Choirs I & II

Spem in alium
nunquam habui
A motet
for 40 voices

by

Thomas Tallis
(c.1505 – 1585)

Edited by Philip Legge

 Notes

Except for the unplanned visit to London in June 1567 by to Italy from 1566 to April 1567, which plausibly might
the Mantuan gentleman, diplomat and composer Ales- have resulted in an encounter with Striggio, and an in-
sandro Striggio senior, who came bringing performance vitation for him to visit London. FitzAlan possessed the
parts of his 40-voice Missa sopra Ecco sì beato giorno, largest musical establishment outside the court, and in
it would seem otherwise unlikely Thomas Tallis would 1556 had purchased from Mary Tudor the fabled Non-
have received inspiration for his own sublime motet in such Palace, England’s largest Renaissance building, as
40 parts, Spem in alium nunquam habui. The rediscovery his country residence. The music collection held in the
of the mass by Davitt Moroney and his researches have library there is known to have been extensive, as in 1596
confirmed most of the salient details of this story, in par- a catalogue was drawn up, which happens to reveal the
ticular verifying the account of one Thomas Wateridge, a existence of a score of Spem in alium. Nonsuch also pos-
law student at the Temple: sessed an octagonal banqueting hall with four first-floor
balconies, which intriguingly suggests the architectural
In Queen Elizabeth’s time yere was a songe sen[t] into England features that Tallis incorporated into his composition: it is
of 30 parts (whence ye Italians obteyned ye name to be called conceivable he designed the work to be sung not only in
Apices of ye world) wch beeinge songe mad[e] a heavenly the round, but perhaps with four of the eight choirs sing-
Harmony. ing from the balconies.
Allowing for 30 parts being an error, either deliberate or Of Tallis’ motet, it:
unintended, then the mass undoubtedly received a per-
formance in London during Striggio’s fortnight-long stay, [...] so farre surpassed ye other that the Duke hearinge of yt
probably in a non-liturgical context; it now seems rather songe, took his chayne of Gold from of[f] his necke and putt
less likely that he performed his extant 40-part motet yt about Tallice his necke and gave yt him (wche songe was
Ecce beatam lucem. Striggio’s diplomatic business, which againe songe at ye Princes coronation). — “By Ellis Swayne at
primarily involved petitioning the Holy Roman Emperor my Chamber ye 27 Novr 1611”
on behalf of Duke Cosimo de’ Medici, had in 1566 taken
him from Florence to Vienna via the Gonzaga court at The Duke of Norfolk was imprisoned in the Tower
Mantua, then on to the Wittelsbach court in Munich via from October 1569 until August 1570, and then again in
Brno, and by April 1567 to the Valois court in Paris via September 1571, being subsequently executed in June
Innsbruck and Augsburg, before he seized his initiative 1572 owing to his participation in the Ridolfi plot, which
to visit England. The mass (with its Agnus Dei expand- would suggest a dating of Tallis’ motet to around the year
ing to 60 voices) had been performed at least twice on his 1570, and its first performance during the thirteen months
tour, once liturgically before Duke Albrecht V in Mu- of freedom enjoyed by the Duke. While no manuscripts
nich, and privately after dinner for King Charles IX at a of the original Latin motet (such as the copy held at Non-
château outside Paris; only the departure of the imperial such in 1596) are currently known to exist, copies of the
court from Vienna had prevented a performance before version sung at the coronation do. Retexted as an English
the Hapsburg emperor Maximilian II. Striggio’s gift of a contrafactum, the motet was performed, firstly for the
six-voice madrigal D’ogni gratia et d’amor, later placed investiture of Henry, Prince of Wales, on 4 June 1610;
at the head of his second book of six-voice madrigals, fit- and after his decease, the ceremony and the motet were
tingly attests to his meeting with Queen Elizabeth I, and repeated on 4 November 1616 for his younger brother,
Wateridge’s account likewise to an English performance the future King Charles I. The text sung was:
making “a heavenly Harmony”. The anecdote goes on:
Sing and glorifie heavens high Maiesty
The Duke of _______ bearinge a great love to Musicke asked Author of this blessed harmony
whether none of our Englishmen could sett as good a songe, Sound devyne praises
and Tallice beinge very skilfull was felt to try whether he could With melodious graces
undertake ye Matter, wch he did and made one of 40 partes This is the day, holy day, happy day
wch was songe in the longe gallery at Arundell house For ever give it greeting
Love and joy hart & voice meeting:
Arundel House was the London home of Henry FitzAlan, Lyve Henry [Lyve Charles] Princly and mighty
the 19th Earl of Arundel, and his son-in-law, Thomas Harry lyve [Charles lyv long] in thy Creation happy.
Howard, 4th Duke of Norfolk, was probably the music-
loving nobleman mentioned. FitzAlan was moreover The editors of Tudor Church Music in the 1920s did not
considered to be the leader of the English Catholics at the have access to the earliest known source, Egerton MS
time, and had held high office under four successive 3512, a large full score dating from the early 17th Cen-
Tudor monarchs, being Privy Councillor and Lord Stew- tury and rediscovered in 1947, but instead used a slightly
ard of the Realm under Elizabeth, before retiring from later manuscript set of parts from the Gresham College
office in 1564 and undertaking a fourteen-month visit Library (now in the Guildhall Library, G. Mus. 420).
These two manuscripts are the only extant copies known of the Tudor Church Music version, which as described
to originate from the seventeenth century, or earlier. The above used the Gresham MS as its principal source; the
Egerton full score was not copied in choirs, but first all collation of the two manuscripts indicate the scribe of
of the sopranos, numbered by the scribe 1, 6, 11, 16, 21, the Gresham MS attempted to add some accidentals ac-
26, 31, 36; then the altos, numbered 2, 7, 12, 17, 22, 27, cording to the rules of musica ficta. Though the earliest
32, 37; and so on for the other voices, suggesting eight manuscript has many fewer accidentals than this edition,
identically-formed choirs of five voices (whereas Strig- it is not inconceivable that the work was indeed sung with
gio had employed five non-identical eight-part choirs). many more than are included here. Although the organ
An unfigured thorough bass appears in the middle of bass line cannot be shown to have originated with Tallis,
the full score, after the 20th voice. The five voice types it was possibly conceived in emulation of Striggio, who
(described in this edition as soprano, alto, tenor, baritone, did utilise a continuo bass in his mass and motet, and so
bass) possess similar ranges in each choir and are notated may be included or omitted in modern-day performances.
in the set of G2, C2, C3, C4, and F4 clefs. Performance
at a higher pitch than as written is possible and might Musically, the motet is a tour de force on many levels,
have involved an alternate voicing of each choir as treble, not least for Tallis’ masterful exploitation of his choirs’
mean, contratenor, tenor, and bass. spatial distribution. If the choirs are arranged in circular
fashion sequentially by number, then the music “rotates”
There are several noteworthy additions to the Gresham through the opening points of imitation on Spem in
MS: on many of the individual pages for each voice part, alium nunquam habui (choirs I to IV) and Præter in te,
the scribe copied out the original Latin words (taken from Deus Israel (choirs V to VIII). After a short interjection
the Sarum Breviary); the unfigured thoroughbass follow- from choirs III and IV (which functions antiphonally as
ing the 20th voice is denoted “for ye Organ”; and at the “decani” to the “cantoris” of choirs VII and VIII) Tallis
end of the 33rd voice the scribe wrote “This song was completes the circle with the entry of the final bass voice
first made to a lattin ditty by Mr. Tho: Tallis; but who put of Choir VIII; shortly afterwards, at the fourtieth breve
in the English ditty I ame altogether ignorant off.” This of the work, all forty voices enter in the first of a series
statement, amongst other evidence, supports the idea that of massive welters of sound, which has been described as
the Egerton MS was the original copy of the English con- “polyphonic detailism”. The next imitative section which
trafactum, and the Gresham MS was copied from it some follows at qui irasceris et propitius eris reverses the
years later. Orlando Gibbons, John Amner, and Thomas direction of rotation as new voices enter against varied
Warwick have each been put forward as putative authors countersubjects in the parts already established.
of the Egerton MS, however these speculative guesses
originate from long afterwards; a more recent claim for Tallis also manages to combine the exchanges between
the composer John Ward has been rejected on the basis of choirs in four different antiphonal arrangements, by
comparisons with identified holographs. The Egerton MS amalgamating the singers in four groups of two choirs
bears an inscription on the last folio, “Mr. Thomas Tallis, (as hinted at above), so antiphony can pass back between
Gentleman of King Henry the Eyghts Chapel, King Ed- both “north” and “south”, but also between “east” and
ward, Queen Mary & of her Maiesties that now is, Queen “west”), but also as two groups of four choirs (ie one
Elizabeth, the maker of this Song of fourty parts.” This is massive 20–voice choir against another) which can be ar-
taken to infer the author of the contrafactum copied the ranged in two different ways (north and west versus east
annotation from a manuscript dating to Tallis’ own life- and south, or north and east versus south and west).
time, even though the contrafactum itself must date from
the early part of the reign of James I, or no earlier than After the most intricate chordal passage so disposed
1603; the Gresham MS also copies this text, but omitting between the various choirs, Tallis contrives the entire
the clause referring to Elizabeth as “her Majesty that now choir of 40 voices to enter as one after a pause, “upon
is”. a magical change of harmony”. With the words respice
humilitatem nostram Tallis ends with the most strikingly
For the text underlay Tudor Church Music used another unhumble polyphonic passage yet heard, framed by the
manuscript (Royal Music MS 4 g. I) bearing the Latin strong harmonic rhythms of the ensemble. The view that
text, but as this dates from the eighteenth century it this might be Tallis’ opus magnum is intriguingly suggest-
probably does not preserve the word placement of Tallis’ ed by Hugh Keyte’s observation of a possible numerolog-
original; the editors themselves noted the underlay “is in ical significance in the work’s duration being exactly 69
places so perverse that it appears like an attempt on the long notes: in the Latin alphabet, TALLIS adds up to 69.
part of an unknown editor to fit the Latin words to the
English adaptation.” Hence the editor of this new edition Philip Legge, Melbourne, November 2004,
has dispensed with this text underlay and supplied his revised to February 2008
own. Text aside, the music is a direct transcription
Copyright © 2004–08 Philip Legge, for the Choral Public Domain Library: http://www.cpdl.org/
Edition may be freely distributed, duplicated, performed, or recorded.
 Spem in alium nunquam habui
Thomas Tallis
 
