Mace complete without incipits

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Entries 1 to 109 of 109 entries (109 pieces) in 1 of 1 sources are shown.

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Type		Download explanation as PDF (Explanation of the Filters) Important: All filters can be combined. Currently the fields can only be erased manually by emptying them and clicking on Filter... once. Composer: You can search for every string inside of the field for composer (case-sensitive). Incipit search: You can search incipits to find concordances or similarities. For this abctab2ps code is used, but with all ornaments filtered out (cf: http://www.lautengesellschaft.de/cdmm/userguide/node8.html). It is enough to notate the highest notes. To mark the next note, you should use a space. For example you will find the famous Bourree of Weiss, if you inpute \| ,a e. Adding a further space between the notes adds a placeholder exactly at this place. With x1, x2 etc. you have the possibility to add variable placeholders (one, two etc.).y Bars can be added with \| to increase the accuracy of the search, but with the disadvantage, that the bars then aren't filtered out. Instruments: Here you can filter the instruments, that are in the database (lowercase means all connected mss, including concordances, uppercase all mss with notated music of this instrument). But always the whole source will be shown: Baroque lute = bl/BL Renaissance lute = rl/RL Angelique = ang/ANG Baroque guitar = bg/BG Cittern = CT Mandora = ma/MA Theorbo = TH Other plucking instruments = VS Accord Nouveaux = ACN Ensemble = EN Key: Major keys use upper case and minor keys lower case, that can be followed by b or # (e.g. f# for f sharp minor or Eb for E flat Major). Unfortunately, as some keys have historically different denotations (e.g. D# and Eb), at the moment possibly not all entries will be found. Furthermore it is possible in the meantime to filter herewith prints (= Print) or used type of tablature: French Tablature = FTab, Italian Tablature = ITab, German Tablature = DTab. Signature: The searching always starts with the beginning of the signature and refers to all sources (case-sensitive). Only the short signatures are used. You can search for all sources in one land (e.g. A for Austria or US for the United States) or for libraries (A-KR = Kremsmünster). Title: You can search for every string in the title of movements (case-insensitive).
Instruments	Title	Incipit search
Signature	Composer	Key

Thomas Mace
Musick's Monument, London, 1676
Source online
Mace has 109 entries

List of sources with concordances to Mace
(2 pieces have 22 concordances)

Alphabetical

Internal conc. = 2
D-B4230 = 2
F-Pcnrs = 1
F-Pn823 = 2
F-Pn1110 = 2
F-PnVmf51 = 2
GB-Balcarres = 2
GB-En9452 = 1
GB-EnDep314 = 1
GB-LbmBotnia = 2
GB-LbmSloane = 2
GB-ObE411 = 1
RF-SPanON124 = 2

According to the amount of concordances

Internal conc. = 2
D-B4230 = 2
F-Pn823 = 2
F-Pn1110 = 2
F-PnVmf51 = 2
GB-Balcarres = 2
GB-LbmBotnia = 2
GB-LbmSloane = 2
RF-SPanON124 = 2
F-Pcnrs = 1
GB-En9452 = 1
GB-EnDep314 = 1
GB-ObE411 = 1

1	1st lesson - Preludium for the Hand in C-fa-ut-Key (Thomas Mace) B flat Major (6g) - Mace / 88

