ABSTRACT
This chapter includes the six-part Quemadmodum for want of a more obvious place. John Taverner's reputation as a writer of songs was considerable in his lifetime, for three items were printed in the XX songes of 1530, only Cornysh exceeding this with four. The late fifteenth-century text of In women existed independently of Taverner's setting, and the poet may never have envisaged its being made into a song. Triplets, as in line 7, are common in early Tudor songs, but their use in Love wyll is uncommonly prolonged, and similar in effect to the change of metre near the end of In women. Triplets are much used in verses 1 and 3 as well, often in crotchets, but sometimes in quavers to produce extremely florid music with more melisma than in either Love wyll or Mi hart mynde.
