(CM89-90: 69 cues) LH95: conventional signal for opening 3 trumpet calls. Allusions to music discussed in OS96 and AS 125/ ۞CamS2 suggests a ‘Battaglia’ played on shawms, sackbut and drums for use in the play. Miller-Schütz notes that ‘in the 1997 New Globe production, the frequent alarms and trumpet calls … came straight out of period military manuals’ (MS6) suggests music suited to performing between the acts. (DLC) A possible piece to act as an overture, ‘England be glad’ à 3 (TTB) c1513 with instrumental ground MB xviii 96/; ۞Al 14/ ۞Sg 15/ ۞You Tube/ Musical Heritage MHS 7337 (This disc contains other material which could be effectively used in the play. 71
act scene line Click here to find out more about suggested song
I i 44-5 [List his discourse of war, and you shall hear A fearful battle rendered you in music].
ii 180-3 [For government, though high and low and lower, Put into parts, doth keep in one consent, Congreeing in a full and natural *close, Like music.]
197-8 [who…surveys The singing masons building roofs of gold]
252-3 [there’s naught in France That can be with a nimble *galliard won. You cannot *revel in dukedoms there]
310 {Flourish}
II Prologue [Flourish]
i 103 [Your grace I fear with dancing is a little heated]
ii 11 Sound trumpets
iv 0 Flourish
23-5 [do it with no show of fear, No, with no more than if we should hear that England Were busied with a Whitsun *morris-dance.]
146 (Flourish) (see MS6 on French King’s exit interrupted by English Ambassador)
III Prologue {Flourish)
33 Alarum, and chambers go off. SM15 tumultuous explosion of drums and guns
i 0; 34 Alarum; Alarum, and chambers go off.
ii 4-8 [I have not a case of lives. The humour of it is too hot, that is the very *plain-song of it/ The plain-song is most just, for humours do abound]
8, 9-11, 14-17 {Sings} Knocks go and come…And sword and shield… If wishes would prevail… 71A
18-20 {Sings} As duly, But not as truly, And bird doth sing on bough OS205 (1995) probably extempore verse rather than song, reflecting Alexander Dyce’s remark that Pistol is too ‘dignified’ to sing. Malone vi 70 also refers to this as speech
43-5 [Bardolph stole a lute-case, bore it twelve leagues, and sold it for three half-pence]
iii 33 [the trumpet sound the retreat.]
78, {83} A parley is sounded; [Flourish] [The town sounds a parley]. {Flourish]
v 32-4 [They bid us, To the English dancing-schools, And teach la*voltas, high and swift *corantos Saying our grace in only in our heels, and that we are most lofty runaways.] ۞BroS33 Coranto from the Tisdale virginal book 72 (151c)
vi 86; 113 A drum is heard; Tucket
vii 16-20 [the earth sings when he touches it; the basest horn of his hoof is more musical than the pipe of Hermes./ He’s the colour of the nutmeg./ And of the heat of the ginger] W9 rustic reed pipe; Wilson also comments on the taming effects of music DO276-7; ۞DO ii 43 melody ‘Nutmegs and ginger’ (separate melody from 70a) set to ‘Of all the birds…cinnamon and ginger, nutmegs and cloves…’ 73
IV ii 34-5 [Then let the trumpets sound The tucket sonance and the note to mount]
iii 78 Tucket
iv 0 Alarum. Excursions
3 (Song allusion) [‘CALIN O CUSTURE ME!’] Cailín óg a stóiron mín; alternatives in 74
SB51) ME17-18 mentions use as refrain to ‘When as I view your comely grace’ 1582 lute (Phalèse 1568/ DY12, p. 85) lute/tk HT1; t LS 29: 4/ WH14 (p.161-2); voice & chord symbols K56; ۞BroP10/ ۞DeC12/ ۞DeS9/ ۞Eh ll i ; cittern CCp4; kMP19; 2 lutes/t NT i 4/ LR15; gRZ ii 2; rST + g DT1; tune LH122/ C193/ CW84-5; rSA + 2g DT1; rSS/AA/T BE1; N42-4; kBYRD Callino custurame F158/ BYd4/ BYf15; ۞Mo i 7; extract ME17-18; gBYd4; rSATB Ft5; melody and text as a song: DO86-7/ WT44/ N42 (‘Callino Robibnson’); ۞DO ii 5/ ۞Ph8; K56 voice + g; pipe & cittern ۞St7
v 5 A short alarum
vi 0; 34 Alarum; Alarum
vii 52 Alarum; Flourish
88 [Then call we this the field of Agincourt] DO59-62 ‘The Battle of Agincourt’ set to ‘Flying fame’ melody and text (27 verses) ۞DO ii 2 (70b) 75
viii 122-3 [Do we all holy rites: Let there be sung Non nobis and Te Deum] 76
a) (DLC) i. BYRD settings respectively, (doubtful attribution) ‘Non nobis Domine’ canon à 3 (SAB), in MB xxvii 28, (rev. 1976) S&B Invitation to madrigals vol 1/ PE27 ii; ۞DeC 19/ ۞DeS16. Cf Turbet Byrd Newsletter
ii BYRD Te Deum à 5 (Short Service), in English services vol 1 (cw 10a pp. 68-80)
b) TALLIS Te Deum à 4 (SATB) with optional organ (from the Dorian Service) ‘Venite and Te Deum’ S&B W49 (1971). (B244 suggests) the singing could be started loudly by all on stage, fade on the exit and continue very softly through the Chorus which opens Act V
V ii 133-7 [if you would put me to verses, or to dance for your sake…you undid me. For the one I have neither words nor *measure, and for the other I have no strength in *measure – yet reasonable *measure in strength.]
241-4 [Come, your answer in *broken music–for thy voice is music, and thy English broken. Therefore, queen of all, Catherine, break thy mind to me in broken English: wilt thou have me?] cf N&31

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