STaye (brother Philomathes) what haste? Whither go you so fast?

To seeke out an old frind of mine.

But before you goe, I praie you repeat some of the discourses which you had yester night at master Sophobulus his banket: For commonly he is not without both wise and learned guestes.

It is true in deede. And yester night, there were a number of excellent schollers, (both gentle­men and others:) but all the propose which then was discoursed vpon, was Musicke.

I trust you were contented to suffer others to speake of that matter.

I would that had been the worst: for I was compelled to discouer mine own ignorance, and confesse that I knewe nothing at all in it.

How so?

Among the rest of the guestes, by chaunce, master Aphron came thether also, who falling to discourse of Musicke, was in an argument so quickely taken vp & hotly pursued by Eudoxus and Calergus, two kinsmen of Sophobulus, as in his owne art he was ouerthrowne. But he still sticking in his opinion, the two gentlemen requested mee to examine his reasons, and confute them. But I refusing & preten­ding ignorance, the whole companie condemned mee of discurtesie, being fully perswaded, that I had beene as skilfull in that art, as they tooke mee to be learned in others. But supper being ended, and Musicke bookes, according to the custome be­ing brought to the table: the mistresse of the house presented mee with a part, ear­nestly requesting mee to sing. But when after manie excuses, I protested vnfainedly that I could not: euerie one began to wonder. Yea, some whispered to others, de­maunding how I was brought vp: so that vpon shame of mine ignorance I go nowe to seeke out mine olde frinde master Gnorimus, to make my selfe his scholler.

I am glad you are at length come to bee of that minde, though I wished it sooner: Therefore goe, and I praie God send you such good successe as you would wish to your selfe. As for mee, I goe to heare some Mathematicall Lectures, so that I thinke, about one time wee may both meete at our lodging.

Farewell, for I sit vpon thornes till I be gone: therefore I will make haste. But if I be not deceiued, I see him whome I seeke sitting at yonder doore, out of doubt it is hee. And it should seeme he studieth vpon some point of Musicke; But I will driue him out of his dumpe. Good morrow Sir.

And you also, good master Philomathes, I am glad to see you, seing it is so long agoe since I sawe you, that I thought you had either been dead, or then had vowed perpetually to keepe your chamber and booke, to which you were so much addicted.

In deede I haue beene well affected to my booke. But how haue you done since I sawe you?

My health, since you sawe mee, hath beene so badd, as if it had beene the pleasure of him who may all things, to haue taken me out of the worlde, I should haue beene verie well contented: and haue wished it more than once. But what bu­sinesse hath driuen you to this end of the towne?

My errand is to you, to make my self your scholler. And seeing I haue found you at such conuenient leisure, I am determined not to depart till I haue one lesson in Musicke.

You tell mee a wonder: for I haue heard you so much speake against that art, as to terme it a corrupter of good manners, & an allurement to vices, for which many of your companions termed you a Stoick.

It is true: But I am so farre changed, as of a Stoick I would willingly make a Pythagorian. And for that I am impacient of delay, I praie you begin euen now.

With a good will. But haue you learned nothing at all in Musick before?

Nothing. Therefore I pray begin at theverie beginning, and teach mee as though I were a childe.

I will do so, and therefore behold, here is the Scale of Musicke, which wee terme the Gam.

In deede I see letters and syllables written here, but I doe not vnderstand them nor their order.

For the vnderstanding of this Table, You must begin at the lowest word Gam­vt, and so go vpwards to the end still ascending.

That I do vnderstand. What is next?

Then must you get it perfectly without booke, to saie it forwards and backwards. Secondly, You must learne to knowe, wherein euery Key standeth, that is, whether in rule or in space. And thirdly, How manie cliefes and how manie notes euery Key con­taineth.

What do you call a Cliefe, and what a Note?

A Cliefe is a charecter set on a rule at the beginning of a verse,What a cliefe is. shewing the heigth and lownes of euery note standing on the same verse, or in space (although vse hath taken it for a generall rule neuer to set any cleife in the space except the ♭ cleife) and euery space or rule not hauing a cleife set in it, hath one vnderstoode, being only omitted for not pestering the verse, and sauing of labor to the writer: but here it is ta­ken for a letter begining the name of euery keye: and are they which you see here set at the beginning of euery worde.

I take your meaning, so that euery keye hath but one cleife, except, b fa ♭ mi.

You haue quickly and well conceiued my meaning. The residue which you see written in Syllables are the names of the Notes.

In this likewise I thinke I vnderstand your meaning. But I see no reason, why you should saye the two bb be two seuerall cliefes, seeing they are but one twise named.

The Herralds shall answere that for mee: for if you should aske them, why two men of one name should not both giue one Armes? they will straight answere you, that they be of seuerall houses, and therefore must giue diuers coates. So these two bb, though they be both comprehended vnder one name, yet they are in na­ture and charecter diuers.

This I doe not vnderstand.

Nor cannot, till you know all the cliefes, and the rising and falling of the voyce for the true tuning of the notes.

I praie you then go forwards with the cliefes: the diffinition of them I haue heard before.

There be in all seuen cliefes (as I told you before) as A. B. C. D. E. F. G. How manie cliefes there be. but in vse in singing there be but foure: that is to saie, the F fa vt, which is com­monly in the Basse or lowest part,The formes of the vsuall cliefes. being formed or made thus 𝄢. The C sol fa vt cliefe which is common to euery part, and is made thus 𝄡. The G sol re vt cliefe, which is commonly vsed in the Treble or highest part, and is made thus 𝄞. And the ♭ cliefe which is comon to euery part, is made thus ♭ or thus ♮ the one signi­fying the halfe note and flatt singing: the other signifying the whole note or sharpe singing.

Now that you haue tolde mee the cliefes, it followeth to speake of the tu­ning of the Notes.

It is so, and therefore be attentiue and I will be briefe. There be in Musicke but vj.The sixe notes in continuall deduction. Notes, which are called, vt, re, mi, fa, sol, la, and are comonly set down thus: [...]

In this I vnderstand nothing, but that I see the F fa vt cliefe standing on the fourth rule from beneath.

And do you not vnderstand wherin the first note standeth?

Verily,How to know wherein euery note standeth. no.

You must then recken downe from the Cliefe, as though the verse were the [Page 4] Scale of Musicke, assigning to euerie space and rule a seuerall Keye.

This is easie. And by this meanes I finde that the first note standeth in Gam­vt, and the last in E la mi.

You saie true. Now sing them.

How shall I terme the first note?

If you remember that which before you tolde mee you vnderstood: you would resolue your selfe of that doubt. But I pray you in Gam vt, how manie cliefs, and how manie notes?

One cliefe & one note. O I crye you mercie, I was like a potte with a wide mouth, that receiueth quickly, and letteth out as quickly.

Sing then after mee till you can tune: for I will lead you in the tuning, and you shall name the notes your selfe.

I can name them right till I come to C fa vt. Now whether I terme this fa, or vt?

Take this for a generall rule,A note for sin­ging of Vt. that in one deduction of the sixe notes, you can haue one name but once vsed, although in deede (if you could keepe right tune) it were no matter how you named any note. But this wee vse commonly in singing, that except it be in the lowest note of the part wee neuer vse vt.

How then? Do you neuer sing vt but in Gam vt?

Not so: But if either Gam vt, or C fa vt, or F fa vt, or G sol re vt, be the lowest note of the parte, then we may sing vt there.

Now I conceiue it.

Then sing your sixe notes forward and backward.

[...] Is this right? Vt re mi fa sol la la sol fa mi re vt

Verie well.

Now I praie you shew me all the seuerall Keyes wherein you may begin your sixe notes.

Lo here they be set downe at length. [...]

Be these all the wayes you may haue these notes in the whole Gam?

These and their eights: as what is done in Gam vt may also be done in G sol re vt, and likewise in g sol re vt in alt. And what in C fa vt, may be also in C sol fa vt, and in C sol fa. And what in F fa vt in Base, may also be done in f fa vt in alt. But these be the three principall keyes containing the three natures or properties of singing.

Which be the three properties of singing?

b quarre.The three pro­perties of sing­ing Properchant. and b molle.

What is b quarre?

It is propertie of singing, wherein mi is alwaies song in b fa ♮ mi, and is alwayes when you sing vt in Gam vt.

What is Properchant?

It is propertie of singing, wherin you may sing either fa or mi in b fa ♮ mi according as it shalbe marked ♭ or thus ♮ and is when the vt is in C fa vt.

What if there be no marke.

There it is supposed to be sharpe. ♮

What is b molle?

It is a propertie of singing, wherein fa must alwaies be song in b fa ♮ mi, and is when the vt is in F fa vt.

Now I thinke I vnderstand all the cliefes, and that you can hardly shewe me any note, but that I can tell wherein it standeth.

Then wherein doth the eighth note stand in this example. [...]

In G sol re vt.

How knew you?

By my proofe.

How do you prooue it?

From the cliefe which is F fa vt: How to prooue where a note standeth. for the next keye aboue F fa vt is G sol re vt.

Now sing this example. [...]

[...] But now I am out of my byas, for I know not what is aboue la. vt re mi fa sol la

Wherein standeth the note whereof you doubt?

in F fa vt.

And I praie you, F fa vt, how manie cliefes and how manie notes?

One cliefe and two notes.

Which be the two notes?

fa and vt.

Now if you remember what I told you before concerning the singing of vt, What to be sung aboue la. you may not sing it in this place: so that of force you must sing fa.

You saie true. And I see that by this I should haue a verie good wit, for I haue but a bad memorie: But now I will sing forward.

Do so then,

[...] But once againe, I knowe not how to go any fur­ther. vt re mi fa sol la fa sol la

Why?

Because I know not what to sing aboue this la.

Wherein standeth the note?

in b fa ♮ mi.

And what ♭ hath it before it?

None.

How then must you sing it when there is no signe?

I crie you mercie, it must be sharpe: but I had forgotten the rule you gaue mee, and therefore I pray you set mee another example, to see if I haue forgotten any more?

Here is one: sing it. [...]

[...] Vt re mi fa sol la fa sol la mi fa.

This is well song: [...] Now sing this other.

[...] vt re mi fa sol la mi fa sol la

This is right: but could you sing it no other wise?

No otherwise in tune, though I might alter the names of the notes.

Of which, and how?

Of the three first,The three first notes may be altered in name though not in tune. thus [...] and so foorth of their eyghtes. &c. fa sol la

You do well. Now for the last tryall of your singing in continuall deduction sing this perfectly, and I will saie you vnderstand plainsong well enough. [...]

I know not how to beginne.

Why?

Because, beneath Gam vt there is nothing: and the first note standeth be­neath Gam vt.

Where as you saie,Musicke is in­cluded in no certaine bounds. there is nothing beneath Gam vt, you deceiue your selfe: For Musicke is included in no certaine bounds, (though the Musicions do in­clude their songs within a certaine compasse.) And as you Philosophers say, that no number can be giuen so great, but that you may giue a greater. And no poynt so small, but that you may giue a smaller. So there can be no note giuen so high, but you may giue a higher▪ and none so lowe, but that you may giue a lower. And ther­fore call to minde that which I tolde you concerning the keyes and their eightes: for if Mathematically you consider it, it is true as well without the compasse of the Scale, as within: and so may be continued infinitely.

Why then was your Scale deuised of xx. notes and no more?

Because that compasse was the reach of most voyces:What is to bee sung vnder Gam vt. so that vnder Gam vt the voice seemed as a kinde of humming, and aboue E la a kinde of constrained skric­king. But wee goe from the purpose, and therefore proceede to the singing of your en­sample.

Then I perceiue the first note standeth in F fa vt vnder Gam vt, and being the lowest note of the verse I may there sing vt.

Right, or fa if you will, as you did in the eyght aboue in the other verse before. But goe forward.

Then though there be no re in Gam vt, nor mi in A re, nor fa in ♮ mi &c. yet because they be in their eyghtes I may sing them there also. But I pray you why do you set a ♭ in E la mi? seeing there is neither in it nor in E la mi in alte, nor in E la any fa, and the ♭ cliefe is onely set to those keyes wherein there is fa.

Because there is no note of it selfe either flatt or sharpe,Euery note both sharpe and flat. but compared with an­other, is sometime flatt and sometime sharpe: so that there is no note in the whole Scale which is not both sharpe and flatt: And seeing you might sing la in D sol re, you might also (altering the tune alitle) sing fa in E la mi. There be manie other flattes in Musicke, as the ♭ in A la mi re, whereof I will not speake at this time, because I will not cloy your memorie with vnprofitable precepts: and it will be time enough for you to learne them when you come to practise prick song.

This I will then think sufficient till that time, and therefore goe forward to some other matter.

Then seeing you vnderstand continuall deduction, I will shewe you it disiunct or abrupt.

In good time.

Here,The notes in disiunct de­duction, sing this verse. [...]

Here I knowe where all the notes stand: but I know not how to tune them by reason of their skipping.

When you sing [...] Imagin a note betwixt them thus: [...] and so leauing out the middle note,How to keepe right tune in disiunct de­duction keping the tune of the last note in your minde, you shall haue the true tune, thus: sing first vt re mi, then sing vt mi, and so the residue, thus: [...] And so downward againe, thus: [...]

Here is no difficultie but in the tuning: so that now I thinke I can keepe tune, and sing any thing you can set downe.

Then sing this verse. [...]

[...] sol sol la sol la fa sol fa mi sol la sol.

This is well song. Now here be diuerse other examples of plainsong, which you may sing by your selfe.

[...] sol fa fa sol fa fa la sol sol fa la la sol fa mi la la sol. [...] fa sol la fa sol la sol fa fa sol la fa sol la fa sol sol fa. [...] fa sol sol la sol fa sol fa fa la fa sol fa fa mi fa. [...] sol la la sol fa la fa sol la sol sol fa sol la la sol. [...] sol fa mi fa sol sol sol fa la sol la fa mi la sol. [...] sol sol la sol fa mi fa sol la fa sol fa sol la fa mi la sol. [...] sol sol sol mi la fa mi la sol sol fa la sol fa mi sol la sol. [...] sol fa sol la sol fa fa la sol fa mi la sol sol fa la sol. [Page 9] [...] sol sol sol fa la la sol fa la sol sol fa la la sol [...] sol fa fa la sol fa fa la sol fa fa la sol sol fa sol

Thus for the naming and turning of the notes, it followeth to speake of the diuersitie of timing of them (for hetherto they haue all beene of one length or time, e­uery note making vp a whole stroke.

What is stroke?

It is a successiue motion of the hand,Definition of strokes. directing the quantitie of euery note & rest in the song, with equall measure, according to the varietie of signes and proportions: this they make three folde, Deuision of strokes. more, lesse, and proportionate. The More stroke they call, when the stroke com­prehendeth the time of a Briefe: The lesse, when a time of a Semibriefe, and proportionat where it comprehendeth three Semibriefes,Definition of time. as in a triple or three Minoms, as in the more prolation, but this you cannot yet vnderstand.

What is the timing of a note?

It is a certayne space or length, wherein a note may be holden in singing.

How is that knowen?

By the forme of the note and the Moode.

How many formes of notes be there?

Eight, which be these.

A large.Vsuall formes of notes. A longe. A briefe. A semibreife. A minim. A crotchet. A quauer. A simiquauer. [...]

VVhat strokes be these set after euery note?Restes.

These be called rests or pauses. And what length the notes, Large, Long, Briefe Semibriefe or any other signified in sounde the same. The rests are (as you call them) stroks, doe them in silence. But before wee goe anie further, wee must speake of the Ligatures.

What is a Ligature?What liga­tures be.

It is a combination or knitting to gether of two or more notes, altering by their sci­tuation and order the value of the same.

And because wee will in learning keepe order, I pray speake of them according to their order beginning at the first.

I am contented,First notes in Ligature with­out tayles. be then attentiue and I will both be briefe and playne, if your first note lack a tayle, the second descending, it is a Long, as in this ensample. [...] 42 4 4 2 44

But what if it haue a taile?

I pray you giue mee leaue first to dispatch those which lacke tailes: and then I will speake of them which haue tailes.

Go to then, but what if the next note be ascending?

Then is it a briefe, thus. [...] 22 222 2 2

But interrupting your course of speech of Ligatures: how manie notes doeth that charecter conteine which you haue set downe last?

Two.

Where doe they stande? for I thought it should haue been set thus, [...] because it stretcheth from A la mi re, to E la mi.

The notes stand at the beginning and the ende, as in this example aforesaide: the first standeth in A la mi re, the last in E la mi.

Proceed then to the declaration of the tayled notes.

If the first note haue a tayle on the left side hanging downward: (the second ascen­ding or descending) it is a briefe:First notes with tayles com­ming downe. Example. [...] 2 42 2 2222 224 2 2

But how if the tayle goe vpward?

Then is it and the next imediatly, following, (which I pray you keepe well in minde,) First notes with tayles as­cending. a semibriefe: Example. [...] 114 111 11 11

How if the tayle goe both vpward and downewarde?

There is no note so formed as to haue a tayle of one side to goe both vpwarde and downewarde.

But how if it haue a tayle on the right fide?

Then out of doubt it is as though it were not in Ligature and is a Long,Euery Note hauing a tayle on the right side, is as though it were not in Ligaturs thus. [...] 424 2 4 4444 And this is trew, aswell in the last notes as in the first.

Now I think you haue tolde me all that may be spoken of the first notes: I pray you proceede to the middle notes, and their nature.

Their nature is easely knowne, A general rule for midle notes in Ligatures for euery note standing betweene two others is a Briefe, as thus. [...] 42 222224 222 222 2 4 222224 But if it follow immediately after an other, which had a tayle going vp, then is it a Semibriefe as I tould you before, Exception, and you may see here in this Example. [...] 112 11224 112 2

So, now goe to the finall or last notes.

Euery finall note of a Ligature descending:Finall notes in Legatures being a square note is a long: Example. [...] 2224 224 4224 1122

But how if it be a hanging or long note?

Then is it alwaies briefe except it follow a note, which hath the tayle vpward as here. [...] 42 2 2 211 But if the note be ascending, be it either square or long it is alwaies a briefe if it lacke a tayle, as thus. [...] 222 22 22 2222 112

There be also Ligatures with prickes,Prickt notes in Ligature. [...] whereof, the first is three Minomes, and the last likewise three Minomes thus, And also others, whereof the first is three Semibriefes, and the last two, thus: [...]

