There is considerable diversity in the way half notes are made in the four manuscripts. At times they are made by a single unbroken stroke (the notehead followed by the stem) and other times the notehead is drawn first followed by the stem. The downward stems are usually drawn from the right side of the notehead, but occasionally from the center. Their orientation can be straight, bowed or bent at an angle. One would expect consistency in a single scribe, therefore Thompson notes that a mixture of forms indicates at least two scripts. With plates showing the widely different scribal forms in the four manuscripts Thompson notes that they each have different scribal structures. Mus. 510–514 has a uniform script; the Fitzwilliam Virginal Book has mostly a uniform script that gradually switches to a smaller contrasting script several times. Egerton 3665 and Drexel 4302 on the other hand show great scribal diversity. Counting sixty changes of scribal hand for Egerton 3665 and thirty for Drexel 4302, she identifies seventeen specific hands, of which nine are shared by both manuscripts. In summarising her discussion of scribal issues, Thompson acknowledges the difficulties of making determinations of a variety of music scripts, but concludes that there is no question of reducing the multiple hands to a single person.