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Welcome to the Lochac Virtual Songbook! This undertaking was commissioned by His Occidental Majesty Fabian King of the West in AS XXXV, and was prepared by Master

Dafydd of the Glens with assistance of too many singers and musicians to relate, but thanks are due especially to Hey Nonny-Nonnymous in the Barony of St Florians. You

guys rock!

Table of Contents

Somer Is Ycumen In 3 Emmanuel 33

Lo! How A Rose 4 Pastime 36

Dona Nobis Pacem 5 Of All The Birds 38

Hey Ho 6 Gaudete 41

Fi Maris 7 The Boar's Head Carol 42

Ther Is No Rose 9 The King 44

Stella Splendens 11 Wild Mountain Thyme 45

Agincourt Carol 13 Weep O Mine Eyes 48

Ave Vera Virginitas 16 April Is In My Mistress' Face 51

Mille Regretz 20 Las! Je Me Plain 56

Change Then For Lo! 22 Contrapunto Bestiale Alla Mente 59

Pase El Agoa 23 Alack! My Heart Is Sore With Pain 63

In Dulci Jubilo 24 Deo Gratias 66

Ju Me Leve 25 If Ye Love Me 68

Innsbruck 27 Laudate 71

Come Again 30 Sicut Cervus 73

Part-Singing in the SCA

During the so-called Renaissance part-singing ceased merely to be the province of

professionals and became a necessary part of courtly life, in which as many people as

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possible were expected to join. In Lochac, we have always felt that no feast is complete

without part-singing: be it madrigals, part-songs, rounds or all of the above. If your group is newly embarking on this endeavour, we offer the following general

suggestions:

Please rehearse properly beforehand.

If you have more than four voices, appoint a conductor and do what he or she says.

Listen to each other! It is better to sing softly and blend than to sing can belto.*

Try to count. It doesn't matter if you sing out of tune occasionally, but you must

finish together. If you get lost, keep calm and pick it up at your next entry.

Try to sing phrases rather than notes. The words should make sense, if possible.

A good musical bracket is usually three songs at most. We suggest one moving piece, one bouncy piece and one comic piece if you can come up with one. (Comic

pieces are very easy. Just filk a well-known part-song or madrigal and go for it. It works for me.)

Instruments: If you have people who can play along, go for it. Recorders are good, especially the alto and tenor. Guitars are OK for some Renaissance part-

songs, but should never be allowed in the same Barony as any medieval piece, any madrigal or any motet. Please don't! It will sound uniquely horrible. We have,

by contrast,inflicted a baritone sax on the Barony of Stormhold in a large

polychoral work (by Praetorius). Nobody minded and it worked well because it suited the music. Just be careful, that's all. Best of luck!

* Like bel canto, only far, far more horrible.

Copyright Notice: these editions remain the intellectual property of David Greagg and all rights are reserved. This music may however be reproduced at will within the Society

for Creative Anachronisms (Inc) worldwide, and within Australia by members of the AIVCC and its affiliated University choral societies.

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