Scores and parts mostly of music for two trebles and bass, collected as loose papers in the Music School, nearly all whilst Edward Lowe was Heather Professor at the University of Oxford, 1661-1682.

In the following list details of format and paper are mentioned only for autograph manuscripts, and for fragments of larger collections.

1. Matthew Locke: Music endorsed by Lowe 'songe & Phantasye... made... to carry on the meetinge at the musick schoole. Thursday the 16th Novem. 1665'. 'Ad te levavi oculos meos', Fantasia and Courante, Harding nos. 26 and 137. '10 papers' as follows:

a. Autograph score of 'song' and chorus. Fols. 5v-4 (kept in MS. Mus. Sch. a. 641).

b. Lowe's score of Fantasia and Courant. Fols. 2 and 16 (kept in MS. Mus. Sch. a. 641).

c. Autograph vocal parts: treble, fols. 7-8; alto, fol. 6; bass was presumably sung by Locke from score.

d. Autograph instrumental parts: 1st treble, fols. 11 and 15; 2nd treble (lacking Courant), fols. 13v-14; 1st bass, fols. 10v, 9-10; 2nd bass, fol. 12.

e. Lowe's two copies of through bass of 'song', fols. 1v and 17, fol. 3.

Locke's autograph: all on same paper, divided according to need, 10 staves, black marginal ruling. Watermark, Fleur de Lys slightly resembling Heawood 1671. Lowe's bass parts are on the same paper as no. 9 below, watermark indistinct Coat of Arms, 10 staves, red marginal ruling.

2. J. Blundevile: 'Ayres of 3 partes', for two trebles and bass in D minor and G minor. Formerly , which was copied by the same hand. '3 papers' as follows: 1st treble, fols. 18-19; 2nd treble, fols. 20-21; bass, fol. 22.

3. '4 Sonata's of 4 Partes, 3 trebles [viols] and a Base to the Organ', by H. Schmeltzer (1), Adam Gascon (1) and Lambert Peitkin (2). '5 papers' within a paper cover, all copied by Lowe.

The string parts were copied on large folio double sheets as follows: 1st treble, fols. 24-25; 2nd treble, fols. 26-27; 3rd treble, fols. 28-29; 'Playing Base', fols. 30-32. Basso continuo, apparently copied later, on different paper, fols. 32-34.

4. 'Solo Violoncello e Baso continuo By Sign Benniditti'. Copied in score on one double sheet. Fols. 38v, 37, 37v-38.

5. J.J. Mitternacht: Sonatas for 2 violins and bass in E minor. Copied by two hands using the same paper. '4 papers' as follows: 1st violin, fols. 40v-41, 41v, 40; 2nd violin, fols. 44v-45, 45v, 44; 'bassus pro viola [da gamba]' fols. 39v, 45, 45v; and another copy in the second hand, fol. 42.

6. J.J. Mitternacht: 2 Sonatas for 2 violins and bass, one in B flat major, one in D minor. Copied by the second hand of 5 above. '4 papers', each folded with the B flat sonata on the inner side and the D minor sonata on the outer side, as follows:1st violin, fols. 48v-49, 49v. 48; 2nd violin, fols. 46v-47, 47v, 46; figured bass, fols. 50v-51, 51v, 50; bass, fols. 52v-53, 53v, 52.

7. J.J. Mitternacht: Sonata for 2 violins and bass in G minor. Copied by the same hand as 6, endorsed by E. Lowe. '4 papers' as follows: 1st violin, fols. 56v-57; 2nd violin, fols. 58v-59; figured bass, fols. 54v-55; 'playing bass', fols. 60v-61.

8. Torelle [Giuseppe Torelli]: Sonata for 2 violins and bass. '3 papers' as follows: 1st violin, fols. 63v-64; 2nd violin, fols. 66v-67; bass, fols. 62v, 68. Fol. 65 is the end of a treble part of a different piece, in time 6/8, G minor, 155-bars long.

9. Richard Cobb: Pavan and Almaine for 2 violins and bass. Copied by E. Lowe on the same paper as his parts of no. 1 above. 3 papers as follows: 1st violin, fol. 70; 2nd violin, fol. 69; bass, fol. 71. Another copy of the bass it Ms. Mus. Sch. c. 102, 10.