There be likewise other Ligatures which I haue seene, but neuer vsed by any ap­proued author, wherof I will cease to speake further, setting them onely down with figures signifying their value of Semibriefs, whereof if you finde one directly to be set ouer another, the lowest is alwaies first song: Example. [...] 1124 2 4 44 24

Now haue you fully declared the Ligatures. all which I perswade my selfe I vnderstande well enough: but because you speake of a prickt Ligature, I do not vn­derstand that yet perfectly: therefore I pray you say what Prickes or poynts signifie in singing.

For the better instruction here is an example of the notes with a pricke fol­lowing euery one of them.Pricks and their significa­tion. [...] And as your rests signified the whole lengthe of the notes in silence, so doth the pricke the halfe of the note going before to be holden out in voyce not doubled, A pricke of augmentation. as (marke me) v vt, re e, mi i, fa a, so-ol, la-a, and this pricke is called a pricke of augmentation.

What be there any other prickes.

Yes there be other prickes whereof we will speake in their owne place.

Hauing learned the formes and value of the notes, restes and prickes by them selues, it followeth to speake of the Moodes, and therefore I pray you to proceede to the declaration of them.

Those who within these three hundreth yeares haue written the Art of Mu­sicke, haue set downe the Moodes otherwise then they eyther haue been or are taught now in England.

What haue been the occasion of that?

Although it bee hard to assigne the cause, yet may we coniecture that although the great musicke maisters who excelled in fore time, no doubt weare wonderfully seen in the knowledge therof, aswell in specilation as practise, yet since their death the know­ledge of the arte is decayed and a more slight or superficiall knowledge come in steede thereof, so that it is come now adaies to that, that if they know the common Moode and some Triples, they seeke no further.

Seeing that it is alwaies commendable to know all, I pray you first to declare them as they were set downe by others, and then as they are vsed now a dayes.

I will, and therefore be attentiue.

I shall be so attentiue, that except I finde some greate doubt, I will not dismem­ber your discourse till the ende.The definition of a degree.

Those which we now call Moodes, they tearmid degree of Musicke: the defi­nition they gaue thus: a degree is a certayne meane whereby the value of the principall notes is perceaued by some signe set before them,Three degrees degrees of musicke they made three, Moode: Moodes. Time and Prolation.

What did they tearme a Moode?

The dew measuring of Longes and Larges, and was either greater or lesser.

What did they tearme the great moode? Great Moode▪

The dew measuring of Larges by Longes, and was either perfect or vnperfect.

What did they tearme the Great moode perfect?

That which gaue to the Large three Longes, for in both Moode, time, and pro­lation, that they tearme perfect which goeth by three: as the great Moode is perfect when three longes go to the large. The lesse Moode is perfect when three briefes go to the long: and time is perfect when three semibriefes go to the briefe. And his signe is thus.Franchinus Glareanus Lossius. 𝇈3 [...]

Which Moode did they terme, the great one imperfect?

That which gaue to the Large but two Longes.Franchinus op. mul. it. trac. 3. cap. 2. Lossius. lib. 2. cap 4. Peter Aron Tulcanello. His signe is thus, 𝇋3 [...]

What did they call the lesser Moode?

That moode which measured the Longes by Breeues, and is either perfect or vnper­fect. The lesse Moode perfect was when the Long contained three Breeues, and his signe is thus 𝇈2 [...] The lesse Moode vnperfect is, when the Long containeth but two Breeues. And his signe is thus: 𝇋2 [...]

VVhat called they time?

The dimension of the Breefe by Semibreeues: and is likewise perfect or vnperfect. Perfect time is, when the Brief cōtaineth three semibreeues. His signes are these, 𝇈3 𝇋3 𝇈 [...] The time vnperfect is, when the Briefe containeth but two semibrees, whose signes are these: 𝇈2 𝇋2 𝇋 [...]

What is Prolation?

It is the measuring of Semibriefs by Minoms, and is either more or lesse. The more prolation is, when the Semibrief contayneth three Minoms, his signes be these: 𝇇 𝇊 [...]

The lesse prolation is when the Semibriefe contayneth but two Minomes: The signe wher­of is the absence of the pricke thus. 𝇈 𝇋 [...]

So that you may gather that the number doth signifie the mode, the circle the time, and the presence or absence of the poynt the prolation. I haue thought good for your further know­ledge to set downe before you the examples of all the Moodes, ioyned to their times and prolations: to begin with the great Moode perfect. Here is his ensample following without any prolation, because in this Moode it is alwaiesGreat Mood and time per­fect. vnperfect. [...]

The great Moode vnperfect,Great Moode vnperfect and time perfect with time perfect, is set downe thus. [...]

[Page 15] The lesser Moode perfect and vnperfect, may be gathered out of the former two. It followeth, to set downe the Prolation in the times perfect and vnperfect: Prolation perfect in the time perfect is thus:Great Moode imperfect, Small Moode imperfect, time and prolation both perfect, Where there is respect had to the prolation, the Moode is left out. But yet to make a difference: when the Moode is shewen it is set by the Larg: when the prolation is shewen, it is alwaies within. [...]

Prolation perfect in the time vnperfect is set thus:Great Moode imparfect, Small Moode imperfect, time imperfect and prolation perfect. [...]

Prolation imperfect in the perfect time, is set downe thus:Both Moodes imperfect, time perfect & prolation vnperfect. [...]

[Page 16] The vnperfect prolation in the vnperfect time, thus.Both Moodes, time & prolation vnperfect. [...]

And because you may the better remember the value of euery note, according to euery signe set before it, here is a Table of them.

I praie you explaine this Table, and declare the vse thereof.

In the Table there is no difficultie,The vse of the precedent Ta­ble. if you consider it attentiuely. Yet, to take a way all scruple, I will shew the vse of it. In the lower part stande the signes, and iust ouer them the notes, that if you doubt of the value of anie note in anie signe, seeke out the Signe in the lowest part of the Table; and iust ouer it you shall finde the note: then at the left hand, you shall see a number set euen with it, shewing the value or howe many Semibreeues it conteineth. Ouer it you shal find how many of the next lesser notes belong to it in that signe. As for example in the great Moode perfect you doubt how manie Breeues the Longe containethan the lowest part of the table on the left hand, you finde this signe 𝇈3 which is the Moode you sought: iust ouer that signe you finde a Large, ouer that, the number 3, and ouer that a Longe. Now hauing found your Longe you finde hard by it on the left hand the number of 9. signifying that it is nyne Semi­breeues in that Moode: Ouer it you finde the figure of three, signifying that there be­long three Breeues to the Longe in that Moode: and so foorth with the rest.

This is easie and verie profitable, therefore seeing you haue set downe the an­cient Moodes (which hereafter may come in request, as the shotten-bellied doublet, & the great breeches,) I praie you come to the declaration of those which wee vse nowe.

I wil, but first you shall haue an example of the vse of your Moodes in singing, where also you haue an example of augmentation, (of which wee shall speake another [Page 17] time) in the Treble and Meane partes. The Tenor part expresseth the lesser moode per­fect, This is imperfection, where­of hereafter. that is, three Breeues to the Longe, the blacke Longs containe but two Breeues. But when a white Breefe or a Breefe rest doeth immediatly follow a Longe, then the Longe is but two Breeues, as in your Tenor appeareth. Your Base expresseth time perfect, where euerie Breefe containeth three Semibreeues, except the blacke, which containeth but two.

Augmentation. [...] [...] [...]

[...] [...]

𝇈2 [...]

Timeperfect. [...] [...]

So much of this song I vnderstand as the knowledge of the degrees hath showen mee: the rest I vnderstand not.

The rest of the obseruations belonging to this, you shall learne, when wee haue spoken of the Moodes.

You haue declared the Moodes vsed in old times so plainly, that I long to heare the other sort of Moodes, and therefore I pray you now explaine them.

Although they differ in order of teaching & name, yet are they both one thing in effect,Exposition of the foure vsu­all Moodes. and therefore I will be the more briefe in the explaining of them. There be foure Moodes now in common vse: Perfect of the more prolation. Perfect of the lesse prolation. Imperfect of the more prolation. And Imperfect of the lesse prolation. The moode perfect of the more is, when all go by three: as three Longes to the Large: three Breeues to the Long: three Semibreeues to the Breefe: three Minomes to the Semi­breefe. His signe is a whole cirkle with a prick or point in the center or middle thus:Perfyte of the More. 𝇇 [...]

What is to be obserued in this Moode?

The obseruation of euery one, because it doth depend of the knowledge of them all, wee will leaue till you haue heard them all.

Then I pray you go on with the rest.

The Moode perfect of the lesse prolation is, when all go by two, except the Semi­breefe: as two Longes to the Large. two Breeues to the Long: three Semibreeues to the Breefe: two Minoms to the Semibreefe. And his signe is a whole cirkle without any poynt or pricke in the middle,Perfyte of the Lesse. thus. [...]

Verie well. Proceede.

The Moode Imperfect of the more prolation is, when all go by two, except the Mi­nome which goeth by three: as two Longes to the Large, two Breeues to the Longe, two Semibreeues to the Briefe, and three Minomes to the Semibriefe: so that though in this Moode the Briefe be but two Semibriefes, yet you must vnderstand that he is sixe Minomes, and euery Semibriefe three Minomes. His signe is a halfe cirkle set at the beginning of the song, with a prick in the middle,Imperfyte of the More. thus. [...]

[Page 19] The Moode Imperfect of the lesse prolation is, when all go by two: as two Longes to the Large, two Breeues to the Longe, two Semibriefes to the Briefe, and two Minomes to the Semibriefe, two Crotchets to the Minome, &c. His signe is a halfe cirkle without a pricke or poynt set by him,Imperfyte of the Lesse. as thus. [...]

This Moode is in such vse, as when so euer there is no Moode set at the beginning of the song, it is alwaies imagined to be this: and in respect of it, all the rest are esteemed as strangers.

This is well. Now I pray you shewe mee what is to be obserued in euery one of the Moodes?

The perticuler obseruations, because they are best conceiued by examples, I will set you downe one of enery seuerall Moode. And to begin with the perfect of the Moore. Take this example of a Duo.

𝇇 [...] [...] [...]

𝇇 [...] [...]

Now I praie you begin and shewe mee how I may keepe right time in this ex­ample.

In this Cantus there is no difficultie if you sing your Semibreefes three Minyms a peece (the blacke excepted,The value of some Notes in this Moode. which is alwaies but two) your Breeues nine, & your black Breeues sixe. and whereas there is a breefe rest in the beginning of the Base, that you must recken nine Minymes. There is also in the Base a Longe which must be sung nine Semibreefes which is xxvii. Minymes.

A time for an Atlas or Typhaeus to holde his breath, and not for mee or any o­ther man now adayes.

True, but I did set it downe of purpose, to make you vnderstand the nature of the Moode.

You did well But I praie you,A director, and the vse therof. what is that which you haue set at the end of [...] the verse, thus:

It is called an Index or director: for looke in what place it standeth, in that place doth the first note of the next verse stand.

But is there no other thing to be obserued in this Moode?

Yes, for though in this Moode, and likewise in the other of this prolation, euerie Semibreefe be three Minymes: yet if an odd Minyme come immediatly either af­ter or before (but most commonly after) a semibreefe, then is the semibreefe sung but for two minymes, and that other Minyme maketh vp the nomber for the stroke. But to the intent that the singer may the more easily perceiue when the Minyme is to be taken in with the Semibreefe, and when it is to be left out: the maisters [...] haue deuised a certaine pricke (called a pricke of diuision) which being set betwixt a Semibreefe and a minyme thus:A prick of di­uision, with the nature & vse thereof. sheweth, that the Semibreefe is perfect, and that the minyme next following doth belong to another stroke.

Likewise, if the pricke of diuision come betwixt two minymes, thus: [...] it signifieth, that the Semibreefe going before is vnperfect, and that the minyme following it must be ioyned with it to make vp the stroke.

Now I thinke you haue sufficiently declared the nature of this Moode: I pray you therefore go forward to the next, or perfect Moode of the lesse prolation.

Here is an ensample, pervse it.

[...] Duo. [...]

[...] Duo. [...] [...]

In this last also I praie you begin with your stroke and time.

In this Moode euery semibreefe is two minymes or one full stroke. Euery breefe three semibreefes, The value of the notes in this Moodd. except it be blacke, in which case it is but two. Euery longe is sixe semi­breefes, except it be blacke, and then it is but foure, or haue a semibreefe following it noted with a prick of diuision thus: [...] and then it is fiue, and the other semibreefe ma­keth vp the full time of sixe. The value of a Long hauing a semibreef with a prick of diui­sion after it. And though this hath beene receiued by the composers, yet haue they but small reason to allow of it: for of Iusquin they had it in the Tenor part of the Gloria of his Masse Aue Maris stella: but Iusquin in that place vsed it for an extremitie, because after the longe came two semibreefes & then a breefe: so that if the first semibreefe had not beene taken in for one belonging to the longe, the second must haue beene song in the time of two semibreefes and noted with a pricke of alteration, as in these his notes you may see. [...] And though (as I said) he vsed it vpon an extremitie, yet finde, I it so vsed of many others without any ne­cessitie. And amongest the rest master Tauerner in his Kyries and Alleluyas, and there­fore I haue set it downe in this place because you should not be ignorant how to sing such an example if you should finde any hereafter in other songs.

It followeth to speake of the thirde Moode which is the Imperfect of the more prola­tion, of which, let this be an example.

[...] Duo. [...]

[...] Duo. [...] [...]

And as we did in the others, to begin with your stroke and time. Strike and sing euery one of these breefes sixe minymes, & euery one of the semibreeues (except the last) three.

And why not the last also?

If you remember that which I told you in the obseruations of the perfect moode of this prolation, you would not aske mee that question: For what I tolde you there con­cerning a minyme following a semibreefe in the more prolation, is as well to be vnderstoode of a minyme rest as of a minyme it selfe.

I crie you mercie, for in deede, if I had remembred the rule of the mi nyme I had not doubted of the rest. But I pray you proceede.

You see the minyme in d la sol marked with a pricke, and if you consider the ty­ming of the song, you shal finde that the minym going before that beginneth the stroke, so that those two minymes must make vp a full stroke. You must then knowe, that if you finde a prick so following a Minyme in this Moode, A pricke of alteration. it doubleth the value theeof & maketh it two Minymes, and then is the pricke called a pricke of alteration. The blacke semibriefe is alwaies two minymes in this Moode, and the black breefe twise so much, which is foure minymes, and this is all to be obserned in this Moode.

All that I thinke I vnderstand▪ therefore I praie you come to the declaration of the fourth and last.

The last, which is tearmed the Imperfect of the lesse prolation is, when all goe by two, as two longes to the large, two breefes to the longe, two semibreefes to the breef, two minymes to the semibreefe, two crochets to the minyme, two quauers to the crochet, and two semiquauers to the quauer, and so foorth, Example.

[...] Duo. [...] [...] [...]

[...] Duo. [...] [...]

[Page 23] The signe of this Moode set with a stroke parting it thus 𝇍 causeth the song before, which it is set, to be so song as a breefe or the value of a breefe in other notes, make but one ful stroke, and is proper to motetes specially when the song is prickt in great notes.

[...] 2 2 [...] 24 4 [...] 2 24

[...] [...] [...] [...]

Although that rule bee not so generally kept: but that the composers set the same signe before songs of the semibriefe time: But this I may giue you for an infalable rule, that if a song of many parts haue this Moode of the imperfect of the lesse prolation, set in one parte with a stroke through it, and in another part without the stroke, than is that parte [Page 24] which hath the signe with the stroke so diminished, as one briefe standeth for a semi­briefe of the other part which hath the figne without the strok, whereof you shal see an euident example after that we haue spoken of the proportions.zaccone. Berrhusius cum alijs. But if the signe be cros­sed thus (timeimperf-prolatimperf-x) then is the song so noted, so diminished in his notes, as foure semibriefes are song but for one, which you shall more cleerely perceiue heereafter, when we come to speake of diminution. The other sort of setting the Moode thus 𝇋 belongeth to Mad­rigals, Canzonets, and such like.

This much for the Moodes by them selues: but before I proceede to the declaration of the altering of them, I must giue you an obseruation to bee kept in perfect Moodes.

What is that?

It is commonly called imperfection.

What is imperfection? Imperfection.

It is the taking away of the third part of a perfect notes value, and is done three ma­ner of wayes, By note, rest, or cullor. Imperfection by note, is when before or after anie note there commeth a note of the next lesse value, as thus. [...] 9 18

By rest, when after any note there com­meth a rest of the next lesse value, as thus: [...] 4 2 ⅔

Imperfection by coullor, is when notes perfect are prickt blacke, which taketh awaie the third part of their value, thus: [...] The example whereof you had in your Tenor part of the song set next after the former Moodes. But the examples of perfection and imperfection, are so common, specially in the Moodes of perfect time and more prolation, that it would be superfluous to set them downe. There is also another obseruation a kin to this, to be obserued likewise in Moods perfect, and is termed alteration.

What is alteration?

It is the doubling of the value of any note for the obsaruation of the odde number, Alteration. and that is it which I told you of in the example of the Moode perfect of the Moore prolati­on, so that the note which is to be altered is commonly marked with a pricke of altera­tion.

Now I pray you proceed to the alteration of the Moodes.

Of the altering of the Moods proceedeth augmentation, ordiminution, augmen­tation proceedeth of setting the signe of the more prolation in one parte of the songe onely, Augmentation and not in others, and is an increasing of the value of the notes aboue their com­mon and essentiall valor, which commeth to them by signes let before them, or Moodes set ouer them, or numbers set by them. Augmentation by numbers is when proportions of the lesse in aequalitie are set downe, meaning that euery note and rest [Page 25] following are so often to bemultiplyed in them selues, as the lower number contayneth the higher thus. 12 13 14 &c. that is, the minym to be a semibrief, the semibriefe a briefe &c. but by reason that this is better conceiued by deede than worde, heere is an example of augmentation in the Tenor part.

[...] [...]

[...] [...]

[...] [...]

I con you thanke for this ensample, for in deed without it I had hardly conceaued your words, but now proceede to diminution.Diminution.

