 2r

Foot Pad's Song

Oh the brave Jolly Gipsy who often is tipsy

...

Tis Juggled away by Night or by day

This is to be sung to another stanza

[This only contains the words to the first stanza of two. The page is ruled in 5 sets of staves with music.]

[From Act 2 of William Cavendish's "The Triumphant Widow", performed at London in 1674 and published in 1677.]

Item 5 (Verse, Musical score, Song), fol. 2v

A Cooks Song - in the 2nd Act.

Fie, Fie, this Love keeps such a Coil, so high it does boil

...

my Loving Pot can hold no more, but doth run o'er.

This is to be sung to another stanza.

[This only contains the words to the first stanza of three. The page is ruled in 5 sets of staves with music.]

[From Act 2 of William Cavendish's "The Triumphant Widow", performed at London in 1674 and published in 1677.]

[Another had has added "In the Duke off new Castles play" at the top, below the title rubric.]

[The following page, fol. 3r, is blank, but ruled with 5 sets of staves as the other folios.]

Item 6 (Verse, Musical score, Song), fol. 3v

In Albumazar

Flow streams of liquid salt from my sad Eyes

...

drowned with my Tears as he with waves, I die.

[The page is ruled in 5 sets of staves with music.]

[From Thomas Tomkis's drama "In Albumazar", originally performed in 1615 and revived in 1668.]

Item 4 (Musical score), fols. 1v-2r

Chaconne

[Untitled in manuscript. Identified by Gustafson (#52) and attributed by him to Hand G]

Item 5 (Musical score), fols. 2v-3r

Le Rigaudon

Air from Acis et Galathée 1686

[Untitled in manuscript. Identified by Gustafson (#53), and attributed by him to Hand G]

Item 6 (Musical score), fols. 3v-4r

Prelude

[Attributed by Gustafson (#54) to Hand G]

Item 7 (Musical score), fol. 4v

Courante

[Attributed by Gustafson (#55) to Hand G]

Item 8 (Musical score), fol. 5r

Double

[Attributed by Gustafson (#55a) to Hand G]

Item 9 (Musical score), fol. 5v

Sarabande

[ Attributed by Gustafson (#56) to Hand G]

Item 10 (Musical score), fol. 6r

Double

[Attributed by Gustafson (#56a) to Hand G]

Item 11 (Musical score), fol. 6v

Menuet

[Lebègue, Nicolas, born c. 1631, died 1702, French composer, organist and harpsichordist, from 1678 organiste du roi. His works for keyboard were very popular and widely disseminated in the late seventeenth century.]

[Identified by Gustafson (#57), and attributed by him to Hand G]

Item 12 (Musical score), fol. 7r

[blank staves]

Item 13 (Musical score), fols. 7v-8r

Courante Chambonnière

Courante Iris

[Chambonières, Jacques Champion, Sieur du, born 1601/2, died 1672, French composer and harpsichordist. Founder of the French classical school of harpsichord playing and composition]

[Includes Reprise. Identified by Gustafson (#58) and attributed by him to Hand G]

Item 14 (Musical score), fol. 9rv

Double

[Includes Reprise. Attributed by Gustafson (#58a) to Hand G]

Item 15 (Musical score), fols. 9v-10v

Deuxieme Courante

Courante

[Includes Reprise. Identified by Gustafson (#59) and attributed by him to Hand G]

Item 16 (Musical score), fol. 10v-11r

Double

[Includes Reprise. Attributed by Gustafson (#59a) to Hand G]

Item 17 (Musical score), fol. 11v

[blank staves]

Item 18 (Musical score), fol. 12r

Une Ombre fortunee Air

Jusques dans le sombre sejour

...

Quand nous perdons celui du jour

[Music score with lyrics. Attributed by Gustafson (#60) to Hand I]

Item 19 (Musical score), fols. 12v-15r

Petite Offertoire

[Attributed by Gustafson (#61) to Hands A and J]

Item 21 (Musical score), fols. 16v-17r

untitled music score

[Music score with lyrics. Scored for violin accompaniment. Attributed by Gustafson (#63) to Hand I]

Aime, Soupire avec constance

...

Que le desespoir des Amants

Item 22 (Musical score), fols. 17v-18r

Un Plaisir

Que de fleurs sur les bords vont paraitre

...

Tout rit, tout reconnait la mere de l'Amour. Les Zemour

[Music score with lyrics. Attributed by Gustafson (#64) to Hand I.]

Item 23 (Musical score), fols. 18r-21r

Passacaille

[Instruction "turn over quickly" on fols. 19r and 20r. Attributed by Gustafson (#65) to Hand I.]