2	The 2d. Praelude, in D-sol-re (Thomas Mace) c minor (6g) - Mace / 91

3	The Third Praelude, in E-la-mi (Thomas Mace) d minor (6g) - Mace / 93

4	The 4th Praelude for Fingering, in E-la-mi-Key (Thomas Mace) E flat Major (6g) - Mace / 94

5	The 5th Praelude for Fingering, in Gam-ut-Key (Thomas Mace) F Major (6g) - Mace / 95

6	The Sixth Praelude in A-re-Key, for the Fingering (Thomas Mace) g minor (6g) - Mace / 97

7	The 7th Praelude, for Fingering (Thomas Mace) a minor (6g) - Mace / 98

8	Example in D sol re Key (Thomas Mace) c minor (6g) - Mace / 114

9	Example in E la mi Key (Thomas Mace) d minor (6g) - Mace / 114

10	Example in F fa ut Key (Thomas Mace) E flat Major (6g) - Mace / 114

11	Example in Gam ut Key (Thomas Mace) F Major (6g) - Mace / 114

12	Example in B mi Key (Thomas Mace) a minor (6g) - Mace / 114

13	The First Praelude beginning in that Key C fa ut (Thomas Mace) B flat Major (6g) - Mace / 115

14	The 2nd Praelude in the 10th. above the Key (Thomas Mace) B flat Major (6g) - Mace / 116

15	The Third Praelude in the Fifth (Thomas Mace) B flat Major (6g) - Mace / 119

16	The 4th Praelude in the Eighth above (Thomas Mace) B flat Major (6g) - Mace / 119

17	Here begins the First Praelude of the 8 Suits of Lessons (Thomas Mace) B flat Major (6g) - Mace / 120

18	The First Lesson of the First Sett, called the Author's Mistress (Thomas Mace) B flat Major (6g) - Mace / 121

19	The 2nd Lesson of the first Sett, Named the Off-spring (or Part of My Mistress) (Thomas Mace) B flat Major (6g) - Mace / 125

20	The 3d Lesson of the 1st. Sett, named the Cozen-German (Thomas Mace) B flat Major (6g) - Mace / 126

21	The 4th. Lesson of the 1st. Sett, being a Coranto (F.Dufault, CLFDuf, N°115) B flat Major (6g) - Mace / 130
	*Conc_845* 1. F-Pcnrs / 41v \| 2. GB-En9452 / 37v \| 3. GB-EnDep314 / 31r \| 4. GB-ObE411 / 73v(2) see Mace / 130
22	The 5th. Lesson of the 1st. Sett, being a Coranto but call'd I like my Humour well (Thomas Mace) B flat Major (6g) - Mace / 131