Diminution is a certaine lessening or decreasing of the essential value of the notes and rests, by certayne signes or rules, by signes, when you finde a stroke cutting a whole cir­cle or semicircle thus, (timeperf-prolatimperf-str) 𝇍 (timeperf-prolatperf-str) 𝇍 But when (as I tolde you before) a circle or halfe circle is crossed thus (timeperf-prolatimperf-x) (timeimperf-prolatimperf-x) it signifieth diminution of diminutiō, so that wheras a note of the signe once parted was the halfe of his owne value: here it is but the quarter. By a number added to a cirkle or semicircle thus. 𝇈2 𝇊2 𝇇2 𝇊2. also by proportionate numbers as thus. 21 dupla. 31 tripla 41 quadrupla &c. By a semicircle inuerted thus 𝇌 (timeimperf-prolatperf-rev) and this is the most vsuall signe of diminution, diminishing still the one halfe of the note: but if it be dashed thus, 𝇎 (timeimperf-prolatperf-rev-str) it is double diminished.

As you did in the augmentation, I pray you giue me an example of diminution.

Lo, here is one.

[...] [...] [...] [...]

[...] [...]

[...] [...] [...] [...]

[Page 27] Where you see two Moodes set to one part, the one thus (timeimperf-prolatperf-str) the other retorted thus (timeimperf-prolatperf-rev-str) signifyng that the first must serue you in your first singing till you come to this signe (repeat) where you must begin againe and sing by the retort in halfe tyme (that is, as rounde a­gaine as you did before) till you come againe to the same signe, and then you must close with the note after the signe.

What do you terme a retorted Moode? A Retort.

It is a Moode of imperfect time set backward, signifyng that the Notes before which it is set must be sung as fast againe as they were before, as in your former exam­ple, at the second singing, that which was a semibreef at the first you did sing in the time of a minyme, and the minyme in the time of a crochet.

Why did you saie a Moode of imperfect time?

Because a Moode of perfyt time cannot be retorted.

Of the lesse prolation I haue had an example before, therefore I praie you let me haue an ensample of the imperfect of the More retored.

Although by your former example, you may well enough comprehend and perceiue the nature of a retort, yet will I to satisfie your request, giue you an example of that Moode, with manie others after wee haue spoken of the proportions.

What is Proportion?Proportion.

It is the comparing of numbers placed perpendicularly one ouer another.

This I knewe before, but what is that to Musicke?

In deede wee doe not in Musicke consider the numbers by themselues, but set them for a signe to signifie the altering of our notes in the time.

Proceede then to the declaration of proportion.

Proportion is either of equalitie or vnequalitie. Proportion of aequalitie, is the comparing of two aequall quantities togither,Proportion of the more in­aequalitie doth in Musicke al­waies signifie diminution. in which, because there is no diffe­rence, we will speake no more at this time. Proportion of inaequalitie is, when two things of vnequall quantitie are compared togither, and is either of the more or lesse inaequali­tie. Proportion of the more inaequalitie is, when a greater number is set ouer and com­pared to a lesser, and in Musicke doeth alwaies signifie diminution. Proportion of the lesse inaequalitie is, where a lesser number is set ouer, and compared to a greater, as 23, and in Musicke doeth alwaies signifye augmentation.

How manie kindes of Proportions doe you commonly vse in Musicke? for I am perswaded it is a matter impossible to sing them all, especially those which be tearmed superpercients.

You saie true, although there be no proportion so harde but might be made in Mu­sicke, but the hardnesse of singing them, hath caused them to be left out, and therefore there be but fiue in most common vse with vs: Dupla, Tripla, Quaedrupla Sesquialtera, and Sesquitertia.

What is Dupla proportion in Musicke?

It is that which taketh halfe the value of euery note and rest from it,Dupla. so that two notes of one kinde doe but answere to the value of one: and it is knowen when the vp­per number contayneth the lower twise thus. 21 42 63 84 126 &c. But by the way you must note that time out of minde we haue tearmed that dupla where we set two Minymes to the Semibriefe, which if it were trew, there should be few songs but you should haue dupla quadrupla and octupla in it, and then by consequent must cease to be dupla. But if they thinke that not inconuenient,A confutation of Dupla in the minyme. I pray them how will they answere that which from time to time hath been set downe for a general rule amongst all musitions, that propor­tions of the greater inequalitie, do alwaies signifie dimunution, and if their minyms be di­minished, I pray you how shall two of them make vp the time of a full stroke, for in all [Page 28] proportions the vpper number signifieth the semibriefe, and the lower number the stroke, so that as the vpper number is to the lower, so is the semibriefe to the stroke. Thus if a man would goe seeke to refute their Inueterat opinions, it were much labour spent in vayne: but this one thing I will adde, that they haue not their opinion confirmed by the Testi­mony of any, either musition or writer, where as on the other side, all who haue beene of any name in Musicke, haue vsed the other dupla, and set it downe in their works, as you may see in the example following, confirmed by the authorities of Peter Aron, Franchinus, Iordanus, and nowe of late dayes, learned Glareanus, Losius, Listeni­us, Berhusius and a greate number more, all whome it were to tedius to nomi­nate: true it is that I was taught the contrary my selfe, and haue seene many old written books to the same ende. But yet haue I not seene any published vnder any mans name: but if their opinion had been true, I maruayle that non amongst so many good musi­tions haue eyther gone about to proue the goodnesse of their owne waie, or refute the opinions of others from time to time by general consent and approbation, taking new strength: therefore let no man cauil at my doing in that I haue chaunged my opinion and set downe the proportions otherwise then I was taught them, For I assure them that if any man will giue mee stronger reason to the coutrary, than those which I haue brought for my defence, I will not onely chaunge this opinion, but acknowledge my selfe debt bound to him, as he that hath brought me out of an error to the way of trueth.

I doubt not but your maister who taught you would thinke it as lawfull for you to goe from his opinion, as it was for Aristotle to disalow the opinion of Plato with this reason, that Socrates was his friend, Plato was his friend but verity was his greater friend.

Yet will I (to content others) set downe the proportions at the ende of this treatise as they are commonly prickt now, to let you see that in the matter there is no difference betwixt vs, except onely in forme of pricking, which they doe in great notes and we in small: and to the ende, that if any man like his owne way better than this, hee may vse his owne discretion: But we goe too farre, and therefore peruse your example.

[...] [...] [...] [...]

[...] [...] Diminution in tyme Dupla proportion. [...] [...]

[...] [...] [...] [...]

What is tripla proportion in musicke?

It is that which diminisheth the value of the notes to one third part: for three briefes are set for one,Tripla. and three semibriefes for one, and is knowen when two numbers are set before the song, whereof the one contayneth the other thrise thus 31 62 93 For example of this proportion take this following.

[...] [...]

[...] [...] [...]

[...] [...] Heere is likewise another ensample wherein Tripla is in all the parts together, which if you pricke al in blacke notes, will make that proportion which the musitions falslie ter­med Hemiolia, A confutation of hemiolia. when in deed it is nothing else but a round Tripla. For Hemiola doth sig­nifie that which the Latines tearme Sesquipla or sesquialtra: but the good Munks finding it to go somwhat rounder then common tripla, gaue it that name of Hemiolia for lacke of another. But for their labour they were roundly taken vp by Glareanus, Lossius and o­thers.

[...] [...]

[...] [...]

[...] [...]

[...] [...]

Proceed now to Quadrupla.

Quadrupla is a proportion deminishing the value of the notes to the quarter of that which they were before, & it is perceiued in singing, when a number is set before the song, comprehending another foure times, as 41 82 124 &c.

I pray you giue me an ensample of that.

Heere is one.

[...] [...] [...]

[...] [...] [...]

[...] [...] [...]

Quintupla and Sextupla I haue not seene vsed by any stranger in their songs (so far as I remember) but heere we vse them, but not as they vse their other proportions, for wee call that sextupla, where wee make sixe black minyms to the semibriefe, and quintupla when we haue but fiue &c. But that is more by custome then reason.

I pray you giue me an example of that.

You shall heereafter: but we will cease to speake any more of proportions of multiplicitie, because a man may consider them infinitly.

Come then to Sequialtera, Sesquial­tera. what is it?

It is when three notes are sung to two of the same kinde, and is knowne by a [Page 33] number contayning another once, and his halfe 32 64 96 the example of this you shal haue amongst the others. Sesquitercia is when foure notes are sung to three of the same kinde, and is knowen by a number set before him, contayning another once, and his third part thus. 43 86 129 And these shall suffice at this time: For knowing these, the rest are easelie learned. But if a man would ingulfe himselfe to learne to sing, and set downe all them which Franchinis Gaufurius hath set downe in his booke De proportionibus musi­cis, he should finde it a matter not onely hard, but almost impossible. But if you thinke you would be curious in proportions, and exercyse your selfe in them at your leasure. Heere is a Table where you may learne them at full.

[Page 34] As for the vse of this Table, when you would know what proportion any one number hath to another, finde out the two numbers in the Table, then looke vpwarde to the triangle inclosing those numbers, and in the angle of concourse, that is, where your two lynes meete togither, there is the proportion of your two numbers written: as for example, let your two numbers be 18▪ and 24▪ Looke vpward, and in the top of the tryangle couering the two lynes which inclose those numbers, you find written sesqui­tertia, so likewise 24. and 42. you finde in the Angle of concurse written super triparti­ens quartas, and so of others.

Heere is a Table in deede contayning more than euer. I meane to beate my brayns about. As for musick, the principal thing we seek in it, is to delight the eare, which cannot so perfectly be done in these hard proportions, as otherwise, therefore proceede to the rest of your musicke, specially to the example of those Proportions which you promised before.

I will, but before I giue it you, I will shew you two others, the one out of the workes of Iulio Renaldi: the other out of Alexandro Striggio, which because they be short & wil help you for the vnderstanding of the other, I thought good to set before it.

I pray you shew me the true singing of this first, because euery part hath a seue­rall Moode and prolation.

The Treble contayneth Augmentation of the Moore prolation in the subdu­pla proportion,Explanation of the example next ensuing. so that euery semibreefe lacking an odde minyme following, it is three: But if it haue a minyme following it, the semibriefe it selfe is two semibriefs and the mi­nyme one. The Altus and Quintus be of the lesse prolation, so that betwixt them ther is no difference,Giulio Renal­di in the eight song of his Ma­drigali and Neapolitans to fiue voyces beginning di­uerse lingue. sauing that in the Quintus the time is perfect, and by that meane euerie briefe three semibriefs. Your Tenor is the common Moode of the imperfect of the lesse prolation, diminished in dupla proportion, so that in it there is no difficultie. Lastly your Base conteyneth diminution of diminution or diminution in quadrupla proportion, of that (as I shewed you before) euery long is but a semibreefe, and euery semibriefe is but a crochet. And to the ende that you may the more easelie vnderstand the contryuing of the parts, and their proportion one to another, I haue set it downe in partition. [...]

This hath been a mightie musicall furie, which hath caused him to shewe such diuersitie in so small bounds.

True, but he was moued so to doe by the wordes of his text, which reason also mouid Alexandro Striggio to make this other, wherein you haue one poynt handled first in the ordinary Moode through all the parts, then in Tripla through all the parts, and lastly in proportions, no part like vnto another, for the Treble contayneth diminu­tion in the quadrupla proportion. The second Treble or sextus hath Tripla prickt all in blacke notes: your Altus or Meane contayneth diminution in Dupla proportion. The Tenor goeth through with his Tripla (which was begonne before) to the ende. The Quintus is sesquialtra to the breefe which hath this signe 𝇍 32 set before it: But if the signe were away, then would three minyms make a whole stroke, where as nowe three semibriefs make but one stroke The Base is the ordinary Moode, wherein is no difficul­ty as you may see.

[...] Alexandro Striggio in the end of the 30. song of the Se­conde booke of his Madri­gals to sixe voyces, beginning Al l' Acquae sagra. Cangiar fani mille di su sate for me Can- [...] [Page 36] [...] gier [...]

Now I thinke you may proceed to the examples of your other proportions.

You say well, and therefore take this song, peruse it, and sing it perfectly: and I doubt not but you may sing any reasonable hard pricke-song that may come to your sight.

A3. voc. [...] Christes crosse be my speede, in all vertue to proceede, A. b. c. d. e. f. g. h. [...] i. k. l. m. n. o. p. q. r. s & t. double w. v. x. with y. ezod. & perse. conper se. [...] title title. est A men, When you haue done begin againe begin againe.

A3. voc. [...] Christes crosse. [...] [...] [...] Verte folium.

A3. voc. [...] Christes crosse. [...] [...] [...] Verte folium.

A3. voc. [...] Christes crosse be my speede, in all vertue to proceede, A. b. c. d. e. f. g. h. [...] i. k. l. m. n. o. p. q. r. s. & t. double w. v. x. with y. ezod. & per se conper se. [...] title title. est Amen, When you haue done begin againe begin againe. [...] Christes crosse be my speede, in all vertue to proceede, A. b. c. d. e. f. g. h.

[...] [...] [...] [...] [...] [...] [Page 39] [...] [...] [...] [...]

[...] [...] [...] [...] [...] [...] [...]

[...] i, k, l, m, n, o, p, q, r, s. & t, double [...] w, v, x, with y, ezodd & per se, con per se, title [...] title, est Amen. Verte folium.

[...] [...] [...] [Page 41] [...] 31 [...] 3 to one of the notes precedent. [...]

[...] 31 [...] [...] [...] 31

[...] When you haue done, begin againe, begin againe. Christes crosse [...] be my speede, in all vertue to proceede, A. b. c. d. e. [...] f. g. h. i. k. l. m.

[...] 91 [...] [...] [...] 31 whole▪ [...] [...] 31 [Page 43] [...] [...] Decupla.

[...] 3 to one of the notes precedent. 92 [...] [...] [...] 31. whole: [...] 51 [...] [...] [...]

A3. voc. [...] n. o. p. q. r. s & t. double w. v. x. with y. ezod. & per se. conper se. [...] title title. est A men, When you haue done begin againe begin againe.

[...] [...] [...] 31 [...] [...]

[...] Septupla. [...] [...] 31 [...] [...]

And this is our vsuall maner of pricking and setting downe of the Proportions gene­rally receiued amongst our Musitions. But if Glareanus, Ornithoparchus, Peter Aron, Zarlino, or any of the greate Musitions of Italy or Germanie had had this example, he would haue set it downe thus, as followeth.

A3. voc. [...] Christes crosse be my speede, in all vertue to proceede, A. b. c. d. e. f. g. h. [...] i. k. l. m. n. o. p. q. r. s & t. double w. v. x. with y. [...] ezod. & per se. con per se. title title. est A men, When you haue done begin [...] againe begin againe. Christes crosse be my speede, in all vertue Verte fol.

[...] [...] [...] [Page 47] [...] [...]

[...] [...] [...] [...] [...] Verte folium.

[...] to proceede. A, b, c, d, e, f, g, h, i, k, l, m, n, o, p, q, r, s & [...] t, double w, v x, with y, ezod & per se, con per se, title title, [...] est Amen. When you haue done begin againe begin againe. Christes crosse be my [...] speede, in all vertue to proceede, A, b, c, d, e, f, g,

[...] [...] [...] [...] [...] [...] [Page 49] [...] [...] [...]

[...] [...] [...] [...] [...] [...] [...] [...] Christes

[...] h, i, k, l, m, n, o, p, q, r, s & t, double w v, x, with y, ezod, & per se, con per [...] se, title title est Amen. When you haue done begin againe, begin againe. [...] Christes crosse be my speede in all vertue to proceede,

[...] [...] [...] true tripla whole. [...] true tripla broken in the more prolation. [...] [...] [Page 51] [...] true tripla. [...] true tripla in the [...] more prolation.

[...] true tripla. [...] [...] [...] true tripla whole. true tripla broken in the more prolation [...] [...] true dupla [...] true tripla in [...] more prolation. Verte fol.

[...] A, b, c, d, e, f, g, h, i, k, l, m, n, o, p, q r, s & t, double w v, x, with [...] y, ezod, & per se, con per se, title title est Amen. When you haue done begin againe, [...] begin againe.

[...] the more prolation. true quiutupla. [...] quiutupla broken. [...] [...] the lesse prolation. [...] [Page 53] [...] true dupla in the more prolation. [...] [...]

[...] true quintupla. [...] [...] [...] true septupla. [...] [...] [...]

[Page 54] And to the end that you may see how euerie thing hangeth vpon another, and howe the proportions follow others, I will shew you particularlie euerie one. The first chāge which commeth after the proportion of equalitie, is commonlie called sextupla, or six to one, signified by the more prolation, retorted thus But if we consider rightlie that which we call sextupla, [...] is but true tripla, prickt in blacke notes. But because I made it to expresse sextupla, I haue set it downe in semibriefes, allowing sixe for a stroke, and taking awaie the retortiue mood, The next proportion is true Dupla: signified by the time vnperfect of the lesse prolation, retorted thus. which manner of marking Dupla cannot be disallowed: but if the pro­portion [...] next before had beene signified by anie mood, then might not this Dupla haue beene signified by the retort, but by proportionate numbers. Thirdlie commeth the lesse prolation in the meane part, & that ordinarie Tripla of the blacke minimes to a stroke in the base: and because those three blacke minimes, be sung in the time of two white minimes, they were marked thus 𝇊32. signifieng three minimes to two minimes. But if the signe of the prolation had been left out, & all been prickt in white notes, then had it been true thus [...] And in this maner most commonlie do the Italians signifie their three minimes to a stroke or tripla of three minimes, which is indeed true Sesquialtra. But because wee woulde here expresse true tripla, I haue set it downe thus, [...] Therefore to destroy the proportion follow these proportio­nate numbers at the signe of degree thus 𝇋13 which maketh the common time vnpetfect of the lesse prolation.

