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| 1. | Plainsong hymn, Veni redemptor - Ambrose | 25 | |
| 2. | Plainsong hymn, Ut queant laxis | 29 | |
| 3. | Examples of podatus and torculus | 30 | |
| 4. | Examples of cephalicus | 31 | |
| 5. | Examples of quilisma, and strophicus | 31 | |
| 6. | Typical phrases of the Dorian mode: | 32 | |
| 7. | Plainsong hymn, Ad cenam agni | 33 | |
| 8. | Plainsong hymn, The royal banners | 34 | |
| 9. | Kyrie iii from Kyrie Splendor Eterne | 34 | |
| 10. | Examples of plainsong melody: | 35 | |
| (a) | Hymn, O come, redeemer | ||
| (b) | Sequence, Saviour eternal | ||
| (c) | Sarum Litany | ||
| 11. | Psalm 23 to tone viii, ending i, with accompaniment | 40 | |
| 12. | Psalm 114, verse 1 to Tonus Peregrinus | 42 | |
| 13. | Byrd, Treble from Magnificat of Short Service | 67 | |
| 14. | Merbecke, Melody from Creed | 69 | |
| 15. | Mundy, Treble from O Lord, the maker | 70 | |
| 16. | Gibbons, Treble from Magnificat in F | 70 | |
| 17. | Gibbons, Tenor from Hosanna | 71 | |
| 18. | Gibbons, O Lord, increase my faith | 72 | |
| 19. | Gibbons, Treble from Magnificat in F | 74 | |
| 20. | Tudor cadence idioms: | 74 | |
| (a) | Tallis, Alto from Salvator mundi | ||
| (b) | Gibbons, 1st Treble from Hosanna | ||
| (c) | Gibbons, 1st Alto from Hosanna | ||
| 21. | Purcell, Treble from Rejoice in the Lord | 75 | |
| 22. | Example of underlaying | 75 | |
| 23. | Weelkes, Tenor from Hosanna | 75 | |
| 24. | Tye, Laudate nomen | 76 | |
| 25. | Byrd, 5-pt. Mass | 76 | |
| 26. | Byrd, Ave verum | 77 | |
| 27. | Tallis, Salvator mundi | 77 | |
| 28. | Gibbons, O Lord, increase my faith | 78 | |
| 29. | Examples of consecutives | 79 | |
| 30. | Examples of ornamental resolutions: | ||
| (a) | Byrd, Alto from 5-pt. Mass | 79 | |
| (b) | Tallis, Treble from O Lord, give thy Holy Spirit | 80 | |
| (c) | Gibbons, Treble from Almighty and everlasting God | 80 | |
| 31. | Plain and musica ficta forms of the modes | 82 | |
| 32. | Phrygian cadences | 83 | |
| 33. | Examples of the English Cadence: | ||
| (a) | Byrd, 5-pt. Mass | 83 | |
| (b) | Byrd, Christe qui lux | 83 | |
| (c) | Tallis, Salvator mundi | 84 | |
| 34. | Gibbons, Final chord from Nunc dimittis in F | 85 | |
| 35. | Compass of choir voices in Tudor music | 86 | |
| 36. | Tomkins, Note on pitch from' Musica Deo Sacra', 1668 | 86 | |
| 37. | Restoration chants: | ||
| (a) | Christ Church Tune page | 112 | |
| (b) | Imperial Tune | 113 | |
| 38. | Interlude to a hymn-tune in Chetham, 1811 | 122 | |
| 39. | Purcell, Bass verse from Behold I bring you | 128 | |
| 40. | Wesley, Recitative from Blessed be the God | 128 | |
| 41. | Merbecke, Melody from Creed | 128 | |
| 42. | Locke, Verse from Lord, let me know mine end | 136 | |
| 43. | Example of Handelian inverted cadence | 145 | |
| 44. | Smart, Treble from Te Deum in F | 170 | |
| 45. | Boyce, Treble from Te Deum in A | 170 | |
| 46. | Smart, Treble from Te Deum in F | 170 | |
| 47. | Croft, Verse from God is gone up | 172 | |
| 48. | Greene, O clap your hands | 174 | |
| 49. | Wesley, Magnificat in E | 177 | |
| 50. | Example of a hymn sung to a chant from an old choir-book | 201 | |
| 51. | Turner, Chant in A variously barred | 204 | |
| 52-62. | Examples of pointing from modern psalters | 205-209 | |
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