Similar notes apply to most of the Renaissance pieces on this site.
No barlines have been added.
Original spelling, punctuation, and capitalization have been retained,
as far as practical. When the original spelling, in the judgement of
the editor, would present a barrier to an educated singer for
understanding the words (such as the interchangeable use of J and I,
or V and W) this has been modernized. Also titles and first lines
have been regularized.
The underlay has been written explicitly throughout, as modern singers
don't have the training Morley's singers do in realizing the underlay
of a repetition on the fly.
No pieces have been transposed. All clefs in this edition are treble;
where an incipit does not appear, Morley used a treble clef as well.
Morley did not use beamed notes; neither does this edition.
Accidentals are as in the original. That is, there is not a ``rule''
that states that they last for one ``bar'', but at the performers'
discretion, they may be considered to apply to a nearby note as well
as the note they are attached to.
The software used was at the time of printing incapable of printing a
note or rest longer than a whole note, so longa and breve notes and
rests are written as combinations of shorter notes.
There are mistakes in the original. All editorial changes to notes
have been footnoted.
I have marked at least the first major cadence point with a rehearsal
letter. This is information which was not available to the performers
of Morley's time, but is a considerable aid to modern musicians in
the sightreading phase.