Secular Music in Tudor Times 

    Church music was not the only kind that flourished in this period.  So many composers wrote madrigals (see p. 63) that it is only possible to name a few, such as Morley, Weelkes, Wilbye, Gibbons and Byrd.  Morley edited a famous collection by a number of composers called 'The Triumphs of Oriana'.  It used to be thought they were dedicated to Queen Elizabeth; and each one praised her with words such as "Long live fair Oriana ". But she died just before they were published.  However, some authorities now say that they were intended for Anne of Denmark, and not for Elizabeth at all.  Madrigal singing was a very popular pursuit in the homes of the educated.  Each singer was expected to read his or her part at sight.  They often sat round a table, each with his own part in front of him.  No bar lines were used, and the music were still based on the old church modes.  

    Towards the end of Elizabeth's reign a new variety of music making began to come to the fore that of solo singing to a lute accompaniment.  Dowland became known as the greatest composer and finest performer of these " ayres " and he can be considered the chief pioneer in the development of the art song (see p. 99).  For the first time the “top” part became more important than the others, and the lute provided a real accompaniment.  Compare this with a madrigal, in which all the voices are equally important.  

    In Tudor times the first instrumental music began to be written.  In addition to the lute, which was mainly used to accompany singers, many fantasies were written for consorts of viols (see p. i).  The virginal was also popular. John Bull wrote a famous showpiece for it balled 'The King's Hunt'; Giles Farnaby wrote some delightful little pieces; and Byrd wrote many dances and sets of variations for keyboard instruments.