1 (c.1505–1585)
                 
   
       
Soprano I

      
Spem in a li um nun quam ha bu i, spem in a li um

   
Sing and glo ri fy heaven’s high Ma jes ty, sing and glo ri fy
               
     

Alto I
 
      li 
 ri 
Spem in a li um nun quam ha bu i, spem in a

   
Sing and glo ri fy heaven’s high Ma je sty, sing and glo
      

  
Tenor I

 
Spem in a li

          
Sing and glo ri

  
Baritone I

 
Spem in a li um nun

    
Sing and glo ri fy heaven’s
 

Bass I   

 
Spem in

     
Sing and
Soprano II 


            

   
Alto II

  
Spem in a li um nun quam ha

      
Sing and glo ri fy heaven’s high Ma


Tenor II

Baritone II
       

       



Bass II

[A1, S1] [A2] Choir I

   
        


      

       
   
     
   
Piano
      
  


1 2 3 4 5 6

 
2
       
   
           
 
nun  quam, nun   bu  i,  li   um  
heav  en’s heaven’s  jes  ty,  ri   fy 
quam ha spem in a nun quam ha
high Ma sing and glo heaven’s high Ma
            
          
nun  quam   bu  i,      i,

fy   jes  ty,     ty,
um ha spem in a li um nun quam ha bu

 
heaven’s
  
high Ma
 
sing
  and glo

ri

fy heaven’s high Ma
 
jes
     
 um nun  quam ha     bu  i,   
I

    ty,   
in a li um
      
fy heaven’s high Ma jes and glo ri fy
         
         li 
        ri 
quam ha bu i, ha bu i, spem in a um

 
high Ma jes ty, Ma jes ty, sing and glo fy
     

            
a   um       
 glo   fy     
li nun quam ha bu i, spem in a li um nun quam


ri heaven’s high Ma jes ty, sing and glo ri fy heaven’s high
              

  um nun  quam       
  fy heaven’s high       
Spem in a li ha bu
Sing and glo ri Ma jes
              
      
 bu  i,
   
 jes ty,      um  quam ha  bu  i,    i,
    fy high Ma  jes ty,  jes    ty,
spem in a li nun ha bu

      
sing and glo ri heaven’s Ma
   
 a  li  um nun  quam   
II

glo  ri  fy   
Spem in ha

         
Sing and heaven’s high Ma
      
       
      
Spem in a li um nun quam ha bu

 
Sing and glo ri fy heaven’s high Ma jes


        


   
 
Spem in a li um nun quam
Sing and glo ri fy heaven’s high
  
Choir II
    
   
               
           
      
         
             
Pf.
  
