PREFACE TO THE TABLATURE EDITION In this performing edition of the Manchester Ganba Book, an effort has been made to retain the character of the original manuscript. Cer- tain editorial changes have been made, however, in order to make the music more accessible to modern viol players. 1. Layout The layout of each piece is designed to reflect the formal struc- ture of the piece (as much as possible within the limits of an 8%" by 11 format). Individual notes are metrically spaced according to their re- spective time values; a half note 3 ), for instance, is allotted twice as much space as a quarter note (b ).2. Terminal Barlines Five different types of barring are used at the ends of strains in the manuscript. 0 @ @ w (2) An abbreviated repeat sign is generally used at the end of a strain, unless itis the final strain. (2) A full repeat sign is used at the end of each complete version in a set of variations. (3) A full repeat sign with a flourish appears at the conclusion of almost every piece in the manuscript (except for preludes and pieces with written-out repeats). (4) A plain double bar is used at the end of the brief concluding tags (111-15, X-9, XI-8), at the end of preludes, and at the end of each strain in pieces with written-out repeats. (5) A triple barline appears twice each in VIII-1 and XIV-16, The present edition retains the procedures of the original, with the exception of the calligraphic flourish at the end of final repeat signs.Internal Barlines The use of internal barlines is somewhat irregular in the manuscript; xegular barlines have been supplied in the present edition. In situations which clearly call for the use of hemiola, dotted barlines are used to clarify the rhythm (1-16 and X-9, for instance). In situations which might invite (but not necessarily require) hemiola, the barlines have been omitted in order to allow the perforner the option of introducing hemiola or main- taining the regular rhytlin. 4. Mensuration Signs ‘Two mensuration signs, ¢ and @ , are used throughout the manuscript; their function seems to be limited to differentiating between duple and triple meter. A third sign, § , is used occasionally in pieces which involve changes in meter (see II-1, III-2, and XI-20, but also see IV-7, VI-10, VIII-1, and XI-1). The original signs have been retained in the present edition.