This somewhat extraordinary piece may be the only identified lute trio in the English repertoire, albeit unfortunately missing two out the three parts... It is titled as "A replete for 3 luts" in the Brogyntyn lute book, but was identified by Ian Davies as a transcription of the 4 lower parts of Robert Parsons' A Songe called Trumpetts, a viol sextet included in the British Library MS Add. 31390 (ca.1560, available online at IMLSP). According to Grove Music, the "technical problems set by The Songe called Trumpetts suggest that they were written for professional court musicians, with violinists very likely to be playing the upper parts." This perhaps explains the intabulation of the lower voices in Brogyntyn. If the top parts were indeed commonly played on a variety of other instruments, viols or violins or even woodwinds, why not also lutes?  We will never know how different the intended lute parts were from the original viol parts, but they must have been close enough - and indeed the top parts from the viol sextet fit nicely together with the intabulation in the Brogyntyn book - except for one missing beat at the very end of the piece. 

The arrangement I propose here (in PDF, Fandango and MIDI formats) uses the Brogyntyn lute intabulation together with the top viol parts in notation for two melody instruments, as well as an adaptation for three lutes in G that does not differ significantly from the melody instruments parts - except for the fact that they are in tablature. It seems to me those top parts indeed fit the register of a G lute just fine, with the highest note at the 9th fret. I also made an attempt at adding some diminutions, which the lutenists of that time would probably have added according to taste.

Some time ago, Gordon Gregory devoted a whole project of his own to this song. He created an intabulation for a lute quartet using instruments at different pitches - a lute consort version, if you will. He provides his own scores and intabulations, as well as a copy of a transcription of the viol sextet that proved very useful for my own project. Several people concurred that the Brogyntyn part was a bit of a handful for just one lute and that the subtleties of the voicings in the bass get muddled or lost entirely, thus justifying the addition of an instrument.

Personally, I preferred to stick to the "simple" solution of using the Brogyntyn part as is and transposing the top viol parts for a lute with identical tuning. That model is the one used by James Tyler in his recording of the piece (see below) - that also gave me the inspiration for some of my diminutions. It is also preferable to have two versions available, one for three equal lutes together with Gordon's already existing quartet.

This "Songe called trumpetts" fits well with another piece in the Brogyntyn, the more widely known "De la tromba" pavan and galliard suite, that also uses a sophisticated scheme of echoes between  instruments inspired by compositions for "loud" instruments - tromba being an Italian synonym for a trumpet. Unfortunately also, the second part of the galliard has been lost - the second part of the pavan is found in the Pickering book - It may not be impossible to reconstruct that second lute part based on available consort settings of the time - Philip Rosseter's Lessons for Consort perhaps.

The taste for echoes between lutes in the Brogyntyn is further reinforced by the inclusion of Francis Pilkington's Echo for two lutes. I think we can safely rule out coincidence.

Thanks to the following people for providing valuable information on this replete: Gordon Gregory, Stewart McCoy, Martin Shepherd, and Lux van Sante.