10. G. Keller: Sonatas for violins and basses. Autograph, teste E. Lowe, MS. Mus. Sch. c. 9, p. i. Copied on differing Fool's Cap paper, uniformly ruled 10 staves, red marginal ruling. '6 papers' as follows:

a. Sonata in A for 2 violins and bass: 1st violin, fol. 72; 2nd violin, fol. 73; bass, fol. 74.

b. 2 Chaccones, for violin and viola da gamba on a ground and for solo violin on a ground. Violin, fols. 75-76: Viola da gamba, fol. 77; grounds fol. 76b.

11. W[illiam] K[ing]: 6 pieces in D for 2 trebles and bass, i.e. part of his Act Music, 'Cantate Domino', no. 30 below. Autograph score. Copied on a quire of 8 small folio leaves, watermark Fleur de Lys slightly resembling Heawood 1674-6 but damaged, 10 staves to a page, black marginal ruling. Fols. 86-92. E. Lowe copied a bass part, fols. 81-83.

12. Valentine Oldis. 6 Airs in B flat for 2 trebles, tenor and bass [made in 1674]. The copyist is the same as in no. 27 below. '4 papers' as follows: 1st treble, fol. 95: 2nd treble, fol. 96; tenor, fol. 97; bass, fol. 98.

13. 'Base to the Ayres in ye redd Bookes I had of Mr Rhodes'. Bass part of anonymous airs from MSS. Mus. Sch. e. 410-414, nos. 1-7, 9-16, and of J. Birkenshaw's [Birchensha] 6 pieces for 2 trebles, lute and bass, ibid. nos. 27-32, in Lowe's hand. Fols. 99, 105. Folded inside are two copies of each of the two treble parts of nos. 1-6 in the hand of F. Withy. Fols. 100-103.

14. Will[iam] Hall. 8 airs in B flat for 2 trebles and bass. '4 papers' as follows:1st treble, fols. 107-108; 2nd treble, fols. 109-110; bass, fols. 106 and 111, and another copy in another hand, fol. 112.

15. 2 suites, i.e. 24 pieces in various keys, by 'Senor Baptist', i.e. Lully; parts for one treble and bass only. Annotated by F. Withy, on fols. 119 and 123. '2 Books', i.e. treble (incomplete), fols. 113-117: bass, fols. 119-123v. Both incomplete: treble lacks no. 21, bass no. 22).

16. 'Mr. Baptist'. First treble part of 12 airs by Lully, described in MS. Mus. Sch. e. 443 by Lowe as given to him by Mr. Hall. Fols. 125, 127. Fol. 126 is Lowe's copy of the tenor part of Overture [No. 1]. All written on the same paper, watermark Fool's Cap, countermark MI, 10 staves and red marginal ruling.

17. Lully: Airs from Phaeton and Cadmus et Hermione, fragment of first treble part A double leaf pp. 89-92, from a large folio collection, bound inside out. Watermark somewhat resembles Heawood 1780 and 1785, countermark IA; ruling 12 staves, red marginal ruling. Fols. 128-129.

18. W. Croft: 'Aires'. Suite in D minor, for 2 violins and bass. Copied by two hands on the same large folio paper. The 1st violin part is incomplete. '3 papers' as follows: 1st violin, fol. 130; 2nd violin, fols. 131-132; bass, fols. 133-134.

19. 3 anonymous movements in C minor, for 2 trebles and bass. Copied by F. Withy on the same paper as no. 13 above. '6 papers' as follows: 1st treble, 2 copies, fols. 136-137; 2nd treble, 2 copies, fols. 138-139; bass, fol. 140; figured bass, fol. 141.

20. 12 pieces for treble and bass: 5 in D by Arthur Phillips, 2 in A by Phillips and 2 by Locke (Harding no. 131, suite 9, nos. 40-41), and 3 in G by Phillips. '4 papers', i.e., treble, fols. 142-143; bass, fols. 144-145. Fols. 142, 142v and top of 143 in different hand.