Item 24 (Musical score), fols. 21v-21r

Une des Graces

A l'Amour tout doit rendre les armes

...

N'a point a pretendue de doux moments

[Music score with lyrics. Attributed by Gustafson (#66) to Hand I.]

Item 25 (Musical score), fols. 22v-23r

Venus

Aimable vanqueur, Cher Tyrant d'un coeur

...

Tout porte tes fers

[Music score with lyrics. Attributed by Gustafson (#67) to Hand I.]

Item 26 (Musical score), fols. 23v-24r

Air des vents

[Attributed by Gustafson (#68) to Hand I.]

Item 27 (Musical score), fol. 24v

Un Plaisir

Avec le Jeux, Les Rits et la Jeunesse

...

une douceur qu'elle derobe aux Dieux

[Attributed by Gustafson (#69) to Hand I.]

Item 28 (Musical score), fols. 25r-33v

[blank staves]

Item 29 (Musical score), fols. 34r-35v

Mr Purcell's Ground

[Attributed by Gustafson (#70) to Hand K. Identified by Charteris as probably unique to this manuscript.]

Item 30 (Musical score), fol. 36r-v + xii + fols. 66r-67v rev

[blank staves]

[middle xii folios unnumbered by the library cataloguer. From this item onwards the manuscript has been reversed, and has been written in from the other end. There is no conclusive internal evidence as to which section was transcribed first. The manuscript items in this description continue from the opposite cover inwards.]

Item 33 (Musical score), fol. 1r rev

Air de Trompettes, from Proserpine1680

[Untitled in manuscript. Identified by Gustafson (#1), and attributed by him to Hand A]

Item 34 (Musical score), fols. 1v-2r rev

Prelude en C sol ut fa

[Identified by Gustafson (#2), and attributed by him to Hand A]

Item 35 (Musical score), fols. 2v-3r rev rev

Courante

[Includes Reprise. Identified by Gustafson (#3), and attributed by him to Hand A]

Item 36 (Musical score), fols. 3v-4r rev

Chaconne

[Identified by Gustafson (#4), and attributed by him to Hand A]

Item 37 (Musical score), fol. 4v rev

Bourée

[Identified by Gustafson (#5), and attributed by him to Hand A]

Item 38 (Musical score), fol. 5r rev

Double

[Identified by Gustafson (#5A), and attributed by him to Hand A]

Item 39 (Musical score), fols. 5v-6r rev

Gigue

[Identified by Gustafson (#6), and attributed by him to Hand A]

Item 40 (Musical score), fol. 6v rev

Menuet

[Attributed by Gustafson (#7) to Hand A]

Item 41 (Musical score), fol. 7r rev

Rigaudon

[Attributed by Gustafson (#8) to Hand A]

Item 42 (Musical score), fols. 7v-8r rev

Prelude En a mi la re

[Identified by Gustafson (#9), and attributed by him to Hand A]

Item 43 (Musical score), fols. 8v-9r rev

Allemande

[Includes Reprise. Identified by Gustafson (#10), and attributed by him to Hand A]

Item 44 (Musical score), fols. 9v-10r rev

Courante

[Identified by Gustafson (#11), and attributed by him to Hand A]

Item 45 (Musical score), fols. 10v-11r rev

Sarabande grave

[Includes Reprise. Identified by Gustafson (#12), and attributed by him to Hand A]

Item 46 (Musical score), fol. 11v-12r rev

Double de le Gigue en C sol-ut

[Includes Reprise. Identified by Gustafson (#13), and attributed by him to Hand A]

Item 48 (Musical score), fols. 13v-15r rev

Chaconne

[Attributed by Gustafson (#15) to Hand A]

Item 50 (Musical score), fols. 16v-17r rev

Gigue

[Includes Reprise. Identified by Gustafson (#17), and attributed by him to Hand A]

Item 51 (Musical score), fols. 17v-24r rev

Variations on Folies d'Espagne

[Untitled in manuscript. In 20 numbered parts. Identified by Gustafson (#18), and attributed by him to Hand A]

Item 52 (Musical score), fols. 24v-25r rev

Air

La Marieé, from Roland 1685

[Identified by Gustafson (#19), and attributed by him to Hand A]

Item 53 (Musical score), fol. 25v-26r rev

Gigue d'angleterre fort vite

[Identified by Gustafson (#20), and attributed by him to Hand A]

Item 54 (Musical score), fol. 26v rev

Bourée

[Includes Reprise. Identified by Gustafson (#21), and attributed by him to Hand A]