23	The 5th. Lesson of the 1st. Sett, being a Coranto (Thomas Mace) B flat Major (6g) - Mace / 132

24	The 7th. Lesson, and Conclusion of This 1st. Sett (Thomas Mace) B flat Major (6g) - Mace / 133

25	Interlude 1st (Thomas Mace) B dur / Es dur (6g) - Mace / 136

26	Interlude 2nd (Thomas Mace) B dur / Es dur (6g) - Mace / 136

27	Interlude 3rd (Thomas Mace) B dur / Es dur (6g) - Mace / 137

28	Interlude 4th (Thomas Mace) B dur / Es dur (6g) - Mace / 137

29	Interlude 5th (Thomas Mace) B dur / Es dur (6g) - Mace / 137

30	Interlude 6th (Thomas Mace) B dur / Es dur (6g) - Mace / 137

31	The 2d. Sett of Lessons, in F fa ut Key, being a Praelude (Thomas Mace) E flat Major (6g) - Mace / 139

32	The 2d. Lesson of the 2d. Sett, being an Allmaine (Thomas Mace) E flat Major (6g) - Mace / 140

33	The 3d. being an Ayre (Thomas Mace) E flat Major (6g) - Mace / 140

34	The 4th. being an Ayre (Thomas Mace) E flat Major (6g) - Mace / 141

35	The 5th. Lesson, being a Coranto (Thomas Mace) E flat Major (6g) - Mace / 141

36	The 6th. Lesson of the 2d. Sett, being a Tattle de Moy (Thomas Mace) E flat Major (6g) - Mace / 142

37	Interlude 1st (Thomas Mace) Es dur / g moll (6g) - Mace / 143

38	Interlude 2nd (Thomas Mace) Es dur / g moll (6g) - Mace / 143

39	Interlude 3rd (Thomas Mace) Es dur / g moll (6g) - Mace / 144

40	Interlude 4th (Thomas Mace) Es dur / g moll (6g) - Mace / 144

41	Interlude 4th (Thomas Mace) Es dur / g moll (6g) - Mace / 144

42	Interlude 6th (Thomas Mace) Es dur / g moll (6g) - Mace / 145

43	The 3rd. Sett of Lessons, in A re Key; Prelude 1 (Thomas Mace) g minor (6g) - Mace / 146

44	The 2d. Lesson of the 3d. Sett, being an Allmaine (Thomas Mace) g minor (6g) - Mace / 147

45	The 3d. Lesson in the 3d. Sett being a Coranto (Thomas Mace) g minor (6g) - Mace / 148

46	The 4th Lesson of the 3d Sett, being a Galliard-shape (The Penitent) (Thomas Mace) g minor (6g) - Mace / 149

47	The 5th Lesson of the 3d. Sett, called Hab-Nab (Thomas Mace) g minor (6g) - Mace / 150

48	The 6th. Lesson of the 3d. Sett (Thomas Mace) g minor (6g) - Mace / 152

49	The 7th. Lesson of the 3d. Sett (Thomas Mace) g minor (6g) - Mace / 153

50	Interlude 1st (Thomas Mace) g moll / c moll (6g) - Mace / 154

51	Interlude 2nd (Thomas Mace) g moll / c moll (6g) - Mace / 154

52	Interlude 3rd (Thomas Mace) g moll / c moll (6g) - Mace / 154

53	Interlude 4th (Thomas Mace) g moll / c moll (6g) - Mace / 154

54	Interlude 5th (Thomas Mace) g moll / c moll (6g) - Mace / 155

55	Interlude 6th (Thomas Mace) g moll / c moll (6g) - Mace / 155

56	The 4th. Sett in D sol re Key. The 1st. Is a Preludium (Thomas Mace) c minor (6g) - Mace / 156

57	2nd. Allmaine (Thomas Mace) c minor (6g) - Mace / 157

58	3rd. Galliard (Thomas Mace) c minor (6g) - Mace / 157

59	4th. Coranto (Thomas Mace) c minor (6g) - Mace / 158

60	5th. Coranto (Thomas Mace) c minor (6g) - Mace / 158

61	6th. Seraband (Thomas Mace) c minor (6g) - Mace / 159

62	7th. Tattle de Moy (Thomas Mace) c minor (6g) - Mace / 160

63	Interlude 1st (Thomas Mace) c moll / F dur (6g) - Mace / 161

64	Interlude 2nd (Thomas Mace) c moll / F dur (6g) - Mace / 161

65	Interlude 3rd (Thomas Mace) c moll / F dur (6g) - Mace / 161

66	Interlude 4th (Thomas Mace) c moll / F dur (6g) - Mace / 162

67	Interlude 5th (Thomas Mace) c moll / F dur (6g) - Mace / 162

68	Interlude 6th (Thomas Mace) c moll / F dur (6g) - Mace / 162

69	The 1st. Lesson of the 5th. Sett - Praelude (Thomas Mace) F Major (6g) - Mace / 163

70	2nd. Allmaine (Thomas Mace) F Major (6g) - Mace / 164

71	3rd. Ayre (Thomas Mace) F Major (6g) - Mace / 165

