' The word 'hum' may be considered technical, see the
Introduction, where '_buzzing_ bass' is referred to. The tune, 'Light
o' love' [see Appendix], as we know from _Much Ado_ III, iv, 41, used
to go _without_ a burden, and was considered a 'light' tune on that
account, see _Two Gent._ I, ii, 80.
'Descant,' in l. 1134, wants explaining. To 'descant' meant to sing or
play an _extempore_ second 'part' to a written melody. The point was
that it should be extempore; if written down it ceased to be true
descant, and was then called 'prick-song.' A rough example may be had
in the extempore bass or alto which some people still sing in church
instead of the melody. A more accurate example of descant would be
this--let A sing a hymn tune, say the Old 100th, and let B accompany
him _extempore_ with a separate melody within the bounds of harmony. B
is 'descanting' on the melody that A sings.[5]
[Footnote 5: Appendix, Ex. 1.]
The art of descant in Elizabeth's time corresponded closely with what
we call 'Strict Counterpoint' (_contra_, _punctus_, hence
'prick-song,' or 'written' descant).
The modern equivalent for 'bear a part' (l. 1135) is 'sing a part.'
[See also Sonnet VIII.] Any person of decent education could 'bear a
part' in those days, _i.e._, read at sight the treble, alto, tenor, or
bass 'part' of the work presented by the host for the diversion of his
guests.
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