Then followeth true tripla, which they call tripla to the Semibriefe. But because it is afterwardes broken, I thought it better to pricke it white then blacke: but the matter is come so farre nowadaies, that some wil haue all semibrieues in proportion prickt black else (say they) the proportion will not be knowne. But that is false, as being grounded neither vpon reason nor authoritie. The tripla broken in the more prolation, maketh nine minimes for one stroke, which is our common Nonapla, but in one place of the broken tripla, where a semibriefe and a minime come successiuelie that they marked with these numbers 92, which is the sigue of Quadrupla sesquialtra, if the numbers were perpendicularly placed: but if that were true, why should not the rest also which were before be so noted, seeing nine of them were sung to two minymes of the Treble. Then followeth true Dupla: but for the reason before saide, I signifyed it with numbers and not by the retort but in the Basse, because the signe of the lesse prolation went im­mediately before, I could not with reason alter it, and therefore I suffered the retort to stand still, because I thought it as good as the proportionat numbers in that place. Then againe followeth true Tripla in the more prolation, afterward the contrarie numbers 13 of Sub Tripla destroying the proportion the more prolation re­maineth, [...] to which the Basse singeth Quintupla being prickt thus such was our maner of pricking without any reason or almost common sence, to make fiue crotchets be Quintupla to a Semibriefe, seeing foure of them are but the propper value of one Semibreefe. But if they wonld make fiue crot­chets to one femibreefe, then must they set downe Sequiquarta proportion thus 14, wherein fiue semibriefes or their value make vp the time of foure semibriefes or strokes. But I am almost out of my purpose, and to returne to our matter, I haue altered those crotchets into semibriefes expressing true Quintupla. Then commeth Quintupla bro­ken, which is our common Decupla, But if the other were Quintupla, then is this like­wise [Page 55] Quintupla, because there goeth but the value of fiue semibriefes for a stroke, and I thinke none of vs but would tsiinke a man out of his wits, who would confesse, that two testers make a shilling, and denie that sixe peeces of two pence a peece, or tvvelue single pence do likewise make a shilling. Yet we will confesse that fiue semibriefes to one is Quintupla. But we will not confesse that ten minimes, being the value of fiue se­mibriefes, compared to one semibriefe, is likewise Quintupla: and so in Quadrupla, sex­tupla, septupla, and others. Then commeth the common measure, or the lesse prolati­on (the signe of Subquintupla thus 15. destroying the proportion) for which the base sin­geth septupla, but as it is set downe in the first waie, it is as it were not septupla, but Su­partripartiens, Quartas, or 74. Therefore I set them all downe in semibriefes, allowing seuen of them to a stroke: which ended commeth equalitie after which followeth true Dupla in the more prolation, which we sometime call Sextupla, and sometime Tripla. After which and last of all commeth equalitie.

And lette this suffice for your instruction in singing, for I am perswaded that except practise you lacke nothing, to make you a perfect and sure singer.

I praie you then giue me some songes wherein to exercise my selfe at conueni­ent leisure.

Here be some following of two parts, which I haue made of purpose, that when you haue any friend to sing with you, you may practise togither, which wil sooner make you perfect then if you should studie neuer so much by your selfe.

Sir I thanke you, and meane so diligentlie to practise till our nexte meeting, that then I thinke I shall be able to render you a full account of all which you haue told me: till which time I wish you such contentment of minde, and ease of bodie as you desire to your selfe, or mothers vse to wish to their children.

I thanke you: and assure your selfe it will not be the smallest part of my con­tentment, to see my schollers go towardlie forward in their studies, which I doubt not but you will doe, if you take but reasonable paines in practise.

[...] Duo. [...] [...] [...] [...] [...] [...] [...] [...] [...] [...]

[...] The First. Duo. [...] [...] [...] [...] [...] [...] [...] [...] [...] [...] I2

[...] Duo. [...] [...] [...] [...] [...] [...] [...] [...] [...]

[...] Duo. [...] [...] [...] [...] [...] [...] [...] [...]

[...] The Third. Duo. [...] [...] [...] [...] [...] [...] [...] [...] [...] [...]

[...] Duo. [...] [...] [...] [...] [...] [...] [...] [...] [...] [...]

[...] [...] [...] [...] [...] [...] [...] [...]

[...] The fourth. Duo [...] [...] [...] [...] [...] [...] [...] [...] [...] [...]

[...] The fift. Duo [...] [...] [...] [...] [...] [...] [...] 32 [...] [...] [...]

[...] The fifth. Duo. [...] [...] [...] [...] [...] [...] [...] 32 [...] [...] [...]

[...] The sixth. [...] [...] [...] [...] [...] [...] [...] [...] [...] [...] [...]

[...] The sixth. [...] [...] [...] [...] [...] [...] [...] [...] [...] [...] [...]

Aria. A 3. voices. Cantus. [...] When you see this signe (repeat) of repetition, you must begin againe, making the note next before the signe (be it minyme, cro­chet or what­soeuer) a semibriefe in the first singing. At the second time you must sing it as it standeth, go­ing forwarde without any respect to the close. When you come to the end & find the signe of repetition be­fore the finall close, you must sing the note befor the signe as it standeth and then begin againe at the place where the stroke par­teth all the lines, & so sing to the finall close. But if you find any song of this kinde without the stroke so par­ting all the lines, you must begin at the first signe of repetition, & so sing to the end, for in this maner (for sa­uing of labor in pricking them at lēgth) do they prick all their ayres & villanellaes. [...] (repeat) [...] [...] [...] (repeat) [...]

[...] [...] (repeat) [...] [...] [...] (repeat) [...]

[...] (repeat) [...] [...] [...] [...] (repeat) [...]

WHom do I see a far off: is it not my scholler Philo­mates? out of doubt it is he, and therefore I wil sa­lute him. Good morrow scholler.

God giue you good morrow, and a hun­dreth: but I maruayle not a little to see you so early, not only stirring, but out of doores also.

It is no maruayle to see a Snayle after a Rayne to creep out of his shell, and wander all a­bout, seeking the moysture.

I pray you talke not so darkely, but let me vnderstand your comparyson playnely.

Then in playne tearmes, being ouer­wearied with study, and taking the oportunitie of the fayre morning: I am come to this place to snatch a mouthful of this holsome ayre: which gently breathing vpon these sweet smel­ling flowers, and making a whispering noyse amongst these tender leaues, delighteth with refreshing, and refresheth with delight my ouer-wearied sences. But tel me I pray you the cause of your hither comming; haue you not forgotten some part of that which I shewed you at our last being togither?

No verily, but by the contrary, I am become such a singer as you would wonder to heare me.

How came that to passe?

Be silent and I will shew you. I haue a Brother a great scholler, and a reasonable musition for singing: he, at my first comming to you conceiued an opinion (I know not vpon what reason grounded,) that I should neuer come to any meane knowledge in musicke; and therefore, when he heard me practise alone, he would continually mock me; indeede not without reason, for many times I would sing halfe a note too high, other while as much too lowe; so that he could not conteyne himselfe from laughing: yet now and then he would set me right, more to let mee see that he could doe it, then that he ment any way to instruct me: which caused me so diligently to apply my prick­song booke; that in a manner, I did no other thing but sing practising, to skip from one key to another, from flat to sharp, from sharp to flat, from any one place in the Scale to āother, so that there was no song so hard, but I would venture vpon it, no Mood nor [Page 70] Proportion so strange, but I would goe through and sing perfectly before I left it: and in the ende I came to such perfection, that I might haue been my brothers maister: for although he had a little more practise to sing at first sight then I had: yet for the Moods Ligatures, and other such things I might set him to schoole.

What then was the cause of your comming hither at this time?

Desire to learne, as before.

What would you now learne?

Beeing this last daye vpon occasion of some businesse at one of my friends hou­ses, we had some songs sung: Afterwards falling to discourse of musicke and musitions, one of the company naming a friend of his owne, tearmed him the best Descanter that was to bee found. Now sir, I am at this time come to know what Descant is, and to learne the same.

I thought you had onely sought to know Pricktsong, whereby to recreate your selfe being wearie of other studies.

In deed when I came to you first, I was of that minde: but the common Prouerb is in me verified, that much would haue more: And seeing I haue so farre set foote in mu­sicke, I doe not meane to goe backe till I haue gone quite through al, therefore I pray you now, (seeing the time and place fitteth so well) to discourse to me what Descant is, what parts, and how many it hath, and the rest.

The heate increaseth, and that which you demand requireth longer discourse then you looke for.Exposition of the name of Descant. Let vs therefore goe and sit in yonder shadie Arbor to auoyde the vehementnesse of the Sunne. The name of Descant is vsurped of the musitions in diuers significations: some time they take it for the whole harmony of many voyces: others sometime for one of the voyces or partes: & that is, when the whole song is not passing three voyces. Last of all, they take it for singing a part extempore vpon a playnesong, in which sence we commonly vse it: so that when a man talketh of a Descanter, it must be vnderstood of one that can extempore sing a part vpon a playne song.

What is the meane to sing vpon a playne song.

To know the distances both of Concords and Discords.

What is a Concord? What a Con­cord is.

It is a mixt sound compact of diuers voyces, entring with delight in the eare, and is eyther perfect or vnperfect.

What is a perfect consanant? What a perfect Consonant is

It is that which may stand by it selfe, and of it selfe maketh a perfect harmony, without the mixture of any other.

Which distances make a Concord or consonant Harmony.

A third,How many concords there be. a Fift, a Sixt, and an eight.

Which be perfect, and which vnperfect.

Perfect, an Vnison, a Fift, and their eights.

What do you meane by their eights.

Those notes which are distant from them eight notes, as from an vnison, an eight, from a fift, a twelfe.

I pray you make mee vnderstand that, for in common sence it appeareth against reason: for put Eight to One, and all will be Nine, put Eight to Fiue, and all will bee Thirteene.

I see you doe notconceiue my meaning in reckoning your distances, for you vnderstood me exclusiuely, and I meant inclusiuely: as for example. From Gam ut to b my is a third: for both the extremes are taken, so from Gam vt to G solre ut is an eight, and from Gam ut to D lasolre is a twelfe, although it seeme in common sence but an a Leuenth.

Go forward with your discourse, for I vnderstand you now.

Then I faie, a vnison, a fift, an eight, a twelfth, a fifteenth, a nineteenth, and so forth in infinitum, be perfect cordes.

What is an vnperfect concord?

It is that which maketh not a full sound,What an vn­perfect cōcord is. and needeth the following of a perfect con­cord to make it stand in the harmonie.

Which distances do make vnperfect consonants?

A third, a sixt, and their eightes: a tenth, a thirteenth, &c.

What is a discord? How many vn­perfect cordes there be.

It is a mixt sound compact of diuers sounds naturallie, offending the eare, & ther­fore commonlie excluded from musicke. What a discord is.

Which distances make discord or dissonant sounds?

All such as doe not make concords: as a second, a fourth, a seuenth, and theyr eightes: a ninth, aleuenth, a fourteenth, &c. And to the end that what I haue shewed you concerning concords perfect and vnperfect, and discords also may the more strong lie sticke to your memorie, here is a table of them all, which will not a little helpe you.

Concords. Discords. perfect. vnperfect. perfect. vnperfect.

an vnison. a third. a fift. a sixt. a second. a fourth. a seuenth.

I praie you shew me the vse of those cords.

The first waie wherein we shew the vse of the cords, is called Counterpoint: that is, when to a note of the plainsong, there goeth but one note of descant. Therfore when you would sing vpon a plainsong, looke where the first note of it stands, and then sing another for it which may bee distant from it, three, fiue, or eight notes, and so foorth with others, but with a sixt we sildome begin or end.

Be there no other rules to be obserued in singing on a plainsong then this?

Yes.

Which be they?

If you be in the vnison, fift, or eight, from your base or plainsong, if the base rise or fall, you must not rise and fall iust as manie notes as your base did.

I pray you explaine that by an example.

Here is one, wherein the vnisons, fifthes, and eights, be seuerallie set downe. [...] Vnisons Fiftes Eights. Consequence of perfect concordes of one kind cōdemned [...] [...]

This is easie to be decerned as it is set downe now: but it will not be so easy to be perceiued when they be mingled with other notes. Therfore I praie you shew me how they may bee perceiued amongste other cordes. [...]

There is no waie to discerne them, but by diligent marking wher­in euerie note standeth, which you cannot doe but by continuall prac­tise, and so by marking where the notes stand, and how farre euerie one is from the next before, you shall easilie know, both what cordes they be, and also what corde commeth next.

I praie you explane this likewise by an example.

Here is one, wherein there be equall number of true and false notes, [...] therfore (if you can) shew me now what concord euerie note is, & which be the true notes, and which false.

The first note of the base, standeth in C solfavt, and the first of the treble in G sol re vt: so that they two make a Fift, and therfore the first note [...] is true. The second note of the base standeth in A la mire, and the se­cond of the treble in E la mi, which two make also a fifth, and were true if the base did not fall two notes, and the treble likewise two notes from the place where they were before. The third note is true, and the last false.

You haue conceiued verie well, and this is the meaning of the rule which saieth, that you must not rise nor fall with two perfect cordes togither. Consequence of perfect concords of diuers kinds alowed.

What may I not fall from the fift to the eight thus? [...]

Yes, but you must take the meaning thereof to bee of perfect concordes of one kind.

Now I praie you set me a plaine song, and I will trie how I can sing vpon it. [...]

Set downe any you list your selfe.

Then here is one, how like you this? [...] [...]

This is well being your first proofe, But it is not good to fall so from the eight to the vnison as you haue done in your first two notes:Falling from the eight to the vnison condemned. for admit, I should for my pleasure de­scend in the plainsong from G sol re ut, to C fa ut, then would your descant be two eights: and whereas in your seuenth and eighth notes you fall from a sixt to an vnison, it is in­deed true, but not allowed in two parts either ascending or descending, but worse ascen­ding then discending:Falling from a sixt to a vnison condemned in two partes. for descending it commeth to an eight, which is much bet­ter, and hath farre more fulnesse of sound then the vnison hath. Indeed, in manie parts vpon an extremitie, or for the point (or fuge) sake thus, or in Canon it were tollerable, but most chieflie in Canon, the [...] reason whereof you shall know hereafter, when you haue lear­ned what a Canon is. In the meane time let vs goe forvvarde with the rest of your lesson. In your last two notes, the comming from a sixt to a third is altogither not to be suffered in this place, [...] but if it were in the middle of a song,Falling from sixt to a third both parts dcending disalowed. and then your B fa b mi be­ing flat, it were not onelie sufferable but commendable: but to come from F fa vt (which of his nature is alwaies flat) to B fab mi sharpe, it is against nature. But if you would in this place make a flat close to your last note, and so thinke to auoide the fault that could no more bee suffered then the o­ther: for no close may be flat, but if you had made your waie thus, it hadde beene much better. [...] [...]

For the fewer partes your song is of, the more exquisite shoulde descant bee, and of moste choise cordes, especiallie sixtes and tenthes: perfect cordes are not so much to be vsed in two partes, except passing (that is when one part descendeth and another ascendeth) or at a close or beginning.

Indeed me thinkes this filleth mine eares better then mine owne did, but I pray you how do you make your last note sauing two to stand in the harmonie, seeing it is a discord.

Discords mingled with concordes not onelie are tollerable, Discords wel taken allowed in musicke. but make the descant more pleasing if they be well taken. Moreouer, there is no comming to a close, speciallie with a Cadence without a discord, and that most commonly a seuenth bound in with a sixth when your plainsong descendeth, as it doth in that example I shewed you before.

What do you tearme a Cadence?

A Cadence wee call that, when comming to a close, two notes are bound togither,What a Cadence is. and the following note descendeth thus: or in any other keye after the same manner. [...]

I praie you then shewe mee some waies of taking a Discord well, and also some, where they are not well taken: that comparing the good with the badd, I may the more easily conceiue the nature of both.

Heere be al the wayes which this playnsong wil alowe, wherein a discord may be taken with a Cadence in Counterpoynt.Examples of well taking a discord with a Cadence. [...] [...]

And whereas in the first of these examples you begin to bynde vpon the sixt, the like you might haue done vpon the eight: or in the fift, if your playnesong had risen thus. [...]

The second of these examples closeth in the fift, and I pray you do you esteeme that good? [...]

It is tolerable though not so good in the eare, as that before which closeth in the eight, or that which next follow­eth it. [...]

But if the last note of the playn song ascended to d la sol re▪ thus: it had been good & the best way of closing. [...]

Now I pray you giue me some examples where the discord is not well taken. [...]

Heere is one peruse it.

I pray you shew me a reason why the Discord is euill taken here? [...]

Because after the Discord we do not set a perfect con­cord for the perfect concordes doe not so well beare out the discords as the vnperfect doe, and the reason is this. When a discord is taken, it is to cause the note following be the more pleasing to the eare. Now the perfect Con­cords of them selues being sufficiently pleasing, neede no helpe to make them more a­greeable, because they can be no more then of themselues they were before.

Let vs now come againe to our example from which wee haue much dis­gressed.

We will, and therefore as I haue told you of the good and bad taking of a discord vpon these notes: it followeth to speak of a formal closing without a discord or Cadence: and heere be some wayes formally, to end in that manner. [...]

The first and last wayes I like very well, but the second way closing in the fift offendeth myne eares. [...]

though it be vnpleasant,Examples of formal closing without a Ca­dence. yet is it true, and if it bee true closing in the eight, why should it not be true in the [...] fift also. But if you like it not, there bee (as the Prouerbe sayeth) more wayes to the Wood then one.

You say true, but I haue had so many obseruations, that I pray God I may keepe them al in minde.

The best meanes to keepe them in minde is continually to bee practising, and therefore let me see what you can doe, on the same playne song agayne. [...]

Heere is away how like you it?

Peruse it, & see it how you like it your selfe. [...] The schollers second lesson of Counter poynt.

I like it so well, as I thinke you shal not find manie faultes in it. [...]

You liue in a good opinion of your selfe, but let vs examine your example. This is in deed better then your first:Faults in this lesson What hitting the eight on the face is. But marke wherein I con­demne it. In the first and second notes you rise as though it were a close, causing a great informalitie of closing, when you shoulde but begin. Your third note is good: your fourh note is tollerable, but in that you goe from it to the twefth, it maketh it vnpleasing, and that we commonly call hitting the eight on the face, when we come to an eight, and skip vp from it agayne to another perfect concord: But if it had beene meeting one another, the playnesong ascending, and the Descecant desending: it had bin very good thus: [...] But I pray you where was your memorie when you set downe this sixt note.Consequence of vnperfect. Fifts no more to be vsed then of perfect.

I set it so of purpose, not of negligence.

And I pray you what reason moued you therevnto? [...]

Where in doe you condemne it?

For two twelfes or fifts, which was one of the principall ca­ueats I gaue you to be auoyded.

But they be not two fifts.

No, what reason haue you to the contrary?

Because in singing I was taught that the sharp cliff taketh away half of his sound so that it cannot be properly called a fift.

That is a new opinion. But I trust you will not say it is a fourth.

No.

Why?