72	4th. Coranto (Thomas Mace) F Major (6g) - Mace / 165

73	5th. Seraband (Thomas Mace) F Major (6g) - Mace / 166

74	6th. Tattle de Moy (Thomas Mace) F Major (6g) - Mace / 166

75	Interlude 1st (Thomas Mace) F dur / d moll (6h) - Mace / 167

76	Interlude 2nd (Thomas Mace) F dur / d moll (6h) - Mace / 167

77	Interlude 3rd (Thomas Mace) F dur / d moll (6h) - Mace / 167

78	Interlude 4th (Thomas Mace) F dur / d moll (6h) - Mace / 168

79	Interlude 5th (Thomas Mace) F dur / d moll (6h) - Mace / 168

80	Interlude 6th (Thomas Mace) F dur / d moll (6h) - Mace / 168

81	The 6th. Sett, the 1st a Praelude (Thomas Mace) d minor (6h) - Mace / 169

82	2d. Allmaine (Thomas Mace) d minor (6h) - Mace / 170

83	3rd. Ayre (Thomas Mace) d minor (6h) - Mace / 170

84	4th. Galliard (Thomas Mace) d minor (6h) - Mace / 171

85	5th. Seraband (Thomas Mace) d minor (6h) - Mace / 172

86	6th. Tattle de Moy (Thomas Mace) d minor (6h) - Mace / 172

87	Interlude 1st (Thomas Mace) d moll / a moll (6h) - Mace / 173

88	Interlude 2nd (Thomas Mace) d moll / a moll (6h) - Mace / 174

89	Interlude 3rd (Thomas Mace) d moll / a moll (6h) - Mace / 174

90	Interlude 4th (Thomas Mace) d moll / a moll (6h) - Mace / 174

91	Interlude 5th (Thomas Mace) d moll / a moll (6h) - Mace / 175

92	Interlude 6th (Thomas Mace) d moll / a moll (6h) - Mace / 175

93	The 7th. Sett - Praelude (Thomas Mace) a minor (6j) - Mace / 176

94	2d. Allmaine (Thomas Mace) a minor (6j) - Mace / 177

95	3d. Allmaine (Thomas Mace) a minor (6j) - Mace / 178

96	4th. Coranto (Thomas Mace) a minor (6j) - Mace / 178

97	5th. Ayre (Thomas Mace) a minor (6j) - Mace / 179

98	6th. Ringing, or Bell-Galliard (Thomas Mace) a minor (6j) - Mace / 180

99	7th. Seraband (Thomas Mace) a minor (6j) - Mace / 180

100	8th. Tattle de Moy (Thomas Mace) a minor (6j) - Mace / 181

101	Sett of Lessons in the New Tuning - 1st. Praelude (Thomas Mace) d minor - Mace / 182

102	2nd. Allmaine (Thomas Mace) d minor - Mace / 182

103	3rd. Ayre (Thomas Mace) d minor - Mace / 183

104	4th. Coranto (Thomas Mace) d minor - Mace / 184

105	5th. Seraband (Thomas Mace) d minor - Mace / 185

106	6th. Tattle de Moy (Thomas Mace) d minor - Mace / 185

107	Sarabande (J.Mercure, CLFMer II, N°16) d minor - Mace / 188
	*Conc_1768* 1. F-Pn823 / 22v (#18) \| 2. F-Pn1110 / 2r (#1) \| 3. F-PnVmf51 / #1 \| 4. GB-Balcarres / 82 (1) \| 5. GB-LbmBotnia / 98v \| 6. GB-LbmSloane / 113v \| 7. Mace / 189 (flat tuning) \| 8. RF-SPanON124 / 53r (#96) Contrepartie: Conc_4246: 1. D-B4230 / 23v
108	Sarabande (J.Mercure, CLFMer II, N°16) d minor (6g) - Mace / 189
	*Conc_1768* 1. F-Pn823 / 22v (#18) \| 2. F-Pn1110 / 2r (#1) \| 3. F-PnVmf51 / #1 \| 4. GB-Balcarres / 82 (1) \| 5. GB-LbmBotnia / 98v \| 6. GB-LbmSloane / 113v \| 7. Mace / 188 \| 8. RF-SPanON124 / 53r (#96) Contrepartie: Conc_4246: 1. D-B4230 / 23v
109	The Nightingall (Thomas Mace) B flat Major (6g) - Mace / 201

Music for Lute Instruments
A Database by Peter Steur and Markus Lutz

<< Mace >>
<< Browse entries >>

Thomas Mace
Musick's Monument, London, 1676
Source online
Mace has 109 entries

<< Browse entries >>
<< Mace >>

Music for Lute InstrumentsA Database by Peter Steur and Markus Lutz

<< Mace >> << Browse entries >>

Thomas MaceMusick's Monument, London, 1676 Source onlineMace has 109 entries

<< Browse entries >> << Mace >>

Music for Lute Instruments
A Database by Peter Steur and Markus Lutz

<< Mace >>
<< Browse entries >>

Thomas Mace
Musick's Monument, London, 1676
Source online
Mace has 109 entries

<< Browse entries >>
<< Mace >>