 
      
    
     
       
    
7 8 9 10 11
  
2 3
                     
  
      
 i, 
spem in a  li 
       ty, 
sing and glo  ri 
bu i, spem in a li um nun quam ha bu
jes ty, sing and glo ri fy heaven’s high Ma jes
                   
  
      a 
   ri fy, sing and glo  ri  fy, and glo 
spem in a li um, spem in a li um, spem in a li um, spem in
sing and glo ri

fy,

sing

and glo

sing

            
 nun
   
  bu  i, in a  li  um nun  quam  bu  i,
I

   jes  ty,  and glo  ri  fy heaven’s high   jes ty,

quam ha spem ha
heaven’s
    
high Ma sing
 Ma
           
nun  quam ha    bu  i,   um nun  quam, nun  quam
   jes  ty,  ri   fy
spem in a li

   
heaven’s high Ma sing and glo heaven’s high, heaven’s high
 

          
 
   li  um,  li  um nun  quam ha 
   ri  fy,  ri  fy  Ma 

ha bu i, spem in a in a
    
Ma jes ty, sing and glo and glo heaven’s high

                    

i,         bu 
ty,    ty, glo  ri fy  jes 
nun quam ha bu i, spem in a li um nun quam ha
heaven’s high Ma jes sing and heaven’s high Ma
  
          
         
in a  li um  quam ha  bu  i,  bu  i,
and glo  ri fy  jes  ty,  jes  ty,
spem nun ha
  heaven’s high Ma

ma
   
           
sing
      
  bu  i, nun  quam  bu   li    quam 
II

 jes  ty, heaven’s high  jes   ri    

ha i, spem in a um nun ha
Ma ty, sing
  
and glo
     
fy heav en’s high Ma

      
     
      
      
i, spem in a li um nun quam ha bu i, spem

  
ty, sing and glo ri fy heaven’s high Ma jes ty, sing
  
         
 
   li  um   


   ri  fy  
ha bu i, spem in a nun quam ha bu
Ma jes ty, sing and glo heaven’s high Ma jes

        
Choir III Choir IV

    
                    
          
       

 
          
Pf.
                        
          
 12
 
13 14 15 16
4
       
            

  quam   i,   
  ty,  
um nun ha bu spem in a li um nun

fy heaven’s high Ma jes sing and glo ri fy heaven’s
     
            
 li  um      i, 
  
 ri  fy    ty, 
nun quam ha bu spem in a

     high Ma     
heaven’s sing and glo
 
jes
           


  um   quam  bu   
I

  fy  jes  
spem in a li nun ha i, spem in a

        high   
sing and glo ri heaven’s Ma ty, sing and glo
          

   li  um   bu  i, a  li 
   ri  fy  jes  ty, and glo  ri 
ha bu i, spem in a nun quam ha spem in

        
ma je sty, sing and glo heaven’s high Ma sing


       
 bu  i,   um   
           ty,
spem in a li nun quam ha bu i, spem in
   
  
jes ty, sing and glo ri fy heaven’s high Ma jes sing and
       
    
 i,     quam ha  bu  
 ty,    
 en’s high Ma  jes  ty, 
spem in a li um nun i, spem in a

 
sing and glo ri fy heav sing and glo
   
   
     

   
      
ri  fy 
spem in a li um nun quam, nun quam ha
    
sing and glo heaven's high, heaven’s high Ma
         
        
  bu  i, nun   bu  i, ha  bu  i,   
II

 jes  ty, heaven’s   jes  ty,  Ma  jes   ty,    

quam ha spem in a li

   
high Ma sing and glo ri
     
          
   quam  bu  i, in a  li  um,   um,
   jes  ty, and glo  ri  fy,   fy,
in a li um nun ha spem in a li

     
and glo ri fy heaven’s high Ma sing and glo ri


        



  i,   um 
  ty,   fy
i, ha bu spem in a li nun

           
ty, Ma jes sing and glo ri heaven’s
        
                


 
Pf.
              
        

         
  
17 18 19 20
     
5 3
           
   
 quam ha   i,  li    
  ty,  ri   
bu spem in a um nun quam ha bu i


high Ma jes sing and glo fy heaven’s high Ma jes ty,

          
     
 li  um 

in a  li um   

 ri  fy Ma jes  ty,  
nun quam, nun quam ha bu i
heaven’s high
  
heaven’s high Ma jes ty,

 
  
   
  
        
 
  li um  in a  li  um nun  quam ha  bu 
I

 ri fy and glo  ri fy heav  en’s high Ma  jes 

nun quam, i
  
 
heaven’s high, ty,
   
    
 nun  quam  bu  i
 jes  ty,
um nun quam, ha
fy heaven’s high, heaven’s high Ma


 
          
      
a  li  um      ha  bu  i
glo  ri  fy     Ma jes  ty,
nun quam

     
heav en’s high

             
 
           
 
 li  um nun  quam ha  bu  i,  li   quam, nun  quam ha  bu  i
 ri  fy heaven’s high Ma jes  ty,  ri   en’s high heaven’s high Ma  jes ty,
spem in a um nun

 
sing and glo fy heav

    
      
 
   
      i
 jes ty, sing and glo  ri fy   ty,
bu i, spem in a li um nun quam ha bu

 
heaven’s high Ma jes

      
    
 um nun  quam  bu  i
II

fy  jes ty;

ha
heaven’s high Ma
     
            

    
a  li um,  li  um nun  quam ha  bu  i
and glo ri fy,  ri  fy heaven’s high Ma jes  ty,
in spem in a
sing and glo

  
 
     
  


 bu  i,   bu 
 jes  ty,   jes 
quam ha ha i
high Ma Ma ty,

                 

Choir V
     
          
                     

      
Pf.

                
         
          
21 22 23 24 25



Choir VI Choir VII
                      
               
     
           

                    

Pf.

          

 
         
   
  
26 27 28 29 30


6
 
Choir VIII
            
                 

      
Pf.

          


  
     
  
      
31 32 33 34


7

     
Choirs III & IV Choirs VII & VIII
       
           
 
    







  


   

 
Pf.

