Anon: The Duke of Milan's Dump

Philip II of Spain, Duke of Milan when Holmes' Lute Book was written
Painting by Titian

I was browsing the facsimile of Matthew Holmes' Lute Book in Cambridge (you can see it here) when I noticed this intriguingly titled piece. Fortunately, the ever industrious Sarge Gerbode had made a transcript of it, which I used to make the arrangement for low-G ukulele.

The normally rather dry and dusty Oxford Companion to Music (10th edition) has this charming definition:

DUMP, DUMPE. An old dance of which nobody now knows anything, except that the word is generally used in a way that suggests a melancholy cast of expression ... There is a Triste Dumpe in the Fitzwilliam Virginal Book, and it is not particularly doleful – but then it is Irish.

Meanwhile Collins' Dictionary of Music says:

dump, 16th and 17th century musical term, probably indicating an elegy or lament. The original meaning of 'dump' is a fit of melancholy or depression, [hence] 'to be down in the dumps'... All [dumps] are instrumental and most are constructed on a simple ground bass.

Well, hard as I try I cannot think that this piece is particularly melancholy. Dumps were often written in remembrance of a deceased personage, so perhaps whoever wrote this piece wasn't particularly sad about the demise of the duke. The Lute Book was written in England c. 1588–95, and the incumbent Duke of Milan was the Hapsburg Philip II of Spain who reigned 1540 to 1598 and married Mary I of England. Spain was not that popular at the time, and one wonders if there was a message here in the cheeriness of the lament. Or, have I read too much Hilary Mantel and CJ Sansom? (I am always open to correction from the cognoscenti.)

Anyway, it's a simple jaunty little tune, with a lot of ground bass on the open 4th string. On the lute, this is played on the 7th (F diapason) course, so we uke players have to do our best. My main liberties with the original have been:

• Moving the ground bass to the 3rd string in § D, so it's not a bass any more.
• Moving the melody up an octave in § D' (which is not in the original) to leave room for the bass. This means that bars 21–25 have to be played with a 2 barré on the top 2 strings.

You can download this piece in the following formats:
pdf (preview)
pdf (automatic download)
TablEdit
MIDI

Dowland's first galliard (p 22)

Final bars of Dowland's First Galliard from the Matthew Holmes Lute Books
Facsimile published online here by Cambridge University Library

Well, if this really was Dowland's first galliard, he really hit the ground running. It's full of memorable passages.

The image above shows the end of the piece in Holmes' MS (in this period they seem to have put the title at the end, so we have the six first bars of the next piece too.) The top of the page is really worn, and I take my hat off to Sarge Gerbode for transcribing it. You can read more about the MS by clicking on the link in the caption above.

The 'catch' in §A is the melody line in bar 6 echoed by the bass line in bar 7 (and centuries later echoed in turn by the theme tune to the film Deliverance).  Similarly, in §B there are repeated catchy motifs in bars 23 and 24.

§§C and C' are the easiest bits, especially as I have necessarily simplified the tabs. It consists of repeated motifs in the following basic harmonic sequence (on the uke):

A  | A  | C  | C  | D  | D  | E  | E  | A  | A  |

with a passing 4th note in each chord.

The pattern in §C' reminds me of the folk banjo picking style known as double thumbing – there's nothing new under the sun.

In these final sections I have taken the liberty of shortening the final chord in most of the bars, following Nigel North's performance on the lute. You may prefer to allow these notes to ring out to the end of the bar, or use both versions if you repeat the piece. It's all to play for.

Available to download in the following formats:
pdf (preview)
pdf automatic download
TablEdit
MIDI

Dowland: Lacrime (from Barley's lute tutor)

I was browsing this old lute tutor by William Barley (published by Early Music Online) when I noticed a version of John Dowland's Lachrimae. Out of curiosity I decided to transcribe it for the ukulele, correcting a few instances of what appeared to my inexpert eye to be typographical errors – in particular a strange harmony in bar 23 (I have appended a literal transcription of the bar at the end of the piece).

The three undecorated sections (A, B, C) are quite spare, whilst sections A', B' and C' consist of similarly spare bars interspersed with 1 or 2 bars of divisions. To be honest, I prefer the transcription I uploaded a few posts back, so I'm including this version for the sake of completeness.

Versions available to download:
pdf (preview)
pdf automatic download
TablEdit
MIDI

Dowland: Queen Elizabeth's Galliard (P 41)

Miniature of Queen Elizabeth I playing the lute.
(Thumb under or thumb over?)

This is a rather more challenging piece than The Queen's Galliard, which I posted a few days ago.

Not only was Queen Elizabeth I a player of the lute (and possibly 4-course guitar), but she was also an enthusiastic dancer - one way for her to exercise. I like to think of her dancing vigorously to this galliard, and the other dancers being very careful.