Because it hath halfe a note more then any fourth hath.

and I hope you will not tearme it a sixt.

No.

Then if it be no fourth, because it is more then a fourth, nor a sixt because it is lesse then a sixt, what name will you gine it?

I cannot tell.

A womans reason to maintayne an oppinion,Alfonso in his song Si ch'io mi cred ho mai be­ing the twenti­eth song of his second book of Madrigals of fiue voyces at the very close betweene Canto & Alto and then if she be asked why she doth so, will answere, because I doe so. In deed I haue seene the like committed by mai­ster Alfonso agreat musition, famous and admired for his works amongst the best: but his fault was onely in pricking, for breaking a note in deuision, not looking to the rest of the parts, made three fifts in the same order as you did. But yours came of ignorance, his of Iolitie, and I my selfe haue committed the like fault in my first workes of three parts, (yet if any one should reason with me) I weare not able to defend it: but (no shame to confesse;) my fault came by negligence▪ But if I had seene it before it came to the presse, it should not haue passed so, for I doe vtterly condemne it as being ex­presly against the principles of our art:In the third part but of this another time at more length.

And as for the rest of your lesson, though the cords be true, yet I much mislike the forme, for falling down so in tenths so long to gether is odius, seeing you haue so much [Page 76] shift otherwise. Likewise in your penult and antepenult notes, you stande still with your descant,Standing with the plainesong condemned. What formalitie is. the plainsong standing still, which is a fault not to be suffered in so fewe as two partes, especiallie in eightes. But in descanting you must not onelie seeke true cordes, but formalitie also: that is, to make your descant carrie some forme of relation to the plaine song, as thus for example.

You sing two plainesong notes for one in [...] the descant, which I thought you might not haue done, except at a close.

That is the best kinde of descant,Binding descant. so it [...] bee not too much vsed in one song, and it is commonlie called binding descant, but to in­struct you somewhat more in formalitie, the chiefest point in it is singing with a point or Fuge.

What is a Fuge? A Fuge.

We call that a Fuge, when one part begin­neth [...] and the other singeth the same, for some number of notes (which the first did sing) as thus for example:

If I might play the zoilus with you in this [...] example, I might find much matter to cauill at.

I pray you let me heare what you can saie against any part of it, for I would be glad that you could not onely spie an ouersight, but that you could make one much better.

First of all, you let the plainsong sing twoe whole notes, for which you sing no­thing: secondlie you begin on a sixt.

You haue the eies of a Lynx, in spying faults in my lesson, and I praie God you may bee so circumspect in your owne: but one answer solueth both these obiections which you laie against me. And first for the rest, there can bee no point or Fuge taken without a rest,No fuge can be brought in without a rest. Beginning vpō a sixt in a fuge tollerable. and in this place, it is vnpossible in counterpoint sooner to come in with the point in the eight: and as for the beginning vpon a sixt, the point likewise compel­led me to do so, although I could haue made the descant begin it otherwise, as thus [...] for auoiding of the sixt, altering the leading part, but then woulde not your point haue gone through to the ende, answering to e­uerie note of the plainesong, for that the [...] ninth note of force must be a fourth as you see. But if you would sing the descant part fifteene notes lower, then will it goe wel in the eight below the plainesong, and that note [...] which aboue was a fourth, will fall to be a fift vnder the plainsong thus: the point likewise doeth excuse all the rest of the faults which might be obiected againste [...] me, except it be for false descant, that is, two perfect cords of a kind togither, or such like.

You haue giuen me a competent rea­son, and therfore I pray you shew me, in what and how many distances you may begin your point.

In the vnison,Distāces where vpon a huge may be begun. fourth, fift, sixt and eight, but this you must marke by the waie, [Page 77] that when we speake of a Fuge or Canon,How those distances are reckoned. in the vnison, fift, or eight: it is to bee vnder­stood, from the first note of the leading part, as my lesson may be called two parts in one in the eighth, although I did begin vpon a sixt.

Well then, seeing by your wordes I conceiue the formalitie of following a point with a plainsong, I will trie vpon the same plainsong what I can doe, for the maintenāce of this Fuge▪ But now that I haue seene it, I thinke it impossible to finde anie other way then that which you alreadie haue set downe on these notes.

Yes there is another waie if you can finde it out.

I shall neuer leaue breaking my braines til I finde it. And loe, here is a waie which although it do not driue the point quite through as yours did, yet I thinke it formall.

You haue rightlie conceiued the waie [...] which I meant. But whie did you pricke it of so much compasse?

For auoiding the vnison in the beginning. [...]

It is well, and verie hard and almost im­possible to doe more for the bringing in of this point aboue the plainsong then you haue don. Wherefore I commend you, in that you haue studied so earnestlie for it, but can you doe it no otherwise?

No in truth, for while I studied to doe that I did, I thought I shoulde haue gone madde, with casting and deuising, so that I thinke it impossible to set anie otherwaie.

Take the descant of your own waie, which was in the eleuenth, or fourth aboue and sing it as you did begin (but in the fift belowe vnder the plainesong) and it will in a [...] manner go through to the end, whereas yours did keepe report but for fiue notes,

This riseth fiue notes and the plainsong riseth but foure.

So did you in your example before, al­though [...] you could perceiue it in mine, and not in your owne: but although it rise fiue notes, yet is it the point.Rising from the fift to the eight disalowed in musicke. For if it were in Canon, we might not rise one note higher, nor descende one note lower then the plainsong did: but in Fuges wee are not so straightlie bounde. But there is a worse fault in it which you haue not espied, which is, the rising from the fift to the eight in the seuenth and eight notes, but the point excuseth it, although it be not allowed for anie of the best in two parts, but in mo parts it might be suffered.

I would not haue thought there had bin such varietie to be vsed vpon so few notes.

There be manie things which happen contrarie to mens expectation, therfore yet once againe, trie what you can do vpon this plainsong, though not with a point, yet with some formalitie or meaning in your waie.

You vse me as those who ride the great horses: for hauing first ridden them in a small compasse of ground, they bring them out and ride them abroad at pleasure. But loe here is an example vpon the same [...] [...] notes.

This is well enough, al­thogh if I peruse mine own first lesson of Fuge, I shal find you a robber. For behold here bee all your owne notes in blacke pricking, the rest which be white, be mine: for though you close in y^e eight below, yet is the descant all one. [...] [...]

In truth I did not willinglie rob you, although by chance I fel into your cordes.

I like it al the better. But I would counsel you, that you accustome not your selfe to put in pieces of other mens doings amongest your owne, for by that meanes the di­uersitie of vaines wil appeare, and you be laughed to scorne of the skilful for your pains

You saie true, and I wil take heed of it hereafter. But I thinke my selfe now reaso­nablie instructed in counterpoint. I praie you therfore go forward to some other matter

There remaineth some things in counterpoint which you must know before you go anie further.Short and long The first is called short and long, when we make one note alone, & then two of the same kind bound togither, and then another alone, as you see in this lesson. long and short.

Nay by your leaue, I wil [...] make one of euerie sort, and therfore I praie you proceed no further, til I haue made one of these.

If you thinke it worth the making do so, for [...] if you can otherwise do anie thing vpon a plaine-song, this wil not bee hard for you, but to doe it twise or thrice vppon one plainesong in seuerall waies, wil bee somewhat harder, because that in these waies there is little shift.

Somwhat (said you?) I had rather haue made twentie lessons of counterpoint, then haue made this one miserable waie, which notwithstanding is not to my content­ment, but I praie you peruse it. [...]

This is wel done.

The rising to the twelfth of fift I do mislike, in the seuenth note, but except I should haue ta­ken your descant, I had none other shift. [...]

Let it go. Long and short, is when we make two notes tied togither, and then another of the same kind alone,Long and short contrarie to the other example before, thus. [...]

Seing I made one of the other sort, I wil trie if I can make one of this also. [...]

You wil finde as little shift in this as in the other. [...]

Here is a waie, but I was faine either to begin vpon the sixt, or else to haue taken your [...] beginning, for here I may not rest.

Necessitie hath no law, and therefore a smal fault in this place: but let this suffice for counterpoint. [...]

What followeth next to be spoken of?

The making of twoe or more notes for one of the plainsong,Descant commonlie called Dupla. which as (as I tolde you before) is falslie termed dupla, and is, when a semibriefe or note of the plainsong, wee make two minimes.

May you not now and then intermingle some crotchets.

Yes as manie as you list, so you doe not make al crotchets.

Then I thinke it is no more dupla.

You saie true, although it should seem that this kind of dupla is deriued from the true dupla, and the common quadrupla out of this. But to talke of these proportions is in this place out of purpose: therefore we will leaue them and return to the matter we haue in hand.

I praie you then set me downe the generall rules of this kind of descant, that so soone as may be I may put them in practise.

The rules of your cordes, beginning, formalitie, and such like are the same which you had in counterpoint, yet by the waie, one caueat more I must giue you to bee ob­serued [Page 79] here, that is, that you take not a discord for the first part of your note, except it be in binding maner, but for the last part you may.

I praie you make me vnderstand that by an example.

Here brieflie you may see, that vpon these notes you may sing thus.A discord not to be taken for the first part of a note, except in binding wise [...] or thus. not thus nor thus. [...]

But in binding descant, you may take a dis­cord for the first parte of the note, thus. [...] or thus. [...]

I will remember this, therefore I praie you set mee a lesson in this kinde of descant, whereby I may striue to imitate you with another of the same kinde.

Here is one, marke it: and then make one of your owne like it. [...]

I perceiue by this, that it is an easie matter for one that is well seene in counterpoint to atain [...] in short time to y^e know­ledge of this kind.

It is so. But there be many thinges which at the first sight seem easie, which in practise are found harder then one woulde thinke. But thus much I wil shew you, that he who hath this kind of descanting perfectlie, may with small trouble, quicklie become a good musition.

You would then conclude, that the more paines are to be taken in it. But heere is my waie, how do you like it?

Well for the first triall of [...] your vnderstanding in this kind of descant. But let vs examine parti­cularlie euerie note, that you see­ing the faultes, may auoide them [...] hereafter.

I praie you doe so, & leaue nothinge vntouched which aniewaie may bee obiected.

The first, second, and thirde-notes of your lesson are tollerable, but your fourth note is not to be suffered, because that and the next note following are two eights.

The second part of the note is a Discord, and therefore it cannot be two eights seeing they are not both togither.

Though they be not both together,A discord comming betweene two perfect cords of one kinde, taketh not awaie the faulty conse­quence. yet is there no concord betweene them: & this you must marke, that a Discord comming betweene two eights, doth not let them to be two eightes stil. Likewise, if you set a discord betweene two fifts, it letteth them not to bee two fifts still. Therfore if you will auoide the consequence of perfect cords of one kind, you must put betwixt them other concords, and not discords.

This is more then I would haue belieued, if another had told it me, but I praie you goe on with the rest of the faults.

Your seuenth and eighth notes haue a fault, cosine germaine to that which the others had, though it be not the same.

I am sure you cannot saie that they be two eightes, for there is a tenth after the first of them.

Yet it is verie naught,Ascending or descending to the eight condemned. to ascend or descend in that maner to the eight, for those foure crotchets bee but the breaking off a semibriefe in G sol re ut, which if it were sung whole, would make two eights togither ascending, or if he who singeth the plainsong would breake it thus,Zarlim inst. mus. part terza cap. 48. [...] (which is a thing in common vse amongst the sin­gers, it would make fiue eightes togither: and as it is, it ought not to be vsed, especiallie, in two partes: for it is a grosse fault. Your ninth & tenth notes, are two eightes with the plainsong, for a minime rest set betwixt two eights, kee­peth them not from being two eights, because as I saide before, there commeth no other concord betwixt them:A minime rest put betwixt two perfect cordes of one kind, hindreth not their faul­tie consequēce but if it were a semibriefe rest, then were it tollerable in more partes, though not in two, for it is an vnartificiall kinde of descanting in the middle of a lesson, to let the plainsong sing alone, except it were for the bringing in or maintai­ning of a point praecedent.

I praie you giue me some examples of the bad manner of comming to eightes, fifts, or vnisons, that by them I may in time learne to finde out more: for without ex­amples, I shall manie times fall into one and the selfe same error.

That is true: and therefore here be the grosest faults. Others by my instruction and your owne obseruations, you may learne at your leisure. And because they may hereafter serue you when you come to practise base descant, I haue set them downe first aboue the plainsong, aud then vnder it.

[...] Examples for alowances for­bidden in musicke. In the eight [...] [...] In the vnison In the fift [...] [...] ascending and descending to the eight. [...]

These I will diligentlie keepe in mind, but I pray you how might I haue auoided those faultes which I haue committed in my lesson?

Manie waies, and principallie by altering the note going before that, wherin the fault is committed.

Then I praie you set downe my lesson corrected after your maner.

Here it is with your faultes amended, and that of yours which was good retai­ned.

This is well: but I will [...] make another, that all my faultes may come out at the firste, and so I may haue the more time to mend them. [...]

Doe so: for the rules and practise ioined togither, will make you both certaine and quicke in your sight.

Here is one, and as you did in the other, I pray you shew me the faults at length.

The begin­ning [...] of your descāt is good, the secōd note is tollerable, but might haue [...] been made better.

May I not touche a discorde, passing in y^t, order?

You may, and it is vnpossible to ascende or descende in continuall deduction,An obseruati­on for passing notes. without a discord, but the lesse offence you giue in the discord the better it is, and the shorter while you staie vpon the discord, the lesse offence you giue. Therefore, if you had set a pricke after the Minime, and made your two Crot­chets, two Quauers, it had been better, as thus: [...] Your next note had the same fault, for that you staied a vvhole Minime in the fourth, which you see I haue mended: making the last minim of your third note a crotchet, and setting a prick after the first. Your fift, sixt, and seuenth notes be wilde and vnformall, for that vn­formall skipping is condemned in this kinde of singing,Wild skipping condemned in descant. but if you had made it thus it had beene good and formall.

Wherein didde you [...] mislike my Close, for I see you haue altered it also.

Because you haue staied [...] in the note before it a whole semibriefe togither.Staying before the close condemned. For if your descant should be stirring in any place, it should bee in the note before the close. As for this waie, if a Musition should see it, he woulde saie it hangeth too much in the close. Also you haue risen to the eight, which is all one, as if you had closed below, in the note from whence you fled.

I praie you before you go any further, to set me some waies of discordes passing, ascending and discending, and how they may be allowable, and how disalowable.

Although you might by the example which I shewed you before, conceiue the nature of a passing note: yet to satisfie your desire, I will set downe such as might occur vpon this plainsong, but in forme of a Fuge, that you may perceiue how it is allowable or disallowable in Fuge: And because we will haue the best last, I will shewe you twoe waies, which though others haue vsed them, yet are no waie tollerable: for it is vnpos­sible to take a discord worse, then in them you may here see set downe, which I haue of [...] Bad taking of discords in this kind of descant [...] purpose sought out for you, that you may shun them and such like hereafter. Yet some, more vpon their owne opinion than anie reason, haue not spared to praise them for ex­cellent. But if they or any man else, can deuise to make them falser, then will I yeeld to them, and be content to be esteemed ignorant in my profession. But I praie you peruse them.

It may bee there is art in this which I cannot perceiue, but I thinke it goeth but vnpleasinglie to the eare, speciallie in the two notes next before the close.

I find no more art in it, then you perceiued pleasure to the eare. And I doubt not, if you your selfe should examine it, you would finde matter enough without a Tutor, to condemne it: as for the first, there are foure notes that might be easilie amended with a pricke, altering some of their length, by the obseruation which I gaue you before. But as for the place which you haue alreadie censured, if all the maisters and schollers in the world, should laie their heads togither, it were impossible to make it worse. But if it had beene thus [...] The former example bet­tered. [...] it hadde bene tolerable, and you may see with what litle alteration it is made better, from the beginning to the end: not taking awaie any of the former notes, except that vnformall close, which no mans eares could haue indured: yet as I told you before, the best maner of closing is in Cadence.

In Cadence there is little shift or varietie, and therefore it shoulde seeme not so often to be vsed, for auoiding of tediousnesse▪

I finde no better word to saie after a good praier, then Amen, nor no better close to set after a good peece of descant, then a Cadence: yet if you thinke you will not saie as most voices doe, you may vse your discretion, and saie So be it, for varietie. Here is also another waie, which for badnesse will giue place to none other.

[...] Other exam­ples of discord euill taken. [...]

What? Will not the Fuge excuse this, seeing it singeth in a manner euery note of the plainesong?

No.

For what cause?

Because it both taketh such bad allowances as are not permitted, and likewise the point might haue beene better brought in thus.

But it were bet­ter [...] to leaue the point and folow none at all,Examples of discorde wel taken. then for the pointes [...] sake,Wherein al the alowances be contained. to make such harsh vnple sant musicke: for musicke was deuised to content and not offend the eare. [...]

[...] And as for the other two, as there is no means of euiltaking of discords, which you haue not in them (and therfore bi­cause I thinke I haue some authoritie ouer you, I will haue you altogither to [...] abstaine frō the vse of them) so in these other twoe, there is no waie of well ta­king a discord, lacking, both for Fuge, and for binding descant, in that it is vn­possible to take them trulie on this plainesong, otherwise then I haue set them downe for you, for in them be all the allowances: and besides, the first of them singeth euerie note of the plainsong.

I thanke you hartilie for them, and I meane by the grace of God, to keepe them so in memorie, that whensoeuer I haue any vse of them I, may haue them readie.

Trie then to make another waie formall without a Fuge?

Here is one, although I be doubtfull how to thinke of it my selfe, and therefore I long to heare your opinion. [...] [...]

My opinion is that the halfe of it is tollerable, the other halfe I mislike.

I suspected so much before, that the latter halfe woulde please you, though the first halfe did not.

You are deceiued, for the first halfe liketh me better then the latter.

How can that be,Falling downe with the plain song disalowed seeing the latter keepeth point in some sort with the plainsong.

But you fall as the plainsong dooeth, still telling one tale with out varietie. But if you would maintaine a point, you must go to worke thus: [...] [...] But withall you must take this caueat, that you take no note aboue one Minime rest, or three vpon the greatest extremitie of your point in two partes (for that in long resting, the harmonie seemeth bare) and the odde rest giueth an vnspeakable grace to the point (as for an euen number of restes,An od rest the most artificiall kind of brin­ging in a point. few or none vse them in this kinde of descanting) but it is supposed, that when a man keepeth long silence, and then beginneth to speake, he will speake to the purpose so in resting, you let the other goe before, that you may the better follow him at your ease and pleasure.