                

  
       
  

  
35 36 37 38 39
  
8

4
         
            
 ter in   ra  el,   
 thor of   mo ny,   
præ te, in te, De us Is in te, De us Is ra


Au this, of this bless èd har of this bless èd har mo
     
 
  
        
            

præ  ter in te,   ra  el, præ  ter in De  us Is  ra  el, 
Au  thor of this  èd  mo  ny, au  thor of bless èd har  mo  ny, 
De us Is te, Is
     
bless har this har
                

   
 ter in te, De  us  ra  el, præ  ter te, De  us Is   el,
I

 thor of this bless  èd

  mo ny, au  thor this bless èd har   ny,
præ Is in ra in
Au
    har of mo
  
of

             
 
 ter in te,    
 thor of this  èd   
præ De us Is ra el, in te, De us

             
Au bless har mo ny, of this bless ed
 
  
        
 
præ  ter De  us Is  ra  el,  ter   ra 
Au  thor
  bless èd har  mo ny,  thor  èd  mo 
in te, præ in te, De us Is
  of this au of

this
  bless

har

                 
  
 
 ter De  us  ra  el, De  us  ra  el, præ  ter 
 thor bless  èd  mo ny, bless èd har  mo  ny, au  thor
præ in te, Is Is in te, De
Au of this har of this bless
                    

 ter   us Is  ra   el, Is  ra  el,
    
 thor  har mo   ny, har  mo  ny,   
præ in te, De Is ra
Au of this bless èd har mo
          
          
    


 ter  us Is  ra  el, præ ter in De  us Is  ra 
II

 thor   èd    ny,   au thor of  this bless èd har  mo 

præ in te, De te,

  
Au of this bless har mo
       
      
 ter in te,  us Is  ra  el,  ra  el, De  us Is 
 thor of this bless  èd har  mo ny,  mo  ny, bless  èd har 
præ De Is in te,

         
Au har of this
 
        


   ra 
  èd  mo 
præ ter in te, De us Is el,
Au thor of this bless har ny,
                      
Tutti
               
             
Pf.
        
        

   
 
 
 

 

   
    
 40 41 42 43 44

 
9
     
el:

   
ny;
  
 ra   el:

 mo  ny,
           
 te, De  us Is  ra  el:
I

 bless  èd har
  mo
  ny;
   
this

 
 
Is ra el:

     
har mo ny;

 ny; 
el:

        
 us  
 èd  
Is ra el:

   
har mo ny;
 
el:

   
 
ny;

 
 
II


 
el:

     
ny;

 
 
ra el:

  
mo ny;
 
      
  el:


  ny;
Is ra
har mo

  
Choirs VII & VIII Choir VI
 
 
  

 

          
           
   

  
    
  
Pf.
         


       

  
    
45 46 47 48 49
 
                
Choir V 5
             
                        
       
Pf.

      

   
             


       
50 51 52 53 54


10
       
Choir IV Choir III

                   
  
               

     
Pf.

      
   
     

 
      
     
55 56 57 58 59


11
     
 


 
            
          
             
        

          
Pf.
    
     
                

60 61 62 63 64


12
        
            
       num, o  mni a pec  ca 
  ho  ly
et o mni a pec ca ta ho mi et
This is the day, ho ly day, hap py day, this is the day,

         
          
 mni  a    mi  num,   
  py day,
et o pec ca ta ho et o mni

  
This is the day ho ly day, hap this is the

             

 
    ho mi num,  
I

 hap py day,

et o mni a pec ca ta et o mni a


This is the day, ho ly day, this is the day,
         
   
      

et o mni a et o mni a pec ca
This is the day, this is the day, ho ly

       
    
 
 mni a pec ca  ta,
the day, ho ly
et o

 
This is day,
       
        
       num,  
 
et o mni a pec ca ta ho mi et o mni a
This is the day, ho ly day, hap py day, this is the day,

           
 
  
        
 
et o mni a pec ca ta ho mi num, et o mni
This is the day, ho ly day, hap py day, this is the

                 
        num,  
II

 
et o mni a pec ca ta ho mi et o mni

 
This is the day, ho ly day, hap py day, this is the
            
et o  mni  a, et o mni a
This is the day, this is the day,


             


   

et o mni a pec ca
This is the day, ho ly

   
Choirs I & II Tutti
      
 



   
 

   
     

    

   

     
  

 
Pf.
                
 
  
   
 
 
    
  
65 66 67 68 69 70
 
13
    
6

       
 
           
  

 ta ho  mi num, o  mni  a     mi  num
hap  py day,    py  day,
et pec ca ta ho in
day,
  
this
  
is

the day, ho
 ly day, hap For
            
     
pec  ca          ho  mi num
ho  ly day, hap  py day, ho  ly day, hap  py day, ho  ly hap  py day,
a ta ho mi num, pec ca ta ho mi num, pec ca ta in
day, day, For
              
        
 pec   ta     ca    ho  mi num
I

   ly  hap  py day,
ca ho mi num, pec ta ho mi num, in
ho ly
 day,
 hap py day,
 
ho
 
day, hap py day,
  
For
          
    ta   ho  mi num
   hap  py day,
ta ho mi num, pec ca ho mi num, in
  
ho ly day, hap py day,
     
day, hap py day, For
 

       
     ca  ta ho   
   ly day, hap    
ho mi num, et o mni a pec mi num in
  
   
hap py day, this is the day, ho py day, For
             
   mi num, pec  ca   minum, ho mi num,
  ho  ly  py day, hap py day,
pec ca ta ho ta ho in
ho ly day, hap py day, day, hap For
             
   
  ta ho  mi num, pec  ca  ho  mi num
  
 hap  py day, ho  ly
  py day,
a pec ca ta

in

        hap      
day, ho ly day, day,
   
 
For
   
 a   ta ho  mi num, pec  ca  ta    minum
II

 hap  py day, ho  ly   py day,

pec ca ho mi num, ho in
     
day, ho ly
day, day, hap py day, hap For
               
  
  ta ho  mi num, pec  ca  ta ho  mi num,  ca  ho mi num
 day, hap  py day, ho  ly hap  py day,  ly hap py day,
pec ca pec ta in

   
ho day,
    
ho ly day, For
 
  
           
          


    
ta ho mi num, pec ca ta ho mi num in
day, hap py day, ho ly day, hap py day, For
             
[G.P.]
      
          



     
Pf.
         
     

 
 
      

 71 72 73 74

     
14
          
tri  bu  la  ti  o    
e  ver give it     ing,
ne,

   
greet
       
tri  bu  la  ti  o  ne,
e  ver give it ing,
   
   greet   
  
 tri  bu  la  ti o  ne,
I

 ver give it greet  ing, 

        
e

     
  
tri bu la ti o ne,

        
e ver give it greet ing,
 
  
 bu  la  ti  o   ne,
 e  ver give   ing,
tri

   
it greet
        

tri  bu  la  ti  o  ne,
e  ver give it greet  ing,
      
    
tri  bu  la  ti  o  ne,
e ver give it greet ing

      
 
     
 tri  bu la  ti  o    ne,
II

e  ver give it  
              
greet ing,

tri  bu  la  ti  o    ne,
e ver give it  
        
greet ing,


  
tri  bu  la   


e ver give it greet  ing,
ti o ne,

          
Choirs VII & VIII Choirs VI & VI
    
           
 
         
               
 
Pf.
           
