117 fols. Italian lute tablature, harp (or organ) tablature, and staff notation. Nos. 17-22 are for solo four-course guitar, and nos. 49-75 are for vihuela and voice, written partly in ciphers in the tablature (nos. 49-50) and partly in staff notation (nos. 51-75). No. 76 is for solo harp or organ. All the other compositions are for solo vihuela., On fol. *1v: dedication headed “Epistola al muy magnifico señor Don Luys Çapata.” On fol. *2: table of contents for Book I. On fols. *2-*3: instructions for learning the tablature and the rudiments of music, headed “De como se an de entender estos libros.” On fol. *4v: cut of the god Mercury playing on a lute-like instrument made from a tortoise shell; beneath the cut: two lines from Horace. Fol. *5 = fol. 1. Each of the three books has its own title page (reproduced below) and on the verso its own table of contents. On fol. 58 of Book III: cut of the prophet Elijah praying on the mountainside; in the distance a man singing and playing the vihuela, with the legend: “Cumque caneret Psaltes, facta est / Super eum manus domini.” On fol. 58v of Book III: printer’s mark with the motto “Ex bello pax; ex pace concordia; ex concordia musica constat.” On fol. 59-59v: author’s corrections. On fol. 60: a note explaining that Mudarra includes one example of a new tablature for harp or organ (“una nueva manera de cifras para Harpa y Organo”). On fol. 60v: a cut of King David playing the harp with a Latin inscription beneath. On fol. 61: a tiento in the new tablature. On fol. 61v: the same printer’s mark as on fol. 58v, followed by the colophon: “Acabose la presente obra en la muy noble y leal Ciudad de Sevilla por Juan de Leon impressor a sancta Marina en la calle real a siete dias del mes de Deziembre. 154[6].” MME 7 is a modern edition of the entire collection. For further information, see BrownM 1965.
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