Here is a waie which I haue beaten out, wherein I haue done what I coulde to maintaine the point.

You haue main­tained [...] your point indeed, but after such a manner, as no bodie will commend: [...] for the latter halfe of your lesson is the same that your firste was, without any alteration, sauing that to make it fill vppe the whole time of the plainesong (which hath two notes more then were before) you haue set it downe in longer notes.One thinge twice sung in one lesson condemned. But by casting awaie those two notes from the plainsong, you may sing your first halfe tvvice after one manner, as in this example you may see.

And therefore though this [...] waie bee true, yet woulde I haue you to abstain from the vse of it, because in so small boundes and short space it is [...] odious to repeate one thing twise.

Wel then, I will re­member not to take the same descant twice in one lesson, but when I made it, I did not looke into it so narrowlie: yet I thinke by these waies I doe well enough vnderstand the nature of this kind of descant, therefore proceed to that which you thinke most meet to be learned next.

Before you proceed to any other thing, I would haue you make some more les­sons in this kinde, that you may thereby be the more readie in the practise of your pre­cepts: for that this waie of maintaining a point or Fuge, commeth as much by vse as by rule.

I may at all times make waies enough, seeing I haue the order how to do them, and know the most faults which are to be shunned: therefore if you please, I praie pro­ceed to some other matter, which you thinke most requisite.

Now seeing (as you saie) you vnderstand this kind of descant,What a reuert is. and knowe how to follow or maintaine a point, it followeth to learne how to reuert it.

What doe you call the reuerting of a point?

The reuerting of a point (which also we terme a reuert) is, when a point is made rising or falling, and then turned to go the contrarie waie, as manie notes as it did y^e first.

That would be better vnderstood by an example then by wordes, and therefore I praie you giue me one.

Here is one, marke it well, and studie to imitate it: [...] [...]

This waie argueth maistrie, and in my opinion hee who can doe it at the firste sight, needeth not to stand telling his cordes.

That is true indeed, but doe you see how the point is reuerted?

Yes verie well, for from your first note till the middle of your fift, your point is contained; and then in the middle of your fift note you reuert it, causing it ascende as manie notes as it descended before, and so descend where it ascended before.

You haue well perceiued the true making of this waie, but I praie make one of your owne, that your practise may stretch as farre as your speculation.

Lo here is one, How doe you like it? [...] [...]

I thinke it is fatal to you, to haue these wild points of vnformal skippings (which I pray you learne to leaue) otherwaies your first fiue notes be tollerable, in your fift note you begin your reuert well:Falling from the sixt to the eight condemned. but in your seuenth and eight notes, you fall from the thir­teenth or sixt, to the eight or vnison, which was one of the faults I condemned, in your first lesson of Counterpoint: the rest of your descant is passable. But I must admonishe you, that in making reuerts, you choose such points as may be easilie driuen thorough to the ende, without wresting, changing of notes, or pointes in harsh cords, which can not be done perfectlie well, without great foresight of the notes which are to come af­ter. Therefore I would wish you, before you set downe anie point, diligentlie to con­sider [Page 86] your plainsong, to see what pointes will aptliest agree with the nature of it, for that vpon one ground or plainesong, innumerable waies may bee made, but manie better then other.

Then for a triall that I haue rightlie conceiued your meaning, I wil make ano­ther waie reuerted, that then we may go forward with other matters.

Do so, but take heed of forgetting your rules.

I am in a better opinion of the goodnesse of mine owne memorie, then to doe so. but I praie you peruse this waie, if there be in it anie sensible grosse fault, shew it me. [...] [...]

All this is sufferable, except your seuenth and eight notes, wherein you falfrom B fa b mi to F fa vt, and so vnformallie to B fa b mi backe againe, thus: [...] which though it be better then that which I condemned in the Close of your firste lesson of Counterpoint yet is it of the same nature and [...] naught, but you may in continuall deduction, ascend from mi to fa thus. I know you will make the point your excuse,Falling from B fa b mi sharp to F fa vt condemned. but (as I tolde you before) I would rather haue begun againe and taken a new point, then I woulde haue committed so grosse a fault: as for the rest of your lesson it is tollerable. Nowe I hope by the precepts which I haue alreadie giuen you, in your examples going before, you may conceiue the nature of treble descant, it followeth to shewe you how to make base descant.

What is Base descant?

It is that kinde of descanting,Base descant. where your sight of taking and vsing your cordes must be vnder the plainsong.

What rules are to be obserued in base descant?

The same which were in treble descant, but you must take heed that your cords deceiue you not, for that which aboue your plainsong was a third, will bee vnder your plainsong a sixt: and that which aboue your plainsong was a fourth, wil bee vnder your plainsong a fift: and which aboue was a fift, will vnder the plainsong be a fourth: and lastlie,A caueat for the sight of cords vnder the plainsong. that which aboue your plainsong was a sixt, will vnder it be a third. And so like­wise in your discords, that which aboue your plainsong was a second, will be vnder it a seuenth: and that which aboue the plainsong was a seuenth, wil be vnder the plainsong a second.

But in descanting I was taught to reckon my cords from the plainsong or ground.

That is true: but in base descant the base is the ground, although wee are bound to see it vpon the plainsong: for your plainsong is as it were your theme, and your des­cant (either base or treble) as it were your declamation, and either you may reckon your cordes from your base vpwardes, or from the plainesong downewarde, which you list. For as it is twentie miles by account from London to ware, so is it twenty from Ware to London.

I praie you set me an example of base descant.

Here is one. [Page 87] [...] [...]

I thinke it shal be no hard matter for me to imitate this.

Set downe your waie, and then I wil tel you how wel you haue don it:

Here it is, and I thinke it shall need but little correction.

Conceit of their [...] own sufficiencie hath o­uerthrowne many, who otherwise woulde haue proued excellent. There [...] fore in anie case, neuer thinke so well of your selfe but let other men praise you, if you bee praise worthie: then may you iustlie take it to your selfe, so it bee done with moderation and without arrogancie.

I will: but wherein doe you condemne my waie?

In those thinges wherein I did not thinke you should haue erred.A discord takē for the first part of a note not in binding wise cōdemned For in the be­ginning of your fourth note, you take a discord for the first part, & not in binding wise: your other faults are not so grosse, and yet must they be told.

In what notes be they?

In the foure notes going before the close, for there your descant woulde haue beene more stirring, and by reason it hangs so much, I do not, nor cannot greatly com­mend it, although it be true in the cordes.

What? Is not that binding descant good?

That kind of binding with concords is not so good as those bindinges which are mixt with discordes:Binding with concords not so good as that with discords. but here is your own waie with a little alteration much better. [...] [...]

This is the course of the world, that where we thinke our selues surest, there are we furthest off from our purpose. And I thought verilie, that if there could haue beene anie fault found in my waie, it should haue bin so smal, that it should not haue bin worth the speaking of. But when we haue a little, we straight imagine that wee haue all, when God knowes the least part of that which we know not, is more then al we know. There­fore I praie you yet set me another example, that considering it with your other, I may more cleerelie perceiue the artificiall composition of them both.

Here be two, choose which of them you thinke best and imitate it. [...] [...]

It is not for me to [...] iudge or censure your workes, for I was far da­shed in my laste waye (which I thought so ex­ceeding [...] good) that I dare neuer credite mine owne iudgement hereafter. But yet I praie you whie haue you left out the sharpe cliffe before your sixt note in the plain song of your second waie.

Although the descant be true (if the sharpe cliffe were there) yea and passable with manie,The eare the most iust iudge of al musicke. yet let your eare be iudge, how farre different the ayre of the descant (the plainsong being flat) is from it selfe, when the plainsong is sharpe. And therefore, be­cause I thought it better flat then sharpe, I haue set it flat. But if anie man like the other waie better, let him vse his discretion.

It is not for me to disallow your opinion: but what rests for me to doe next?

By working we become workemen: therefore once again set down a waie of this kind of descant.

That was my intended purpose before, and therefore heere is one, and I praie you censure it without anie flatterie. [...] [...]

This is verie well, and now I see you begin to conceiue the nature of base des­cant: wherefore here is yet another waie, of which kind I would haue you make one. [...] [...]

This is a point reuerted, and (to be plaine) I despaire for euer doing the like.

Yet trie, and I doubt not but with labour you may ouercome greater difficulties

Here is a waie, I praie you how like you it? [...] [...]

I perceiue by this waie, that if you will bee carefull and practise, censuring your owne dooinges with iudgement, you neede few more instructions for these waies: ther­fore my counsell is, that when you haue made any thinge, you peruse it, and correct it the second and third time before you leaue it. But now seeing you knowe the rules of singing one part aboue or vnder the plainsong: it followeth, to shew you how to make more partes. But before we come to that, I must shew you those thinges which of olde were taught, before they can sing two partes: and it shall be enough to set you a waie of euerie one of them, that you may see the maner of making of them, for the alowan­ces and descanting be the same which were before: so that he who can doe that which you haue alreadie done, may easilie do them all. The first is called crotchet, minime, and crotchet, crotchet,Crotchet, mi­nime and crotchet. minime and crotchet, because the notes was disposed so, as you may see in this example, [...] [...] This waie in euerie note commeth euen in time of stroke. [...]

The second is called Minime and Crotchet, because ther come a [...] minime & a crotchet successiuelie through to the end, this after two notes commeth euen in the stroke, and in the third likewise, and so in course againe to the end,Minime, crotchet & minim. as here you may see. [...] [...] The third is a driuing waie in two crotchets and a minime,Two crotchets and a minimes but odded by a rest, so that it neuer commeth euen till the close, thus. [...] [...] [...] [...] [Page 90] The fourth waie driueth a crotchet rest throughout a whole lesson all of minims, so that it neuer commeth euen till the end,Driuing of a crotchet rest to the end thus. [...] [...] And in these waies you may make infinite varietie, altering some note, or driuing it tho­rough others, or by some rest driuen, or making your plainesong figuration.

What is Figuration?Figuration.

When you sing one note of the plainsong long, & another short, and yet both prickt in one forme. Or making your plainesong as your descant notes, and so making vpon it, or then driuing some note or rest through your plainsong, making it two long, three long, &c. Or three minimes, fiue minimes, or so forth, two minimes and a crot­chet, three minimes and a crotchet, fiue minimes and a crotchet, &c. with infinite more, as mens inuentions shall best like: for, as so manie men so manie mindes, so their inuentions wil be diuers, and diuerslie inclined. The fift waie is called Tripla, when for one note of the plainsong,Triplain the minime. they make three blacke minimes thus. [...] 31 [...] [...] though (as I tolde you before) this be not the true tripla, yet haue I set it down vnto you in this place, that you might know not onlie that which is right, but also that which others estee­med right. And therefore likewise haue I set downe the pro­portions [...] following, not according as it ought to bee in reason, but to content wranglers, who I know will at euerie little ouer­sight, take occasion to backbire, and detract from that which they cannot disproue. I know they will excuse themselues with that new inuention of Tripla to the semibriefe, and tripla to the minime, and that that kinde of tripla which is tripla to the minime, must be prickt in minimes, and the other in semibriefes. But in that inuention they ouershoote themselues, seeing it is grounded vpon custome, & not vpon reason. They wil replie and saie, the Italians haue vsed it: that I graunt, but not in that order as we doe: For when they marke tripla of three minimes for a stroke, they doe most vsuallie set these numbers before it 52: which is the true marking of Sesqui al­tera, and these three minimes are true sesqui altra it selfe. But you shall neuer find in a­nie of their workes a minime set downe for the time of a blacke semibriefe and a Crot­chet, or three blacke minimes, which all our Composers both for voices and instru­ments doe most commonlie vse. It is true that Zaccone in the second book & 38. chap­ter of practise of musicke, doth allow a minime for a stroke in the more prolation, and [Page 91] prooueth it out of Palestina, but that is not when the song is marked with proportionate numbers: but when all the partes haue the lesse prolation, and one onelie part hath the more,In the first part in which case the part so marked, containeth Augmentation as I saide before: and so is euerie minime of the more prolation worth a semibriefe of the lesse. But let euerie one vse his discretion, it is enough for me to let you see that I haue saide nothing without reason, and that it hath beene no small tolle for me to seeke out the authorities of so manie famous and excellent men, for the confirmation of that, which some will thinke scarce worth the making mention of. Quadrupla and Quintupla, they denomina­ted after the number of blacke minimes set for a note of the plainsong, as in these exam­ples you may see.Quadrupla. [...] [...] [...] [...] [...] Quintupla. 51 [...] [...] [...] And so foorth sextupla, septupla, and infinite more which it will bee superfluous to sette downe in this place. But if you thinke you would consider of them also, you may find them in my Christes Crosse set downe before, sesqui altra and sesquitertia, they deno­minated after the number of blacke semibriefes set for one note of the plainsong, as in these two following.

[Page 92] [...] Sesquialtra 32 92 [...] [...] Here they set downe certaine obseruations, which they termed Inductions, as here you see in the first two barres Sesqui altra perfect:Inductions & what they be. that they called the induction to nine, to two, which is Quadrupla Sesquialtra. In the third [...] barre you haue broken sesquialtra, & the rest to the end is Quadrupla sesquialtra, or as they termed it, nine to two, and euerie proportion whole, is called the Inductiō to that which it maketh being broken. As tripla being broken in the more prolation, wil make Nonupla, & so is tripla the Induction to nonupla: Or in the lesse prolation wil make sextupla, and so is the induction to sextupla: but let this suffice. It foloweth to shew you Sesquitertia, whereof here is an example.

[...] 43 Therebe manie other proportions (wher­of you haue examples in my Christs crosse before) which here be not set downe, and manie you may see elsewhere.Sesquitertia. Also you [...] your selfe may deuise infinite more, which may be both artificiall and delightfull, and therefore I will leaue to speake anie more of them at this time, for there be manie o­ther thinges which men haue deuised vpon these waies, which if one would particular­lie deduce, he might write all his life time and neuer make an end, as Iohn Spataro of Bo­logna did, who wrote a whole great booke, containing nothing else but the manner of singing Sesquialtra proportion.Two parts vpō a plainsong. But to returne to our interrupted purpose, of making more partes then one vpon a plainsong. Take anie of the waies of base descant which you made, and make another part, which may serue for a treble to it aboue the plaine­song, being true to both.

Yours be better & more formall then mine, & therfore I will take one of yours

If you list do so.

Here is a waie which I thinke is true. [...] [...] [...]

This is much, and so much as one shall hardlie find anie other waie to bee sung in this maner vpon this ground: for I can see but one other waie besides that, which is this, [...] but I did not meane that you should haue made your treble in counterpoint, but in des­cant maner, as your base descant was, thus. [...]

I did not conceiue your meaning, till now, that you haue explained it by an ex­ample: and therefore I will see what I can doe to counterfait it, although in my opini­on it be hard to make.

It is no hard matter, for you are not tied when your base singeth a semibriefe or anie other note to sing one of the same length, but you may breake your notes at your pleasure and sing what you list, so it be in true cordes to the other two partes: but espe­ciallie fiftes and thirds intermingled with sixes, which of all other bee the sweetest and most fit for three partes. For in foure or fiue parts you must haue more scope, because there be more partes to be supplied. And therefore the eight must of force be the ofte­ner vsed.

Well then here is a waie, correct it, and shew me the faults I praie you. [...]

This is well. But whie did you stand so long before the close?

Because I sawe none other waie to come to it.Hanging in the close condemned.

Yes there is shift enough: but whie did you stand still with your last note also? seeing there was no necessitie in that.Manie perfect cords togither condemned. For it had beene much better to haue come down and closed in the third, for that it is tedious to close with so manie perfect cordes togi­ther, and not so good in the ayre. But here is another example (which I praie you mark [...] and confer with my last going before) whereby you may learne to haue some meaning in your parts to make them answer in Fuge. For if you examine wel mine other going before, you shall see how the beginning of the treble leadeth the base, and howe in the third note the base leadeth the treble in the fourth note, and how the beginning of the ninth note of the base, leadeth the treble in the same note and next following.

I perceiue all that, and now will I examine this which you haue set downe. In your treble you followe the Fuge of the plainsong. But I praie you what reason moued you to take a discord for the first part of your fourth note (which is the seconde of the treble) and then to take a sharpe for the latter halfe, your note being flat.

As for the discord it is taken in binding manner,In what maner a sharpe, for a flat is alowable in the fift. and as for the sharpe in the base for the flat in the treble, the base being a Cadence, the nature thereof requireth a sharp, and yet let your eares (or whose soeuer else) be iudge, sing it and you wil like the sharpe much better then the flat in my opinion. Yet this youe must marke by the waie, that though this be good in halfe a note as here you see, yet is it intollerable in whole semi­briefes.

This obseruation is necessarie to be knowne, but as for the rest of your lesson, I see how one part leadeth after another: therefore I will set downe a waie which I praie you censure.

I doe not vse when I find anie faultes in your lessons to leaue them vntold, and therefore that protestation is needlesse.

Then here it is, peruse it. [...]

In this lesson in the verie beginning, I greatlie mislike that rising from the fourth to the fift,Going vp from the fourth to the fift both parts ascēding condemned. betweene the plainsong and the treble: although they bee both true to the base, yet you must haue a regard that the partes be formall betwixt themselues as well as to the base. Next, your standing in one place two vvhole semibriefes together, that is, in the latter ende of the thirde note, all the fourth, and halfe of the fift. Thirdly, your causing the treble strike a sharpe eight to the base, which is a fault muche offen­ding the eare,Long standing in a place condemned. though not so much in sight. Therefore hereafter take heed of euer touching a sharpe eight, except it be naturallie in E la mi, or B fa b mi (for these sharpes in F fa vt, Csolfa vt, and such like bee wrested out of their properties, although they bee true and may be suffered,A sharpe eight disallowed. yet woulde I vvishe you to shunne them as much as you may, for that it is not altogether so pleasing in the eare, as that which commeth in his owne nature) or at a close betwixt two middle partes,Going from F fa ut sharp to B fa b mi sharpe disallowed. and sildome so. Fourthlie, your going from F fa vt to B fa b mi, in the eight note, in which fault, you haue beene nowe thrise taken. Lastly, your old fault, standing so long before the close: all these be grosse falts: but here is your owne waie altered in those places which I told you did mislike me, and which you your selfe might haue made much better, if you had beene attentiue to your matter in hand. But such is the nature of you schollers, that so you do much, you care not how it bee done, though it be better to make one point well, then twentie naughty ones, needing correction almost in euerie place. [...]