 

 


         


     
    


 
75 76 77 78 79
   
7
           
    
          
    ing,
in tri bu la ti o ne di mit


for e ver give it greet Love and
          
         
  
in tri bu la ti o ne di mit

         
for e ver give it greet ing, Love and
             
    ti o  ne     
I

 it greet  ing,
in tri bu la di mit tis, di


 
for e ver

give
   Love and
 
joy,

love
 
         
  
in tri bu la ti o ne di mit


for e ver give it greet ing, Love and

           
 bu  la  ti  o  ne di  mit   
  ver give greet  ing, Love and
in tri

 
for
  
e
 
it
    
      
 bu  la  ti  o   ne di  mit    
    ing,
in tri

  
for e ver give it greet Love and
              
     
tri  bu  la  ti  o  ne  mit  tis,  bu  la  ti 
e  ver give greet  ing,  ver give
in di in tri


for
     
it
  
Love
 
and
  
joy,

for e it

     


tri  bu  la  ti  o   di  mit   di 
II

e  ver give   ing,

in ne tis,
Love and 
 

 
for
   
it
   
greet
     
joy,
 love
      
tri  bu  la  ti  o  ne di  mit  tis, in tri  bu  la  ti  o  ne
e  ver give  ing, for e  ver give
 
in

 

for it greet

Love and joy,
   
it greet ing,


     


 bu  la  ti  o  ne di  mit 
  ing, Love and
in tri

  
Choirs I & II for e ver give it greet
   
                   
   
     
             

Pf.
 
                      
   
  
     
      

80 81 82 83


15
  
   
         
 
 tis, di  mit  tis, di mit    tis.


joy, love and joy, love and joy,
          
tis, di  mit tis, di   mit tis.
              
joy, love and joy, love and joy,
        

 mit  di  mit  di  mit  tis, di  mit  tis.
I

tis, tis,

 
and joy,
 and
love
 joy, love and joy, love and joy,
 
         
tis, di  mit  tis, di  mit     tis.


joy, love and joy, love

and joy,
   

  
  
   
 

di  mit   mit 
 
tis, tis, di tis.

   
joy, love and joy, love and joy,
           
    
tis, di  mit  tis, di  mit  tis, di  mit  tis.
  
joy, love and joy, love and joy, love and joy,
            

    
 di  mit   mit     tis.
 ing,
o ne tis, di

 
greet love and joy, love and joy,
  
              
  mit  tis,

di  mit   di  mit 
II

tis, tis.
   

and joy, love and joy, love and joy,
            
di  mit tis, di  mit   tis, di  mit   tis.

  
 
   
love and joy, love and

joy, love and

joy,
     

     
di  mit  di  mit  tis,  


tis, tis, di mit tis.
joy, love and joy, love and joy, love and joy,

                       

Choirs III & IV Choirs I & II Tutti Choirs V & VI III & IV
  
   

    
  

                
 

   
Pf.
   
                
    
            
    
      
84 85 86 87 88
 
16
 
8
          

   us,  
 ing: 
Do mi ne De Cre a tor

 
heart and voice meet Live Hen ry,
           
  De  us,  
meet  ing:
  
Do mi ne Cre a tor

        
heart and voice Live Hen ry

    
    us,  
I

meet  ing, 
Do mi ne De Cre a tor
  
 
heart and voice Live Hen ry,
     
  
  De  us,  
meet  ing: 
Do mi ne Cre a tor

    
heart and voice Live Hen ry



         
       
 mi  ne De  us, 
a  tor
meet ing: Hen  ry,
Do Cre

  
heart and voice Live
               
   
Do  mi  ne De   us, Cre  a  tor
  ing: Live Hen 
  
heart and voice meet ry
          
  mi  ne De  us,  
II

meet  ing, 
Do Cre a tor

 
 
heart
 
and voice
 
Live Hen

ry,
    
 mi  ne De  us,  
meet  ing: 
Do Cre a tor

    
heart and voice Live Hen ry




VII & VIII III & IV I & II VII & VIII I & II VII & VIII
                 
                

 
     

  

   
        

Pf.
                   
                    

     
   
  

 
   



89 90 91 92 93

 
17

       
 
 
cæ li et ter ræ,

 
prince ly and might y,
       

 
 
 
  y,  
cæ li et ter ræ, et ter ræ,

 

prince ly and might and might y,

      
  
I

  y,
cæ li et ter ræ,

        
prince ly and might

 
 
cæ li et ter ræ,

   
prince ly and might y,



       
      
  ræ,
 ly and might  y,
cæ li et ter

  
prince
       




 

cæ li et ter ræ,

 
prince ly and might y,
       


 
II

 
cæ li et ter ræ,

 
prince ly and might y,
         
 
 
cæ li et ter ræ,

   
prince ly and might y,




I & II VII & VIII V & VI III & IV V & VI III & IV

  



                        
       
               
    
      
Pf.
                 
     

          
94 95 96 97
    

9

   
Cre 
 
Live
        
   
Cre  a  tor,   
live Hen ry,  
Cre a tor cæ

         
live Hen ry prince
  
    li 
I

  ly 
Cre a tor cæ et ter

     
Live Hen ry, prince and might
      
a   li
  ly
Cre tor cæ et

          
live Hen ry prince and

 
   li 
   ly 
Cre a tor cæ et ter

 
Live Hen ry, prince and might
          
Cre  a  tor cæ  li,
Live Hen  ry, prince ly
et

 
and
   
      
Cre  a  tor, Cre  a  tor cæ 
Live Hen  ry,  ry  prince
  
         

live Hen
    
 Cre  a   tor 
II

 prince  
cæ li et

   
Live Hen ry, ly and
      
   li
  ly
Cre a tor cæ et

 
live Hen ry prince and

          
Cre  a   li 


  ly 
tor cæ et ter
Live Hen ry, prince and might
   
V & VI III & IV VII & VIII V & VI I & II V & VI
              
       

             
    

        
     
            
                    
Pf.
     