Item 55 (Musical score), fol. 27r rev

Double

[Identified by Gustafson (#21a), and attributed by him to Hand A]

Item 56 (Musical score), fols. 27r-28r rev

Allemande

[Identified by Gustafson (#22), and attributed by him to Hand A]

Item 57 (Musical score), fols. 28v-29r rev

Courante En D#

[Includes Reprise. Identified by Gustafson (#23), and attributed by him to Hand A]

Item 58 (Musical score), fols. 29v-30r rev

Chaconne grave

[Identified by Gustafson (#24), and attributed by him to Hand A]

Item 61 (Musical score), fols. 31v-32r rev

[blank staves]

Item 62 (Musical score), fol. 32v rev

Gavotte

[Includes Reprise. Attributed by Gustafson (#27) to Hand A]

Item 64 (Musical score), fol. 33v rev

Menuet

[Attributed by Gustafson (#29) to Hand A]

Item 65 (Musical score), fol. 34r rev

Double

[Attributed by Gustafson (#29A) to Hand A]

Item 66 (Musical score), fols. 34v-35r rev

[blank staves]

Item 67 (Musical score), fol. 35v rev

Rigaudon

[Attributed by Gustafson (#30) to Hand C]

Item 68 (Musical score), fol. 36r rev

Menuet

[Untitled in manuscript. Identified by Gustafson (#31), and attributed by him to Hand D]

Item 69 (Musical score), fols. 36v-37r rev

[blank staves]

Item 70 (Musical score), fols. 37v-38r rev

Courante

[Attributed by Gustafson (#32) to Hand E]

Item 71 (Musical score), fols. 38v-39r rev

Sarabande

[Attributed by Gustafson (#33) to Hand E]

Item 72 (Musical score), fol. 39r-v rev

Double

[Attributed by Gustafson (#33a) to Hand E]

Item 73 (Musical score), fol. 40r rev

[blank staves]

Item 74 (Musical score), fols. 40v-41r rev

Gigue

[ Attributed by Gustafson (#34) to Hand E]

Item 75 (Musical score), fols. 41v-42r rev

[blank staves]

Item 76 (Musical score), fols. 42v-42v rev

Allemande de Sr Caecile

[ Attributed by Gustafson (#35) to Hand B]

Item 77 (Musical score), fol. 43r rev

Courante

[Attributed by Gustafson (#36) to Hand B]

Item 78 (Musical score), fols. 43v-45r rev

Variation ... double variation

[Attributed by Gustafson (#36a) to Hand B]

Item 79 (Musical score), fol. 45r rev

Gigue

[Attributed by Gustafson (#37) to Hand B]

Item 80 (Musical score), fols. 45r-48r rev

Allemande

[ With interpolated double. Attributed by Gustafson (#38) to Hand B]

Item 81 (Musical score), fols. 48v-49r rev

[blank staves]

Item 83 (Musical score), fols. 50v-51r rev

Allemande by Mr H. Purcell

[Henry Purcell, born c. 1659, died 1695. Composer and organist, who wrote for church, court and theatre. Considered one of the most significant of seventeenth-century composers throughout Europe]

[Attributed by Gustafson (#39) to Hand F. Identified by Charteris as an arrangement of an allemande from The Indian Queen1695 , probably unique to this manuscript.]

Item 84 (Musical score), fols. 51v-52r rev

Hornpipe

[Identified by Gustafson (#40), and attributed by him to Hand F. Identified by Charteris as an arrangement of a hornpipe from The Indian Queen1695, probably unique to this manuscript.]

Item 85 (Musical score), fol. 52v rev

Prelude to be played before the two Lessons

[Attributed by Gustafson (#41) to Hand F. Speculatively ascribed to Purcell by Charteris.]

Item 86 (Musical score), fol. 53r rev

[blank staves]

Item 87 (Musical score), fols. 53v-54r rev

Air by Mr H. Purcell

[Attributed by Gustafson (#42)to Hand F. Identified by Charteris as an arrangement of an air from Purcell's Abdelazer, or, The Moor's Revenge1695, probably unique to this manuscript.]

Item 88 (Musical score), fol. 54v rev

Jig

[Identified by Gustafson (#43) and attributed by him to Hand F. Identified by Charteris as an arrangement of a jig from Purcell's Abdelazer, or, The Moor's Revenge1695, probably unique to this manuscript.]

Item 89 (Musical score), fol. 55r rev

[blank staves]

Item 90 (Musical score), fols. 55v-56r rev

Menuet by my Lord Byron

[William Byron, fourth Baron, c. 1669-1736. English amateur instrumentalist and composer (and great-grandfather of the poet). Succeeded to the title 1695, when he also became Gentleman of the Bedchamber to Prince George of Denmark. Chiefly active as a composer during the decade 1695-1705. Best known for 4 suites written for plays at Drury Lane, by Delarivier Manley, Colley Cibber, John Vanbrugh and George Etherege.]