You blamed my beginning, yet haue you altred it nothing, sauing that you haue set it eight notes higher then it was before. [...]

I haue indeede reserued your beginning, to lette you see, that by altering but halfe a note in the plaine­song, it might haue beene made true as I haue sette it downe. [...] [...]

What? may you alter the plainsong so at your pleasure?

You may breake the plaine song at your pleasure (as you shall know heereafter) but in this place I altered that note,Better to break the plainesong then dissolue a point. because I would not dissolue your point which was good with the base.

But vpon what considerations, and in what order may you break the plainsong?

It would be out of purpose to dispute that matter in this place, but you shall know it afterward at full, when I shall set you downe a rule of breaking any plainesong whatsoeuer.

I will then cease at this time to be more inquisitiue thereof: but I will see if I can make another waie which may content you, seeing my last prooued so bad: but nowe y^t I see it I think it vnpossible to find another waie vpon this base answering in the Fuge.

No? Here is one, wherein you haue the point reuerted: but in the ende of the [...] twelfth note I haue set downe a kind of closing (because of your selfe you coulde not haue discerned it) from which I would haue you altogither abstaine,Meeting of the flat and sharpe eight condemned. for it is an vnplea­sant harsh musicke: and though it hath much pleased diuers of our descanters in times past, and beene receiued as currant amongst others of later time: yet hath it euer beene condemned of the most skilfull here in England, and scoffed at amongst strangers. For as they saie, there can be nothing falser (and their opinion seemeth to me to be groun­ded vpon good reason) how euer it contenteth others. It followeth nowe to speake of two partes in one.

What doe you terme two partes in one?

It is when two parts are so made,Definition of two parts in one. as one singeth euerie note and rest in the same length and order which the leading part did sing before. But because I promised you to set downe a vvaie of breaking the plainsong, before I come to speake of tvvoe partes in one, I will giue you an example out of the works of M. Persley (vvherewith wee vvill content our selues at this present, because it had beene a thinge verie tedious, to haue set dovvne so manie examples of this matter, as are euerie vvhere to bee founde in the vvorkes of M. Redford, M. Tallis, Preston, Hodgis, Thorne, Selbie, and diuers others: vvhere you shal find such varietie of breaking of plainsongs, as one not verie well skilled in musicke, should scant descerne anie plainsong at al) vvhereby you may learn to break any plainsong whatsoeuer.

What generall rules haue you for that?

One rule, vvhich is euer to keepe the substance of the note of the plainsong.

What doe you call keeping the substance of a note?

When in breaking it, you sing either your first or last note in the same key wherin it standeth, or in his eight.

I praie you explaine [...] that by an example.

Here be three plainesong notes which you may breake thus: [...] thus [...] or thus [...] and infinite more waies which you may deuise to fit your Canon, for these I haue onlie set down to shew you what the keeping the substance of your note is.

I vnderstand your meaning, and therefore I praie you set downe that example which you promised.

Here it is set downe in partition, because you should the more easilie perceiue the conueiance of the parts.

[...] The plainsung of the Hymne Saluator mundi, broken in diuision, and brought in a Canon of thre parts in one, by Osbert Parsley. [...] [...] [...] [...] Saluator mundi domine. [...]

[Page 98] I haue likewise set downe the plainesong, that you may perceiue the breaking of eue­rie note,Great maisteries vpon a plainsong not the sweetest musicke. and not that you should sing it for a part with the rest: for the rest are made out of it and not vppon it. And as concerning the descanting, although I cannot com­mend it for the best in the musicke, yet is it praise worthie, and though in some places it be harsh to the eare, yet is it more tollerable in this waie, then in two partes in one vpon a plainsong, because that vpon a plainsong there is more shift then in this kind.

I perceiue that this example will serue me to more purpose hereafter, if I shall come to trie maisteries, then at this time to learne descant. Therefore I will passe it, & praie you to go forward with your begun purpose of twoe partes in one, the definition whereof I haue had before.

Then it followeth to declare the kindes thereof, which wee distinguish no other waies, then by the distance of the first note of the following part, from the first of the leading which if it be a fourth, the song or Canon is called two partes in one in y^e fourth if a Fift, in the fift, and so foorth in other distances. But if the Canon bee in the eight, of these, as in the tenth, twelfth, or so, then commonlie is the plainesong in the middle betwixt the leading and following part▪ yet is not that rule so generall, but that you may set the plainsong either aboue or below at your pleasure. And because he who can perfectlie make two partes vpon a plainsong, may the more easier binde himselfe to a rule when he list, I will onlie set you downe an example of the most vsual waies that you may by your selfe put them in practise.

What? be there no rules to be obserued in the making of two partes in one vp­on a plainsong?

No verelie, in that the forme of making the Canons is so manie and diuers waies altered, that no generall rule may be gathered: yet in the making of two parts in one in the fourth,A note for two parts in one in the fourth. if you would haue your following part in the waie of counterpoint to follow within one note after the other, you must not ascend two, nor descend three. But if you descend two, aud ascend three, it wil be well: as in this example (which because you should the better conceiue, I haue set downe both plaine and deuided) you may see.

Thus plaine. [...] Two parts in one in the fourthThis waye, some terme a Fuge in epi­diatessaron, that is in the fourth aboue. But if the leading part were highest, then would they call it in hypodiatessaron, which is the fourth beneath: And so likewise in the other distances, diapente which is the fifth: & diapason which is the eighth. [...] Thus diuided. [...] Two partes in one in the fourth. [...]

[Page 99] And by the contrarie in two partes in one in the fift, you may go as manie downe to­gither as you will, but not vp and generallie or most commonlie that which was true in two parts in one in the fourth, the contrarie will bee true in two partes in one in the fift, an example whereof you haue in this Canon following: wherein also I haue broken the plainsong of purpose, and caused it to answer in Fuge as a third part to the others: so that you may at your pleasure, sing it broken or whole, for both the waies.

Thus plaine. [...] Fuga in epidiapente. two partes in one in the fift. [...] Thus diuided. [...] two parts in one in the fift▪ [...]

I praie you (if I may be so bold as to interrupt your purpose) that you will let me trie what I could doe to make two parts in one in the fift in counterpoint.

I am contented, for by making of that, you shall prepare the waie for your selfe to the better making of the rest.

Here is then a waie, I praie peruse it, but I feare me you will condemne it bicause I haue caused the treble part to lead, which in your example is contrarie. [...]

It is not materiall which parte leade,Fuga in hypodiapente. except you were inioyned to the contrarie, and seeing you haue done this so wel plain, let me see how you can de­uide it.

Thus, and I praie you peruse it, that I may here your opinion of it.

[Page 100] Two partes in one in the fift. [...]

This is wel bro­ken, and now I will giue you some other exam­ples in the fifth, wherein you haue your plainsong changed from parte to part, firste in the treble, next in the tenor, lastlie in the base.

I praie you yet giue mee leaue to interrupt your purpose, that seeing I haue made a waie in the fift, I may make one in the fourth also, and then I will interrupt your speech no more.

Do so if your mind serue you.

Here it is in descant wise without counterpoint, for I thought it too much trou­ble, first to make it plaine and then breake it.

Two parts in one in the fourth. [...]

This waie is so well, as I perceiue no sensible fault in it.

I am the better con­tented, and therefore (if you please) you may proceede to those waies which you vvoulde haue set downe be­fore.

Here they be. As for the other waies, because they be done by plaine sight with­out rule, I will set them downe without speaking anie more of them: onelie this by the waie you must note: that if your Canon be in the fourth, and the lower part lead, if you sing the leading part an eight higher, your Canon will be in Hypodiapente, which is the fift below, and by the contrarie, if your Canon be in the fift, the lower part leading, if you sing the leading part an eight higher, your Canon wil bee in hypodiatessaron, or in the fourth below.

Two parts in one in the fift, the plainsong in the treble: [...]

[Page 101] Another example in the fift the plainsong in the middest. [...] Another example of two parts in one in the fift, the plainsong in the base. [...] Two parts in one in the sixt. [...]

This waie in the sixt (if you sing y^e lower part eight notes higher, and the higher parte eight notes low­er) will bee in the third or tenth, & by the contrarie if the Canon bee in the tenth if you sing the lower part eight notes higher, and the higher part eight notes lower, then will your Canon be in the sixt, either aboue or below, according as the leading part shal be.

Two parts in one in the seuenth. [...]

[Page 102] If your Canon bee in the seuenth the lower part being sung an eight higher, and the higher part an eight lower, it wil be in the ninth, and by the contrarie if the Canon bee in the ninth, the lovver part sung eight notes higher, and the higher parte eight notes lower, will make it in the seuenth.

Two parts in one in the eight. [...]

The plainsong in the third bar I haue broken to shun a little harshnesse in the descant, if anie man like it better whole, he may sing it as it was in the Canon before, for though it bee somewhat harsh, yet is it sufferable.

Two parts in one in the ninth. [...] Two partes in one in the tenth. [...]

Here is also another waie in the tenth, which the maisters call per arsin & thesin, that is by rising and falling▪ for when the higher part ascendeth, the lower part descendeth, and when the lovver part ascendeth, the higher parte descendeth, and though I haue here set it dovvne in the tenth, yet may it be made in anie other distance you please.

[Page 103] [...] Duae partes in vna per arsin & thesin in the tenth. [...] And because we are come to speake of two parts in one vpon a plainsong, per arsin & thesin, I thought good to set downe a waie made by M. Bird, which for difficultie in the composi­tion is not inferior to anie which I haue seene: for it is both made per arsin & thesin, and like­wise the point or Fuge is reuerted, note for note: which thing, how hard it is to performe vpon a plainsong, none can perfectlie know, but hee who hath or shal go about to doe the like. And to speake vprightlie, I take the plainsong to bee made with the descant, for the more easie effe­cting of his purpose. But in my opinion, who soeuer shal go about to make such another, vp­on anie common knowne plainesong or hymne, shal find more difficultie then he looked for. And although hee shoulde assaie twentie seueral hymnes or plainsonges for finding of one to his purpose, I doubt if hee should any waie goe beyond the excellencie of the composition of this, and therefore I haue set it downe in partition.

[...] Duae partes in vnaper arsin & thesin bis re-petite. [...] Adplacitum [...]

[Page 104] [...]

And thus much for Canons of two partes in one, which though I haue set downe at length in two seuerall parts, yet are they most commonlie prickt both in one, and here in England for the most part without anie sign at al, where and when to begin the follo­wing part: vvhich vse manie times caused diuers good Musicians sitte a vvhole daie, to find out the follovving part of a Canon: A compendi­ous way of pricking of canons. which being founde (it might bee) was scant worth the hearing. But the French men and Italians, haue vsed a waie that thogh there were foure or fiue partes in one, yet might it be perceiued and sung at the first, and the maner thereof is this. Of how manie parts the Canon is, so manie Cliefes do they set at the beginning of the verse, stil causing that which standeth neerest vnto the musick, serue for the leading part, the next towards the left hand, for the next following parte, and so consequentlie to the last. But if betvveene anie tvvo Cliefes you finde rests, those belong to that part, which the cliefe standing next vnto them on the left side signifieth.

Example. [...] .?. .?. [...]

Here be two parts in one in the Diapason cum diatessaron, or as we tearme it, in the ele­uenth aboue, where you see first a C sol fa ut Cliefe standing on the lovvest rule, and af­ter it three minime rests. Then standeth the F fa ut cliffe on the fourth rule from below, and because that standeth neerest to the notes, the base (which that cliffe representeth) must begin, resting a minime rest after the plainsong, and the treble three minim restes. And least you should misse in reckoning your pauses or rests, the note whereupon the following part must begin, is marked with this signe?. It is true that one of those tvvo, the signe or the rests is superfluous, but the order of setting more cliffes then one to one verse, being but of late deuised, was not vsed when the signe was most common, but in stead of them, ouer or vnder the song was written, in what distance the following parte was from the leading, and most commonlie in this maner. Canon in * or * Superiore, or inferiore. But to shun the labour of vvriting those words, the cliffes and rests haue byn deuised, shewing the same thinge. And to the intent you may the better conceiue it, here is another example wherin the treble beginneth, and the meane followeth within a semibriefe after in the Hypodiapente or fift below.

[Page 105] [...] 31 [...]

And this I thought good to shewe you, not for anie curiositie which is in it, but for the easinesse and commoditie which it hath, because it is better then to pricke so as to make one sit fiue or sixe houres beating his braines, to finde out the following part. But such hath beene our manner in manie other thinges heretofore, to doe things blindlie, and to trouble the wittes of practisioners: whereas by the contrarie, straungers haue put all their care how to make things plaine and easilie vnderstood, but of this inough There is also a manner of composition vsed amongst the Italians. Double descāt which they call Con­trapunto doppio, or double descant, and though it be no Canon, yet is it verie neere the nature of a Canon: and therefore I thought it meetest to be handled in this place, and it is no other thing, but a certaine kind of composition, which beeing sung after diuers sortes,Diuision of double descāt. by changing the partes, maketh diuers manners of harmonie: and is founde to be of two sortes. The first is, when the principall (that is the thing as it is firste made) and the replie (that is it which the principall hauing the partes changed dooth make) are sung, changing the partes in such maner, as the highest part may be made the low­est, and the lowest parte the highest, without anie change of motion: that is, if they went vpward at the first, they goe also vpward when they are changed: and if they went downeward at the first, they goe likewise downward being changed. And this is like­wise of two sortes: for if they haue the same motions being changed, they either keepe the same names of the notes which were before, or alter them: if they keepe the same names, the replie singeth the high part of the principall a fift lower, and the lower part an eight higher: and if it alter the names of the notes, the higher part of the principal is sung in the replie a tenth lower, and the lovver part an eight higher.

The second kinde of double descant, is when the partes changed, the higher in the lower, go by contrarie motions: that is, if they both ascende before, beeing chaunged they descend:Rules to be obserued in compositions of the first sort of the first kinde of double descant. or if they descend before, they ascend being changed. Therefore, when we compose in the first maner, which keepeth the same motions and the same names, we may not put in the principall a sixt, because in the replie it will make a discord: nor may we put the partes of the song so farre asunder, as to passe a twelfe. Nor may we e­uer cause the higher part come vnder the lower, nor the lovver aboue the higher, be­cause both those notes which passe the tvvelfth, and also those which make the lovver part come aboue the higher in the replie, will make discords. Wee may not also put in the principall a Cadence, wherein the seuenth is taken, because that in the replie it will not doe wel. We may verie well vse the Cadence wherein the second or fourth is taken, because in the replie they will cause verie good effectes. Wee must not also put in the principall a flat tenth, after which followeth an eight, or a tvvelfe (a flatte tenth is when the highest note of the tenth is flat, as from D sol re, to F fa ut in alte flatte, or from Gam ut, to B fa b mi flat) nor a flat third before an vnison, or a fift when the parts go by con­trarie motions: because if they be so put in the principall, there will follow Tritonus or false fourth in the replie. Note also, that euerie tvvelfe in the principal, wil be in the re­plie an vnison. And euery fift an eight, and al these rules must be exactlie kept in the principal, else wil not the replie be without faults. Note also, that if you wil close with a Ca­dence, you must of necessitie end either your principal or replie, in the fift or twelf, which also happeneth in the Cadences, in what place soeuer of the song they be, and betvveene the parts wil be heard the relation of a Tritouns or false fourth, but that will bee a small matter, if the rest of the composition be dulie ordered, as you may perceiue in this ex­ample.

[Page 106] [...] The higher part of the principall. [...] [...] [...] The lower part of the principall. [...] [...] Now change the higher part, making it lower by a fift, and the lower part higher by an eight, and so shall you haue the replie thus: [...] The higher part of the replie. [...] [...] [...] The lower part of the replie. [...] [...]

[Page 107] And this is called double descant in the twelfe: but if we would compose in the second kind (that is in it,Caueats for compositions in the second sort of the first kind of double descant. which in the replie keepeth the same motions but not y^e same names which were in the principall) we must not put in anie case two cordes of one kinde to­gither in the principall: as tvvo thirdes, or two sixes, and such like, although the one be great or sharpe, and the other small or flat: nor may vve put Cadences without a dis­cord. The sixt likewise in this kinde may be vsed if (as I said before) you put not twoe of them togither also if you list, the partes may one goe thorough another that is, the lower may goe aboue the higher, and the higher vnder the lower, but with this caueat, that when they be so mingled, you make them no further distant then a third, because that when they remaine in their owne boundes, they may be distant a twelfth one from another. Indeed we might goe further asunder, but though we did make them so farre distant, yet might we not in anie case put a thirteenth, for it will bee false in the replie: therefore it is best not to passe the twelfth, and to keepe the rules which I haue giuen, & likewise to cause the musicke (so farre as possiblie we may) proceed by degrees, & shun that motion of leaping (because that leaping of the fourth and the fift, may in some pla­ces of the replie, ingender a discommoditie) which obseruations being exactlie kepte, will cause our descant go well and formablie, in this manner.

[...] The higher part of the principal, of the second sort of the first kind of double descant. [...] [...] [...] The lower part of the principall of the second sort of the first kind of double descant. [...] [...]

And changing the parts, that is, setting the treble lower by a tenth, and the lower part higher by an eight, we shall haue the replie thus.

[Page 108] [...] The higher part of the replie. [...] [...] [...] the lower part of the replie. [...] [...]

And this is called double descant in the tenth.

You may also make the treble parte of the principall an eight lovver, and the base a tenth higher, which will doe verie well, because the nature of the tune wil so bee better obserued, as here you may perceiue.

[...] the high part of the second replie. [...] [...] [...] the low part of the second replie. [...] [...]