        
 
  

98 99 100 101

 
18
      
          
 tor  li  Cre  a   
 ry,  ly   
a cæ et ter ræ, tor cæ
Hen prince and might y, Live Hen ry, prince
                
     
li et ter  ræ,  li et ter  ræ, Cre  a  cæ  li,  li et
 
  y,  ly and might  y, live Hen  prince  ly,  ly and
cæ tor cæ

   
ly and might prince
 
ry prince
     
         
  ræ,  li et ter     li et
I

 y,  ly and might    ly and

cæ ræ, Cre a tor cæ


     
prince y, Live Hen ry, prince
              

 cæ  li  Cre  a    li et
 prince  ly and might     
ter ræ, et ter ræ, tor cæ

 
might y, y, live Hen ry princely and
 

       
  cæ  li
   prince  ly and
ræ, Cre a tor et

      
y, live Hen ry,
           

  
  li et ter  ræ, Cre  a   tor cæ 
  ly and might  y,   ry, prince 
ter ræ, cæ
might y, prince Live Hen
      
                  
 ræ, cæ  li et ter  ræ, Cre  a  cæ  li
ly and might  y, prince  ly and might  y,  ry prince  ly
li et ter tor et
   live Hen

and
                  
 ter  ræ,

cæ  li et ter  ræ, Cre  a   tor cæ 
II

might  y, prince  ly and might  y,   ry,

           
Live Hen prince
          
ter  ræ, cæ  li   Cre  a  cæ  li
might  y, prince  ly and might   ry prince  ly and
et ter ræ, tor et


y, live Hen
 

           
Cre  a  cæ  li


 ry, prince  ly and
ræ, tor et
y, live Hen


  
VII & VIII I & II VII & VIII III & IV I & II III & IV I & II
                            
     
           
           
                
              
Pf.

               
  

102 103 104 105
   
10 19
     
             
    
   
li et ter ræ, et ter ræ, re spi ce
ly and might y, and might y, Har ry live

                     
     
    
ter ræ, et ter ræ, et ter ræ, re spi ce
might y, and might y, and might y, Har ry live

                 
 ter  ræ, 
 tor cæ  li et  ræ,  
I

might  y,  ry, prince  ly and  y, 

Cre a ter re spi ce
Live Hen might Har ry live

              

       

 Cre  a  tor cæ  li   
 Live Hen ry prince   
ter ræ, et ter ræ, re spi ce
might y, ly and might y, Har ry live

    
         
       
ter  ræ, Cre  a   tor cæ  li et   
might  y, live Hen  ry, prince  ly and  
ter ræ, re spi ce,

 
might y, Har ry live,


    
         
li et ter  ræ, et ter  ræ,  
ly and might  y, and might  y, 
re spi ce
Har ry live

   
       
        
ter  ræ,  ræ,

might  y,
cæ  li
   spi ce
prince ly 
et ter re
and might y, Har ry live

        
                    
 li et ter  ræ, Cre  a  tor  li et ter  ræ,  
II

 y, Live Hen  ry,  ly and might  y, 

cæ re spi ce
ly and might prince Har ry live

                    

   tor  li et ter  ræ,  
  ry prince  ly and might  y, 
ter ræ, Cre a cæ re spi ce
might y, live Hen Har ry live

       
         
    


ter  ræ,   cæ  li  ræ,  
might  y,  prince  ly  y, 
Cre a tor et ter re spi ce
live Hen ry and might Har ry live

       
III & IV [G.P.] Tutti Choirs V & VI
       
                         

    
  
     

 
Pf.

                              

                

 
106 107 108 109 110


20
 
Choirs III & IV
            
           
               


 

                     
Pf.

                
            

111 112 113 114 115

  

11
             
 
          
        
hu mi li ta tem no


in thy cre a tion hap
  
              
hu  mi  li  ta  hu  mi  li  ta  tem no  stram,
cre  a 
 in  thy cre  a  tion hap  py,
tem,

 
in thy tion,

        



hu  mi  li  ta      no 
I

 a     
tem

 

in thy

cre
 
tion hap
  
hu  mi  li  ta  
cre  a  
tem no

    
in thy tion hap



       
    
   
    
 mi  li  ta  tem,        no 
cre  a  tion,      hap 
hu hu mi li ta tem

    
in thy in thy cre a tion
           
   



hu  mi  li  ta     tem  stram, no 
 

cre  a     tion  py,    py,
no no stram,

in thy hap hap
      
hap

           
  mi  li  ta      tem      
II

cre  a
          tion      
hu no
in

thy
 
hap
           
       stram,  
     py,  
hu mi li ta tem no no stram,

 
in thy cre a tion hap hap py,
      

        

        stram,   


      py,   
hu mi li ta tem no no
in thy cre a tion hap hap

         
Choirs I & II
           
       
 
                
         

                           
           
Pf.

          
       

 116 21 117 118 119 120

             
 
       
   
stram, re spi ce, re spi ce hu mi li


py, Har ry live, Har ry live in thy cre
      
  
      ta 
   a 
re spi ce hu mi li
Har ry
 
live

in

thy
  cre
  
            
  stram,          ta  tem 
I

 py,      a  tion
re spi ce hu mi li no

    
Har ry live in thy cre

hap

         
  spi  ce  mi  li  ta 
  ry  a 
stram, re hu tem

   
py, Har live in thy cre tion
 

    
   hu  mi  li  ta 
    cre  a 
re spi ce

    
Har ry live in thy
 
  
 
stram, re spi ce


py, Har ry live
           
 
      li 
    cre 
stram, re spi ce hu mi

      
py, Har ry live in thy
         

 stram,       ta   
II

  a    
re spi ce hu mi li tem no stram,

 
py, Har ry live in thy cre tion hap py,
            
    mi  li    
  thy cre    
re spi ce hu ta tem no

Har ry live in a tion hap
   
       
       


     
stram, re spi ce hu mi li ta
py, Har ry live in thy cre a

           
[G.P.] Tutti

 
   
 
  
          
    
Pf.    
 
    
      
          

  
     
121 122 123 124 125
  
12 22
       
         
 tem    mi  li  ta  
 tion   cre a  
ta no stram, hu tem
a hap py, in thy tion

            
     
   
     
re  spi  ce hu  mi  li  ta  tem,
     Har ry cre a  tion,
tem no stram, no stram,

 
tion hap py, hap py,
   
live in thy
           

 
   li  ta     stram,  stram, 
I

 py, cre a     py,  py, 

stram, hu mi tem no no no

    
in thy tion hap hap hap
      
             
   
   spi  ce  mi  li  ta  tem no stram,  stram,  stram,
   ry live cre a  tion hap py,  py,  py,
no stram, re hu no no

  
Har in thy hap hap

hap py,
     
           
         
      

tem, hu mi li ta tem no stram, no stram, re spi

   
tion, in thy cre a tion hap py, hap py, Har ry
     
                
hu  mi  li  ta hu  mi  li  ta  tem,
 tem, cre a  tion,
  li  ta  
cre a  tion, cre a  
hu mi tem no
in thy
   

in thy in thy tion hap

               
     
 ta  tem   spi  ce  
     ry live,  
no stram, re no stram,

       
a tion hap py, Har hap py,
                     


re  spi  ce hu mi  li  ta   stram, no  stram,  spi  
II

Har  ry in thy cre a   py, hap  py,  ry

tem no re ce hu
    
    
live tion hap Har live in
            
       

re  spi     ta     
Har  ry live in cre  a  tion  py,  
stram, ce hu mi li tem no stram, no stram, re spi

   
thy hap hap py, Har ry
     
py,

             



 tem    stram,      ta  tem
 tion    py,   a  tion
no re spi ce hu mi li
hap Har ry live in thy cre
                     
      
  
 
   




            
Pf.
        