[Attributed by Gustafson (#44) to Hand F]

Item 92 (Musical score), fols. 56v-57v rev

untitled music score

[Attributed by Gustafson (#45) to Hand F]

Item 93 (Musical score), fol. 58r rev

[blank staves]

Item 94 (Musical score), fols. 58v-59r rev

A Scottish Tune by My Lord Byron

[Attributed by Gustafson (#46) to Hand F]

Item 95 (Musical score), fol. 59v rev

Shore's Trumpet Tune

[Shore's Trumpet Tune has been tentatively ascribed to Jeremiah Clarke, born c. 1674, died 1707, English composer and organist. Held appointments at Winchester College and St Paul's Cathedral. Gentleman-extraordinary at the Chapel Royal from July 1700; organist of Chapel Royal from May 1700. Shore's Trumpet Tune may be based on a tune by the celebrated trumpeter William Shore (died London 1707).]

[Attributed by Gustafson (#47) to Hand F]

Item 96 (Musical score), fol. 60r rev

The Lord Byron's Jig

[Jig tentatively ascribed to Jeremiah Clarke by Gustafson (#48), and attributed by him to Hand F]

Item 97 (Musical score), fol. 60v-61r rev

Jig by Mr John Eccles

[John Eccles, composer, born London, c. 1668, died Hampton Wick, 1735. First came to public attention with the publication of songs in 1691. From 1693, active composer for the United Companies at the Theatre in Drury Lane; from 1695, composer for Betterton's company at Lincoln's Inn Fields. Wrote incidental music for plays by various dramatists, including Shakespeare, Dryden, Otway and Shadwell. Provided the score for Congreve's English opera, Semele, which was never performed. Eccles became a musician-in-ordinary to the king in September 1696, and Master of Music in 1700. He remained active as a court composer until his death, supplying annual odes for New Year's Day and the monarch's birthday.]

[Attributed by Gustafson (#49) to Hand F]

Item 98 (Musical score), fol. 61v rev

Menuet

[Attributed by Gustafson (#50) to Hand F]

Item 99 (Musical score), fol. 62r rev

[blank staves]

Item 101 (Musical score), fol. 65r rev

[blank staves]

Item 102 (Musical score), fol. 65v rev

Le Rigaudon

Air from Acis and Galathée1686

[Lully, Jean-Baptiste, born 1632, died 1687, Italian-born French composer, one of the most popular and successful French composers of the seventeenth century. Chiefly known for his operas and ballets.]

[Identified by Gustafson (#51), and attributed by him to Hand D]

Item 2 (Musical score, Song), fols 1r-11r

[This section contains 17 songs for solo voice and bass viol written by Hand B, probably Wemyss's teacher. At the top of each new song is a musical staff with the bass viol part (headed " "Bassus""). The staff is upside down so that a bass player could sit facing the singer and both could use the same copy. Beneath the bass viol line, the melody with the first verse of the song has been written out on staves, with the heading " "Cantus"", and the numbers 1 through 17. Subsequent verses are written beneath the music. The author of the music for each song has been written above the melody line. Three of the songs are from Thomas Morley's first book of airs ("The First Booke of Ayres", 1600) and 14 are from Thomas Campion's second, third, and fourth books of airs ("Two Bookes of Ayres", c.1613, and "The Third and Fourth Booke of Ayres", c.1618). All of these works have been printed in facsimile in Sternfeld, volumes 8 (Morley) and 2 (Campion). In the printed versions, lute tablature has been written beneath the cantus line, but Wemyss's teacher has omitted this, probably because while solo lute music was still fashionable in Wemyss's circle by the 1640s, lute accompaniment was not. Some variants exist in the music of this section, but very few in the lyrics, except for the introduction of features of Scottish orthography. It is difficult to count total number of lines in the songs since the first verses are written in the staves, so I have not done so.]

Item 2.1 (Musical score, Song), fol. 1r

Now let her change and spare not

...

Faith is not had where none is

[This song is from Thomas Campion's "Ayres", book 3, song 2.]

Item 2.2 (Musical score, Song), fol. 1v

Be thou then my beauty named

...

I'll love thee serve thee and adore

[This song is from Thomas Campion's "Ayres", book 3, song 19.]

Item 2.3 (Musical score, Song), fols 2r-v

Young and simple though I am

...