Knowing little of Renaissance dancing (except from watching Wolf Hall) I have done a little background reading. The galliard was a frisky dance in triple time, with 5 steps to 6 beats (or 2 bars); the missing step is a jump on beat 5, in the middle of bar 2. The most familiar tune in galliard form is, at least to the British, God save the Queen, presumably with the jump on the second syllable of 'gracious'.

The first 16 bars of Queen Elizabeth's Galliard are in 3/4 time. It took me a little while to divine that the rest of the piece is in 9/8 time (I hope), which must have made the dancing interesting. As it's quite quick (I have heard performances of 80 – 100 bpm – how on earth do they do that?), it involves a lot of fast chord changes at the beginning, and the divisions in bars 9–16 are, to be honest, terrifying. Perhaps one day ...

Anyway, do have a look:
pdf preview
pdf automatic download
TablEdit
MIDI
 Good luck!

Dowland: The Queen's Galliard (P 97)

Dancing a galliard

This is a simpler piece (Poulton 97) than the more famous (and more difficult) Queen Elizabeth's Galliard, an arrangement of which I will publish soon. I must admit that I was first attracted to it because in the original for lute most of the activity was on the top 4 strings, and there were no notes on the open 3rd string (which on the uke you have to play on the 4th string, which I would rather use for bass notes).

It's a lively little tune, and a good exercise in quick chord changes and in syncopation in 3/4 time.

I hope you enjoy playing it. Here are the files for download:

pdf (preview), pdf (auto download),  TablEdit, MIDI.

Dowland: Lachrimae Pavane (P 15 & 15a)

This haunting and melancholy piece is perhaps Dowland's most famous, and was performed in Europe as well as in England. You can read an article about its influence here (which is also where I pinched the images from).

Contemporary printed version of lute tablature for Lachrimae
(The inclined # symbols indicate graces, but ... what graces?)

In the past I have avoided transcribing it because the variations are not the easiest, but after my previous post it was suggested by Gilles T that I have a go. So, here it is.

Fortunately Sarge Gerbode has published transcriptions of two MSS of this piece for lute, and I have taken the easiest versions of the 3 sections and interleaved them. The arrangement is not all that difficult to play, but it did take me a while to get to grips with the syncopated parts in §B. I leave the difficult variations to more cunning hands then mine. It fills one with admiration for lutenists who can actually play the whole thing off lute tabs.

I have fiddled with my transcription for several weeks, off and on, because it is impossible to perform the various lines on the 4 strings of the ukulele. I have made the fullest version feasible, but there are many simplifications. Where relevant I have modified the fingerings so that notes can be played in position (here, 2B and 4B) rather than using open strings; but if you prefer the other way, it's easy enough to change.

As always, I have used the directions of the note stems to indicate melody (up), bass (down) and harmony (mostly down, except where obviously running in parallel with the melody).

Dowland's signature

Anyway, why not have a look and see what you think. Available to download in these formats: pdf (preview), pdf auto download, TablEdit (tef) and MIDI.

PS: Gilles T has directed me to this page: http://www.verseandsong.com/song/renaissance-guitar/, which includes an arrangement for Renaissance guitar of Lachrymae, amongst many other pieces. These have been made by Stephen Wentworth Arndt from Jacob van Eyck, Der Fluyten Lust-Hof , so I imagine that they are original arrangements made from versions written for flute. Very impressive! They can be played directly on the ukulele if you are comfortable with the French-format tablature for guitar and lute used in the Renaissance (see my 'About this blog' page for help).

Dowland: Melancholy Galliard (P 25)

This is perhaps my favourite Dowland lute piece to play on the ukulele – possibly because one can take ones time over it. It's not half so difficult as the lute version which has some chords that seem to me to be physically impossible, as well as having all those extra strings to play.

The first few bars of a contemporary copy by Matthew Holmes, to give you an impression of the original lute MS. (The label covers the end of a previous piece, as the pieces are contiguous, presumably to save paper.)
The first two strings of the lute translate directly to the uke, so you can compare it with my translation below. The lute symbols are: a = open string, b = 1st fret, c (looks like r) = 2nd fret, d (looks like j without a dot) = 3rd fret, and so on. In the indication of note length, they used one more tail or beam than we do.
You can see a full facsimile of the original here.

An image of the tabs for the first section of the piece. The full version can be downloaded by clicking on the links below.

As usual, reducing the lute version has entailed great simplification, but I have tried to retain the several voices, and the sweet transient dissonances, where I can. I find it is not always possible to hold the bass notes for as long as I might want. The tabs give a reasonable impression of the music, but the notation shows the note lengths and voices more clearly.

The structure is a simple one: a, a', b, b', c, c', with the primes indicating a slightly more decorated variation.

It's available in pdf (preview), pdf auto download, MIDI and TablEdit formats. I hope you enjoy playing it as much as I do.