                  
      
 126

127 128
23 129 130

           
       
 
   
   spi     ta 
   ry a 
no stram, no stram, re ce hu mi li tem


hap py, hap py, Har live in thy cre tion

         
 
  
   
 mi  li  ta tem     spi  ce

thy cre  a tion   
hu no stram, re


in
  
hap

py,
 
Har
 
ry live

      
 stram,  stram, re  spi  ce     
I

 py,  ry   
no hu mi li ta tem


py, hap Har live in thy cre a tion
     
           
       ta  tem 
  a  tion 
re spi ce hu mi li no stram,

 
Har ry live in thy cre hap py,
       

      
      spi  ce
     ry
ce hu mi li ta tem, re


live in thy cre a tion, live Har

          
     
 
 ta  tem  stram,  mi  li  ta  tem,
 a  tion  py, thy cre  a  tion,
stram, hu mi li no hu

py, in thy cre hap in
   

    

           
no stram,  mi  li  ta  tem    hu  mi  li  ta 
hap py, cre  a  tion    cre a 
hu no stram, tem

 
in thy hap py,
     
in thy 
tion
           
  mi  li  ta     stram, hu  mi  li  ta  tem, 
II

cre  a     py, in thy cre  a  tion, 

tem no hu
   
thy tion hap in
             

   ta  no  stram,   spi ce hu 
a  hap  py, 
ce hu mi li tem re
live in thy cre tion Har ry live in
     

         
 


        tem   stram,
     tion   py,
no stram, re spi ce hu mi li ta no
hap py, Har ry live in thy cre a hap
             
 
                   

       
Pf.
           
          
131 132 133 134
      
13
      
 
     
     
no stram, no stram.
hap py, hap py.

   
     
        
   
     
hu mi li ta tem no stram.
in
 
thy cre
 
a tion hap py. 
          
   
I

   py,  
no stram, no stram, no stram.
  
hap py, hap hap py.
                
  
       ta     
 a     
re spi ce hu mi li tem no stram.

 
Har

ry live

in

thy
  
cre tion hap py.

   
     
    
hu mi li ta tem no stram.
in thy cre a
 
tion 
hap py.
  
          
 

   ta  
 a    
hu mi li tem no stram, no stram, no stram.
hap py, hap py.

in thy cre tion hap py,
 
      
          

        
   py,       
no stram, no stram, no stram.
  hap  
hap py, hap py. 
       

 mi  li  ta         
II

cre  a         
tem no stram.
thy tion hap py.

       

     
  
      
   
hap 
mi li ta tem no stram, no stram.

 
thy cre a
 
tion

hap

py,
 
py.
  
  


     ta  tem     
  a  tion     
re spi ce hu mi li no stram.
Har ry live in thy cre hap py.
             
            
 
                   

Pf.

 
 
     
 
   

     
 

135 136 137 138
Bibliography and sources c'. This error was only noticed by the editor as late as February 2008.