Love he must or flatter me

[This song is from Thomas Campion's "Ayres", book 4, song 9. It is the one song that Margaret Wemyss has signed, appending her signature at the bottom. The speaker of this song is a woman (""Guesse I can what thing it is, men desire when they doe kisse"").]

Item 2.4 (Musical score, Song), fols 3r-v

If any hath the heart to kill

...

Now though she sees she'll not believe

finis

[This song is from Thomas Campion's "Ayres", book 4, song 21.]

Item 2.5 (Musical score, Song), fols 4r-v

Her far inflaming eyes

...

With a spirit to contend

finis

[This song is from Thomas Campion's "Ayres", book 4, song 19.]

Item 2.6 (Musical score, Song), fol. 5r

I must complain yet do enjoy my love

...

She hath more beauty than becomes the chaste

[This song is from Thomas Campion's "Ayres", book 4, song 17.]

Item 2.7 (Musical score, Song), fols 5v-6r

White as lilies was her face

...

Should reward their friends as foremen

[This song is from Thomas Morley's "Ayres", book 1, song 15.]

Item 2.8 (Musical score, Song), fol. 6v

Come Oh come my life's delight

...

As swift to me as heav'nly light

[This song is from Thomas Campion's "Ayres", book 3, song 23. It is repeated as msItem 2.10.]

Item 2.9 (Musical score, Song), fol. 7r

Thus I resolve and time hath taught me so

...

Wild born is wild still though by force made tame

[This song is from Thomas Campion's "Ayres", book 3, song 22.]

Item 2.10 (Musical score, Song), fol. 7v

Come Oh come my life's delight

...

As swift to me as heav'nly light

[This song is from Thomas Campion's "Ayres", book 3, song 23. It is repeated as msItem 2.8.]

Item 2.11 (Musical score, Song), fol. 8r

So sweet is thy discourse to me

...

As with it all must shadowed be?

[This song is from Thomas Campion's "Ayres", book 4, song 6.]

Item 2.12 (Musical score, Song), fol. 8v

She straight her light green silken coats up tucked

...

And he ran after after and he ran after after

[This song is from Thomas Morley's "Ayres", book 1, song 3. This is the one song that does not have additional verses written beneath the staves.]

Item 2.13 (Musical score, Song), fol. 9r

With my love my life was nestled

...

Let me die or live thou in me

[This song is from Thomas Morley's "Ayres", book 1, song 4.]

Item 2.14 (Musical score, Song), fol. 9v

Where shall I refuge seek where shall I refuge seek

...

My only grief and kindness pity need

[This song is from Thomas Campion's "Ayres", book 2, song 21.]

Item 2.15 (Musical score, Song), fol. 10r

If love loves truth then women do not love

...

To have fair women false than none at all

[This song is from Thomas Campion's "Ayres", book 3, song 11.]

Item 2.16 (Musical score, Song), fol. 10v

Awake thou spring of speaking grace mute rest becomes not thee

...

Do it not in slumber smother

[This song is from Thomas Campion's "Ayres", book 3, song 13.]

Item 2.17 (Musical score, Song), fol. 11r

If thou longst so much to learn (sweet boy) what 'tis to love

...

They would make thee straight return

[This song is from Thomas Campion's "Ayres", book 3, song 16.]

Item 4 (Musical score), fols 17r-51r

[This middle section of the manuscript consists of lute tablature, specifically 89 pieces or fragments of pieces for a 10-course lute and two pieces for a 12-course lute. This section also contains a great number of blank pages. There is a stub between fols 16 and 17. Fols 17r-27r contain lute music. Fol. 27v is blank, though it contains empty musical staves. Between folio 27 and 28 are 12 blank leaves (though the first leaf and the recto of the second leaf contain staves). Fols 28r-50r contain lute music. Fol. 50v is blank. Between folios 50 and 51 are 88 blank leaves. Folio 51r is blank. Matthew Spring has suggested that the music at the beginning and end of the lute section (fols 17r-27r and 37v-50r) was written by Margaret and that the middle section (fols 28r-37r) was written by a more skilled hand. Margaret has entered all of the titles for the lute tablature, suggesting that she worked closely with a teacher. On fol. 42r at the bottom of a piece of music, Margaret has written, ""all the Lesons behind this are learned ut of my sisteres book""; this refers to Margaret's sister Jean.]

[Fols 50v and 51r are blank. There are also 12 blank folios between fols 27 and 28 and 88 blank folios between fols 50 and 51.]

[The manuscript was reversed and begun anew from the final page. The order of the catalogue entry from this point begins from the end of the manuscript, noting items in the order in which they were presumably compiled.]