21. Locke: Autograph score of a Gloria for Counter-tenor and Bass with prelude and accompaniment for 2 violins and bass viol, 'made prickt and sunge, at the Musick schoole... 9th November [1665(?)]... to add to his songe Jubelate-sung the Bass then himself: and Mr. Blagrave the Countertenor', according to Lowe's endorsement. Harding no. 23. Parts are in MS. Mus. Sch. c. 138, fols. 1-4. Written across a large folio double sheet; watermark somewhat resembles Heawood 1787; 12 staves, black marginal ruling. Fols. 146-147.

22. [R. Goodson the elder]: Overture and 6 airs (with the 7th perhaps being a coda to the 6th), in B flat for 2 trebles, tenor and bass. Possibly an autograph. '4 papers' as follows: 1st treble, fol. 148; 2nd, fol. 149:, tenor, fol. 150; bass, fol. 151.

23. Three sets of airs: nos. 1-7 in G for 4 parts - anon.; nos. 1-3 in D for 4 parts - anon. (both lacking one part), and 2 pieces in B flat attributed to Graby [i.e. Louis Grabu], for 3 parts, 2 trebles. '7 papers' as follows: Two bass parts of all 3 sets in Lowe's hand were used as folders: one (for Mr. Flaxney), fols. 152-153, 167-168, round the whole quire; the other, fols. 158-159, 165-166, round the 3-part set. Tenor, 4-part sets, fols. 155v, 154, 154v-155. Meane (for Mr. Withy), 4-part sets, fols. 157v, 156, 156v-157. Two 1st treble parts of the 3-part set (the first in a different hand from the other parts), fols. 160-162. 2nd treble, 3-part set, fol. 164. The paper is the same throughout except for fols. 160-161.

24. Christopher Gibbons: 'Ayres'. 3-part music in score. 3 pieces in B flat. Fols. 169-174.

25. Christopher Gibbons: Autograph score of 4-part fantasia in G minor. Copied across a large folio double sheet, watermark Fleur de Lys not in Heawood, 16 staves, black margins. Fol. 175 (kept in MS. Mus. Sch. a. 641)

26. Christopher Gibbons: 'O bone Jesu' in G. Basso continuo. Fol. 177.

27. John Banister: Piece in G, ['Act tune'?] for treble, meane, tenor and bass [viols?]. 4 parts (with the 4th incomplete), written on the same leaf. The copyist is the same as in no. 12 above. Fol. 178.

28. Benjamin Rogers: Autograph organ part of his '2d sett in Elami' for 4 parts, dated 1668. Endorsed by Lowe 'the other partes I prickt out in the Books I had of Mr. Colby in the Schooles', i.e. MSS. Mus. Sch. d. 241-4 (no. 8). Small folio double sheet; watermark Fleur de Lys, a little resembling Heawood 1674; two sets of 5 staves separated by a space, black marginal ruling. Fols. 179-80.

29. John Blundevile: [Act] song beg. 'How well doth this harmonious meeting prove', for treble solo, 3-part chorus, in A. Score of vocal section. Endorsed by Lowe 'Mr. Blundevills songe & ayres'. See no. 2 above. Fols. 181v-182.

30. William King: Autograph score of the vocal sections of his Act music (see 11 above), 'Cantate Domino' in D for solo voices and chorus. Copied across a large folio double sheet, watermark Bend and Lily resembling Heawood 147, 14 staves with no central space, black marginal ruling. Fol. 183 (kept in MS. Mus. Sch. a. 641).

31. Two cantatas in A minor, 'Ex[s]urge psalterium meum' and 'Adiuvo nos O felicissime Aligeri', followed by instrumental piece in C. Score, 17th cent., copied in Italy. An English note, 'Repete Aria', was written on fol. 185, 17th cent. Fols. 184-191 (kept in MS. Mus. Sch. a. 641).

32. [C. Gibbons]: Autograph score of 4-part fantasia in A minor. The last bars were added by another hand. Copied across a small double folio sheet, watermark Pot somewhat resembling Heawood 3616, 10 staves, black marginal ruling. Extra staves were added when needed. Fols. 192-193 (kept in MS. Mus. Sch. a. 641).

33. Anonymous fantasia in G minor, for 2 trebles and 2 basses in score. Fols. 194-195 (kept in MS. Mus. Sch. a. 641).