Egerton MS 3512, British Library, ca 1603–10, Text: Sing and glorify; The two manuscripts have more substantial differences concerning
incorrectly described by Thomas Tudway, 1718, as “ye original score the bass and tenor parts of choirs VI and VII. In the Gresham MS, the
of Mr. Tallis’s 40 parts Anthem.” tenor parts of choirs VI and VII have been entirely swapped begin-
Gresham MS, Guildhall Library G. Mus. 420, ca 1625, Text: Sing and ning at bar 122 and continuing to the end, with respect to Egerton. The
glorify situation regarding the bass parts of the same two choirs is rather more
Royal Music MS. 4 g. I, British Library, ca 1800, Text: Spem in alium complicated, as the parts are not interchanged for their entire duration.
Thomas Wateridge, Commonplace Book. Manuscript Department, At the foot of the first folio of the Egerton MS, a note explains that
Cambridge University Library, MS.Dd.5.14, fol. 73v. parts 30 and 35 (the numbering given to these two bass parts) have
Rev. H. Fleetwood Sheppard, “Tallis and His Song of Forty Parts.” been somewhat confused: “The figuring of the 35 must be for the 30,
Letter to The Musical Times 19, nº 420 (February 1878): 97–98. but its was mistaking the figures” (sic). The first phrases of each part,
A.H. Mann, Preface to Thomas Tallis, Motet for 40 Voices. London: from bar 28 to bar 33, are swapped; the next short phrase in the bass
Weekes, 1888. of choir VII from bar 37 to 39 is however not transferred to choir VI.
Tudor Church Music VI, editorial committee P.C. Buck, A. Ramsboth- The next two sections, from bar 40 to bar 56, and from bar 69 to bar
am, E.H. Fellowes, S. Townsend Warner. London: Oxford University 77, are swapped entirely. At bar 78 the first note in choir VI is in the
Press for the Carnegie United Kingdom Trust, 1928: xxxiii, 299–318. other score doubled to a semibreve and transferred to choir VII, the
Bertram Schofield, “The Manuscripts of Tallis’s Forty-Part Motet.” remainder of the line continuing in choir VI after one minim’s rest.
Musical Quarterly 37, nº 2 (April 1951): 176–83. The short two bar entry at bars 86 and 87 are swapped, and thereafter
Philip Brett, Preface to Thomas Tallis, Spem in alium nunquam habui: in the 20-bar section involving pairs of choirs answering one another
A Motet in Forty Parts. Oxford: Oxford University Press, 1966. Re- the parts are not exchanged, as choirs VI and VII are not grouped with
vised from the plates of the publication in Tudor Church Music 6 (see one another in this passage. After this, the new sections beginning at
above). bars 108 and 122 are once again swapped between the basses of choirs
Pamela J. Willetts, “Musical Connections of Thomas Myriell.” Music VI and VII in their entirety.
& Letters 49, nº 1 (January 1968): 36–42.
Iain Fenlon and Hugh Keyte, “Memorialls of Great Skill: A Tale of Aside from this there are a variety of other minor differences: in this
Five Cities.” Early Music 8, nº 3 (July 1980): 329–34. summary, the following abbreviations hold: br = breve, sb = semi-
Elizabeth Roche, “Tallis’s 40-Part Motet.” Letter to The Musical Times breve, m = minim, cr = crotchet; q = quaver; full stop = dotted note;
122, nº 1656 (February 1981): 85. pitches are indicated using C, c, c', c" notation standard, middle c'
Denis Stevens, “A songe of fortie partes, Made by Mr. Tallys.” Early denoted as given.
Music 10, nº 2 (April 1982): 177–81.
John Milsom, “English Polyphonic Style in Transition: A Study of the Choir I: 21·Is·3 f#; 24·Ibass·4 br, not sb: tied sb required at start of bar
Sacred Music of Thomas Tallis.” DPhil thesis, University of Oxford, 25; 83·It·6 ficta # above c'; 106·Ia·5&6 cr g' cr c', not m g'; 122·Ibar·2
1983: i, 190. ficta # above f; 125·Is m-rest sb cr cr, not m-rest m m m; 128·Ia·3
Ian Payne, “The Handwriting of John Ward.” Music & Letters 65, nº 2 explicit, not cautionary flat
(April 1984): 176–88.
Hugh Keyte, Sleeve notes for Thomas Tallis, “Spem in alium”, Tallis Choir II: 12·IIbass·3 tied to 13·1; 22·IIs·2&3 cr g' cr g', not m g';
Latin Church Music I. Compact Disc EMI CDC 7 49555-2, 1989: 24·IIs·7 no tie to 25·1; 25·IIs·1 = cr. f''; 25·IIs·2 = q c''; 45·IIbar·3 ficta
9–12 # above f; 86·IIt·5 tied to 87·1 = cr a, not cr rest; 126·IIt·4 explicit, not
Paul van Nevel, Sleeve notes for Thomas Tallis, “Spem in alium”, cautionary flat; 130·IIa·4 no cautionary flat; 130·IIa·7 ficta # above f';
Utopia Triumphans, translated by Griffin Anderson. Compact Disc 136·IIa·4 ficta # above f'
Sony SK 66 261, 1995: 17–18
Davitt Moroney, “Alessandro Striggio’s Mass in Forty and Sixty Choir III: 37·IIIbar·4 e, not a; 104·IIIt·3 ficta # above c'; 126·IIIt·5
Parts.” Journal of the American Musicological Society 60, nº 1 (2007): explicit, not cautionary flat; 136·IIIbass·1 tied to 137·1
1–70.
Choir IV: 19·IVa·4 m tied to 20·1, not 2 cr; 25·IVt·4 explicit, not
cautionary flat; 116·IVa·6 not tied to 117·1; 129·IVs·3 explicit, not
Commentary cautionary flat; 129·IVbar·1 s, not dotted s.

As Brett’s 1966 edition of Spem in alium for Oxford University Press Choir V: 26·Vt·3 cautionary, not explicit flat; 27·Vt·3 no accidental,
differed from the Tudor Church Music version of 1928 by having q b; 81·Vbar·3 m f, not cr cr; 86·Vt·3&4 cr. f' q e', not m f'; 122·Vt·7
access to the previously unavailable Egerton MS, he removed various ficta # above f'; 123·Vs·3 ficta # above f''; 123·Va·3 ficta # above f';
instances of ficta (accidentals) appearing in the Gresham MS that 128·Vs·6 explicit, not cautionary flat; 136·Vbar·5 ficta # above f
were not present in the earlier Egerton MS 3512, which he sum-
marised as affecting the following notes: bar 35 · choir VIII soprano Choir VI: 29·VIs·5 g', not a'; 29·VIt·4 tied to 30·1; 34·VIa·4 ficta
voice · symbol 4; 36·VIIIs·1; 98·Va·5; 105·IIa·3; 129·IVt·1. This is not # above g'; 44·VIa·8 ficta # above f'; 45·VIs·2 cr tied to m, not m.;
however the end of the story, as the following accidentals, also occur- 70·VIs·3 tied to 71·1; 72·VIs·2&3 = cr cr, not cr. q; 78·VIs·2 m,
ring in Gresham but not in Egerton, were left to stand: 8·It·4; 12·Ia·2; not cr cr; 78·VIa·5&6 cr. q, not cr cr; 78·VIbass·1 m g, not m rest;
16·IIIt·3; 20·IVa·2; 22·IVt·2; 26·Vt·3; 33·Va·2; 37·IIIa·4; 49·VIIIa·5; 80·VIbass·9 not tied to 81·1; 128·VIt·3 explicit, not cautionary flat;
49·VIIIt·7; 61·IVa·2; 61·IIIt·3; 64·IVa·6 & 8; 77·VIIa·5; 80·VIa·4; 128·VIbar·2 b flat sign required; 132·VIbar·6 not tied to 133·1
83·IIs·4; 85·IIa·5; 86·Ia·3; 98·IVs·6; 99·VIIt·3; 104·Is·4; 104·IIIt·3;
108·IVs·5. Moreover, Brett removed some instances of ficta that Choir VII: 40·VIIa·1 explicit, not cautionary flat; 77·VIIa·5 f', no #;
were the provenance of the Tudor Church Music editorial committee, 78·VIIbass = bar rest; 87·VIIbass·3 A, not G; 123·VIIs·3 ficta # above
besides adding his own in places. f''; 123·VIIt·4 m g, not cr g cr rest; 126·VIIs·5 explicit, not cautionary
flat; 129·VIIt·5 = cr rest, not cr d'; 129·VIIbar·6 d', not d
Emendations to both Gresham and Egerton MSs are as follows:
58·IVt·2 is originally d', corrected to c'; 134·VIIIs·2 is originally a', Choir VIII: 39·VIIIbar·2 explicit, not cautionary flat; 40·VIIIa·2 b, not
corrected to g'. Three definite errata have been found in Philip Brett’s g; 49·VIIIa·5 ficta # above f'; 49·VIIIt·7 ficta # above c'; 78·VIIIbass·1
edition: 106·Ia·5 = minim; 124·Vbass·1, semibreve rest missing after B, not G; 129·VIIIa·4 explicit, not cautionary flat
this note; lastly, it is clear that at 75·IIa·7, the printed d', also present in
the earlier Tudor Church Music edition, should have been corrected to Finally, 138·all parts·1: each part has a fermata on the final note.