A Recheat. To recheat, Twici says, "blow in this manner, trourourourout, trourourourout, trourourourout," therefore a four-syllabled sound succeeded by an interval, blown three times. In the "Master of Game" we find the recheat preceded or followed by a moot, the most constantly recurring melody. When the limer has moved the stag, and the huntsman sees him go away, he was to blow a moot and recheat. If the stag is moved but not viewed, and the huntsman knows only by the slot that it is his stag that has gone away, he is to recheat without the moot, for that was only to be blown when the stag was seen. When the hounds are at fault and any one finds the slot of the deer, he should recheat "in the rightes and blow a long moot for the lymerer," or if he thinks he sees the hunted stag, he should blow a moot and recheat, and after that blow two moots for the hounds.
The Forlonge. A signal that the stag had got away far ahead of the hounds or that these had distanced some or all of the huntsmen (see Appendix: Forlonge).
The Perfect or Parfit. Twici says it began by "a moot and then trourourout, trout, trout, trourourout, trourourout, trourourout, trout, trout, trourourourout," "and then to commence by another moot again, and so you ought to blow three times. And to commence by a moot and to finish by a moot." This was only blown when the hounds were hunting the right line (see Appendix: Parfet).
The Prise. Twici says, blow four moots for the taking of the deer. According to the "Master of Game," "the prise or coupling up" was to be blown by the chief personage of the hunt only, after the quarry. It was only blown when the deer had been slain by strength, or hunted, and not when shot or coursed. He was to blow four moots, wait a short interval (half an Ave Maria), and blow another four notes a little longer than the first four.
The Menée. Twici says the Menée should only be blown for the hart, the boar, the wolf, and the male wolf, but he does not give us any analysis of this melody. In the "Master of Game" we are told that the Menée was blown at the hall-door on the return of the huntsmen. The Master first blew four moots alone, then at the end of the four moots the others joined him in blowing, and they all continued keeping time together (see Appendix: Menée).
The Mort or Death was another sound of the horn, but we have no description of the notes. Perhaps it is synonymous with the Prise.
The Stroke must have been another grouping of short and long notes, but of this we have no record.
Hardouin de Fontaines Guerin wrote a poem on the chase chiefly concerning the different manners of blowing such as obtained in his native country the provinces of Anjou and Maine. The poem was illustrated with fourteen miniatures showing the notes to be blown on as many different occasions during stag-hunting.
The notes are written in little squares: □ denoting a long note; ■ a short note; □□ a note of two long syllables; ■■ a note of two short syllables; ■□□ a note of one short and two long syllables; and ■□□■■ a note of one short, two long, and two short syllables. Of these six notes combinations were made for all the signals to be blown.