[Page 109] Also these compositions might be sung of three voices if you sing a part a tenth aboue the lowe part of the principall, and in the reply a seuenth vnder the high part. It is true that the descant will not be so pure as it ought to be, & though it will be true from false descant, yet will there bee vnisons & other allowances which in other musicke woulde scarce be sufferable. But because it is somwhat hard to compose in this kind, & to haue it come well in the replye, I will set you downe the principall rules how to do it leauing the lesse necessarie obseruations to your own studie.Rules for singing a third part to other two in double discant. You must not then in any case put a third or a tenth after an eighth when the parts of the song descend togither: & when the parts ascend you must not put a sixt after a fifth, nor a tenth after a twelfth, especially when the high part doth not proceed by degrees, which motion is a little more tollera­ble then that which is made by leaping. Likewise you must not goe from an eight to a flat tenth, except when the high part moueth by a whole note, and the lower part by a halfe note (nor yet from a third or fifth to a flat tenth by contrary motions. Also you shal not make the treble part go from fifth to a sharpe third the basse standing still, nor the basse to go from a fifth to a flat third, or from a twelfth to a flat tenth the treble standing stil, bicause the replie wil therby go against the rule. In this kind of discant euery tenth of the principal wil be in the replie an eight, & euery third of the principal in the replie wil be a fifteenth: but the composer must make both the principall & the replie together & so he shal commit the fewest errors, by which means your discant wil go in this order.

[...] The high part of the principall. [...] [...] [...] The third part added to the other two [...] [...] [...] The lower part of the principall. [...] [...]

[Page 110] [...] By negligence of not thinking vpon a third part in the composition of the principal, the fault of too much distance in the replie was committed which other wise might easilie haue beene auoided, & the example brought in lesse compasse. the higher part of the replie. [...] [...] [...] The lower part of the replie. [...] [...] [...] The replie of the third part which was added to the principall. [...] [...]

In the second kinde of double descant where the replie hath contrarie motions to those which were in the principall keeping in the partes the same distances,Notes to be obserued in the second kind of double descāt. if you put anie Cadences in the principall, they must be without any discorde, and then may you put them in what maner you list. But if they haue anie dissonance, & in the replie, they will produce hard effects. In this you may vse the sixt in the principall, but in anie case set not a tenth immediatlie before an eight, nor a thirde before an vnison, when the partes descend together, bicause it will be naught, but obseruing the rules, your descant will go well in this maner.

[Page 111] [...] The high part of the principall in the second kind of double descant. [...] [...] [...] [...] The low part of the principall. [...]

If you make the high part lower by a ninth, and the lowe part higher by a seuenth, you shall haue the replie thus. [...] The high part of the replye. [...] [...] The low part of the replie. [...] [...]

[Page 112] And if you compose in this maner, the parts of the principall may be set in what di­stance you will, yea though it were a fifteenth, because in the replie it wil do wel, but yet ought we not to do so, Likewise, if you examine well the rules giuen before, and haue a care to leaue out somethings which in some of the former waies may be taken, you may make a composition in such sort as it may bee song all the three before said waies with great variety of harmony, as in this principal and replies following you may perceiue.

[...] The high part of the principall. [...] [...] [...] The low part of the principall. [...] [...] The high part of the first replye. [...] [...] The low part of the first replye. [...] [...] [Page 113] [...] The high part of the second replye. [...] [...] The low part of the second replye. [...] [...] [...] The high part of the third replye, being per'arsin & thesin to the low part of the [...] principall. [...] The low part of the third replye, being per ar sin & the sin to the high part of the [...] principall. [...]

[Page 114] And that you may the more cleerelie perceiue the great varietie of this kinde, if you ioine to the low part of the principall, or of the thirde replie a high part distant from it a tenth, or third: Or if you make the lowe part higher by an eight, and put to a part lo­wer then the high part by a tenth (because it will come better) euerie one of those waies may by themselues be sung of three voices, as you saw before in the example of the se­cond waie of the first kind of double descant. There be also (besides these which I haue showen you) manie other waies of double descant, which it vvere too long and tedious to set downe in this place, and you your selfe may hereafter by your owne studie finde out. Therefore I will onlie let you see one waie Par arsin & thesin, and so an ende of double descant. If therefore you make a Canon per arsin & thesin, without anie dis­corde in binding maner in it, you shall haue a composition in such sort, as it may haue a replie, wherein that which in the principall was the following part, may be the leading, as here you see in this example.

[...] The principall. [...] [...]

[...] The replye. [...] [...]

Thus you see that these waies of double descant carie some difficultie, and that the hardest of them all is the Canon. But if the Canon were made in that manner vppon a plainsong (I meane a plainesong not made of purpose for the descant, but a common plainsong or hymne, such as heretofore haue been vsed in churches) it would be much harder to do. But because these waies seeme rather for curiositie then for your present instruction, I vvould counsaile you to leaue to practise them, till you be perfect in your descant, and in those plaine waies of Canon which I haue set dovvne, which will (as it vvere) lead you by the hand to a further knowledge: and when you can at the first sight sing two partes in one in those kindes vppon a plainesong, then may you practise other hard vvaies, and speciallie those per arsin & thesin, which of all other Canons carie both most difficultie, and most maiestie: so that I thinke, that who so canne vpon anie plainsong whatsoeuer, make such another waie as that of M. Bird, which I shevved you [Page 115] before, may with great reason be termed a great maister in musicke. But whosoeuer can sing such a one at the first sight, vpon a ground, may boldie vndertake to make any Ca­non which in musicke may be made. And for your further incouragement this much I may boldlie affirme, that whosoeuer will exercise himselfe diligentlie in that kinde, may in short time become an excellent Musician, because that he vvho in it is perfect, may almost at the first sight see what may be done vpon anie plainsong.

And these few vvaies vvhich you haue alreadie seene, shall be sufficient at this time for your perfect instruction in tvvo parts in one vpon a plainsong. For if a manne shoulde thinke to set dovvne euerie waie, and doe nothing all his life time but dailie inuent va­rietie, he should lose his labour, for anie other might come after him, and inuent as ma­nie others as he hath done. But if you thinke to imploy anie time in making of those, I would counsell you diligentlie to peruse those waies which my louing Maister (neuer without reuerence to be named of the musicians) M. Bird, and M. Alphonso in a vertu­ous contention in loue betwixt themselues made vpon the plainsong of Miserere, but a contention, as I saide, in loue: vvhich caused them striue euerie one to surmount ano­ther, vvithout malice, enuie, or backbiting: but by great labour, studie and paines, ech making other censure of that which they had done. Which contention of theirs (speci­allie without enuie) caused them both become excellent in that kind, and winne such a name, and gaine such credite, as vvil neuer perish so long as Musicke indureth. There­fore, there is no vvaie readier to cause you become perfect, then to contend with some one or other, not in malice (for so is your contention vppon passion, not for loue of vertue) but in loue, shevving your aduersarie your worke, and not skorning to bee cor­rected of him, and to amende your fault if hee speake with reason: but of this enough. To returne to M. Bird, and M. Alphonso, though either of them made to the number of fortie waies, and could haue made infinite more at their pleasure, yet hath one manne, my friend and fellow M. George Waterhouse, vpon the same plainsong of Miserere, for varietie surpassed all who euer laboured in that kinde of studie. For hee hath alreadie made a thousand waies (yea and though I should talke of halfe as manie more, I should not be farrewide of the truth) euerie one different and seuerall from another. But be­cause I doe hope verie shortlie that the same shall bee published for the benefite of the worlde, and his owne perpetuall glorie, I will cease to speake anie more of them, but on­lie to admonish you, that vvho so will be excellent, must both spend much time in pra­ctise, and looke ouer the dooings of other men. And as for those who stande so much in opinion of their owne sufficiencie, as in respect of themselues they contemn al other men, I wil leaue them to their foolish opinions: beeing assured that euerie man but of meane discretion, will laugh them to scorne as fooles: imagining that all the guiftes of God should die in themselues, if they shoulde bee taken out of the vvorlde. And as for foure partes in tvvo, sixe in three, and such like, you may hereafter make them vpon a plainsong, when you shall haue learned to make them without it.

I wil then take my leaue of you for this time, till my next leisure, at which time I meane to learne of you that part of musicke which resteth. And now, because I thinke my selfe nothing inferiour in knowledge to my brother, I meane to bring him with me to learne that which he hath not yet heard.

At your pleasure. But I cannot cease to praie you diligentlie to practise, for that onelie is sufficient to make a perfect Musician.

WHat new and vnaccustomed passion, what strange humor or mind-changing opinion tooke you this morning (Brother Polymathes) causing you with­out making me acquainted so earlie bee gone out of your chamber? was it some fit of a feuer? or (which I rather beleeue) was it the sight of some of those faire faces (which you spied in your yester nights walke) which haue banished all other thoughts out of your minde, causing you thinke the night long and wish the daylight that thereby you might find some occasion of seeing your mi­stris? or any thing else, I pray you hide it not from me, for as hitherto I haue beene the secretary (as you say) of your verie thoughts: so if you conceale this I must thinke that either your affection towards me doth decrease, or else you be­gin to suspect my secrecy.

You are too gelous, for I protest I neuer hid any thing from you concerning ey­ther you or my selfe, and where as you talke of passions and mind-changing humours, those seldome trouble men of my constitution, and as for a feuer I know not what it is, and as for loue which you would seeme to thrust vpon me, I esteeme it is a foolish pas­sion entering in emptie braines, and nourished with idle thoughtes, so as of all other things I most contemne it, so do I esteeme them the greatest fooles who bee therewith most troubled.

Soft (brother) you go farre, the purest complexions are soonest infected, and the best wits soonest caught in loue, and to leaue out infinite examples of others, I could set before you those whom you esteemed cheefest in wisdome, Socrates, Plato, Aristotle, and the very dog himselfe all snared in loue, but this is out of our purpose, shew me the occasion of this your timely departure?

I was informed yesternight that Maister Polybius did for his recreation euerie morning priuatelely in his owne house read a lecture of Ptolomey his great construction, and remembring that this morning (thinking the day farther spent then in deed it was) I hied me out thinking that if I had staied for you, I should haue come short: But to my [Page 117] no smal griefe I haue learned at his house that he is gone to the vniuersity to commence doctor in medicine.

I am sorry for that: but we wil repaire that domage an other waie.

As how?

Employing those houres which we would haue bestowed in hearing of him in learning of musicke.

A good motion: for you haue so well profited in so short space in that art, that the world may see that both you haue a good master and a quicke conceit.

If my wit were so quicke as my master is skilfull, I should quickly become excel­lent, but the day runneth away, shal we go?

With a good will: what a goodly morning is this, how sweet is this sunne shine? cleering the ayre and banishing the vapours which threatned raine.

You say trew, but I feare me I haue slept so long that my maister wil either be­gone about some businesse, or then wil be so troubled with other schollers, that we shall hardly haue time to learne any thing of him. But in good time, I see him comming from home with a bundle of papers in his bosome, I will salute him. Good morrow maister.

Scholler Philomathes? God giue you good morrow, I maruailed that since our last meeting (which was so long ago) I neuer heard any thing of you.

The precepts which at that time you gaue me, were so many and diuerse that they required long time to put them in practise, and that hath beene the cause of my so long absence from you, but now I am come to learn that which resteth, & haue brought my brother to be my schoolefellow.

He is hartily welcome, and now wil I breake off my intended walke, and returne to the house with you. But hath your brother proceeded so far as you haue done?

I pray you aske himselfe, for I know not what hee hath, but before I knew what discant was, I haue heard him sing vpon a plainesong.

I could haue both song vpon a plainsong, and beganne to set three or foure parts, but to no purpose, because I was taken from it by other studies, so that I haue forgotten those rules which I had giuen me for setting, though I haue not altogether forgotten my discant.

Who taught you?

One maister Boulde.

I haue heard much talke of that man, and because I would know the tree by the fruit, I pray you let me heare you sing a lesson of discant.

I wil if it please you to giue me a plainsong?

Here is one sing vpon it. [...]

[...]

Brother if your discanting bee no better then that, you will gaine but small cre­dit by it.

I was so taught, and this kind of discanting was by my maister allowed, and estee­med as the best of all descant.

Who euer gaue him his name hath either foreknown his destinie, or then hath well and perfectlie read Plato his Cratylus.

Why so?

Because there bee such bolde taking of alowances as I durst not haue taken if I had feared my maisters displeasure.

Why wherein do you disallow them?

First of all in the second note is taken a discord for the first part of the note, and not in the best manner nor in binding: the like faulte is in the fifth note, and as for the two notes before the close, the end of the first is a discord to the ground, and the begin­ning of the nextlikewise a discord, but I remember when I was practising with you, you did set me a close thus, which you did so farre [...] condemne as that (as you saide) there could not readily bee a worse made,Two discords together con­demned. and though my bro­thers bee not the verie same, yet is it Cosin ger­maine to it, for this descendeth where his ascen­deth, [...] and his descendeth where this ascendeth, that in affect they be both one.

Do you then find fault with the first part of the second note.

Yea, and iustly.

It is the fuge of the plainsong, and the point will excuse the harshnesse, and so likewise in the fift note, for so my maister taught me.

But I was taught otherwise,Harsh cordes not to be taken for the pointes sake. and rather then I would haue committed so grosse ouersighis I would haue left out the point, although here both the point might haue beene drought in otherwise, and those offences left out.

I pray you (good master Polymathes) sing an other lesson.

[...] 61 [...] [...] Proportions are not ridicu­lously to be ta­ken. 61 [...] [...] [...]

I promise you (brother) you are much beholding to Sellingers round for that be­ginning of yours, and your ending you haue taken Sesqui paltry very right.

You must not be so ready to condemne him for that, seeing it was the fault of the time, not of his sufficiencie, which causeth him to sing after that manner, for I my selfe being a childe haue heard him highly commended, who coulde vpon a plainesong sing hard proportions, harsh allowances, and countrey daunces, and hee who could bring in maniest of them was counted the iollyest fellowe, but I would faine see you (who haue those Argus eies in spying faults in others) make away of your own, for perchance there might likewise be a hole (as they saie) found in your owne cote.

I would bee ashamed of that, specially hauing had so many good preceptes and practising them so long.

I pray you then set downe one that we may see it.

Here it is, and I feare not your censure. [...] The fuge of the first lesson brought in without bad allowances. [...] [...] [...]

You neede not, but I praie you maister helpe mee for I can spie no faulte in it.

Nor I, and by this lesson (scholer Phylomathes) I perceiue that you haue not been idle at home.

Indeede nowe that I haue perused it, I cannot but commend it for the point of the plainesong is euery way maintained, and without any taking of harsh cordes.

That is the best manner of descanting, but shall I heare you sing a lesson of base descant.

As many as you list, so you will haue them after my fashion.

It was for that I requested it, therefore sing one.

[...] [...]

The first part of your lesson is tolerable and good, but the ending is not so good, for the end of your ninth note is a discord, and vpon another discord you haue begun the tenth breaking Priscians, head to the very brain, but I know you will go about to excuse the beginning of your tenth note in that it is in binding wise, but though it bee bound it is in fetters of rusty yron,Binding no excuse for two discords toge­ther. not in the chaines of goulde, for no eare hearing it, but will at the first hearing loth it: and though it bee the point, yet might the point haue beene as neerely follewed in this place, not causing such offence to y^e eare. And to let you see with what little alteration, you might haue auoided so great an inconueniēce, here be al your owne notes of the fifth bar in the very same substance as you had them, though altered somewhat in time and forme, therefore if [...] you meane to followe musicke any further, I woulde wish you to leaue those harsh allowances, but I pray you how did you becom so ready in this kind of singing.

It would require a long discourse to shew you all.

I pray you trusse vp that long discourse in so fewe wordes as you may, and let vs heare it.

Be then attentiue, when I learned descant of my maister Bould, hee seeing me so toward and willing to learne, euer had me in his companie, and because he continual­ly carried a plainsong booke in his pocket, hee caused me doe the like, and so walking in the fieldes, he would sing the plainsong, and cause me sing the descant, and when I song not to his contentment, he would shew me wherein I had erred, there was also another descanter, a companion of my maisters, who neuer came in my maisters companie (though they weare much conuersāt together) but they fel to contention, striuing who should bring in the point soonest, and make hardest proportions, so that they thought they had won great glorie if they had brought in a point sooner, or sung harder propor­tions the one then the other: but it was a worlde to heare them wrangle, euerie one de­fending his owne for the best. What? (saith the one) you keepe not time in your pro­portions, you sing them false (saith the other) what proportion is this? (saith hee) Sesqui­paltery saith the other, nay (would the other say) you sing you know not what, it should seeme you came latelie from a barbers shop, where you hadThat name in derision they haue gi­uen this qua­drant pauan, because it wal­keth amongst the barbars and fidlers more common then any other Gregory Walker, or a Cur­ranta plaide in the newe proportions by them latelie found out, called Sesquiblinda, and Sesqui harken after, so that if one vnacquainted with musicke had stood in a corner and heard them, he would haue sworne they had beene out of their wittes, so earnestlie did they wrangle for a trifle, and in truth I my selfe haue thought sometime that they would haue gone to round buffets with the matter, for the descant bookes were made Angels, but yet fistes were no visiters of eares, and therefore all parted friendes: but to say the very truth, this Poliphemus had a verie good sight, (speciallie for treble descant) but very bad vtterance, for that his voice his voice was the worst that euer I heard, and though of others he were esteemed verie good in that kinde, yet did none thinke better of him then hee did of himselfe, for if one had named and asked his opinion of the best com­posers liuing at this time, hee woulde say in a vaine glory of his owne sufficiencie, tush, tush (for these were his vsuall wordes) he is a proper man, but he is no descanter, hee is no descanter there is no stuffe in him, I wil not giue two pinnes for him except he hath descant.

What's can a composer be without descant?

No: but it should seeme by his speech y^t except a name be so drownd in descant y^t he can do nothing else in musik but wrest & wring in hard points vpon a plainsong, they would not esteeme him a descanter, but though that be the Cyclops his opinion he must [Page 121] giue vs leaue to follow it if we list, for we must not thinke but hee that can formally and artificiallie put there foure, fiue, six or more parts together, may at his ease sing one part vpon a ground without great studie, for that singing extempore vpon a plainsong is in deede a peece of cunning, and very necessarie to be perfectly practised of him who mea­neth to be a composer for bringing of a quick sight, yet is it a great absurditie so to seeke for a sight, as to make it the end of our studie applying it to no other vse, for as a knife or other instrument not being applied to the end for which it was deuised (as to cut) is vn­profitable and of no vse, euen so is descant, which being vsed as a helpe to bring readie sight in setting of parts is profitable, but not being applied to that ende is of it selfe like a puffe of wind, which being past commeth not againe, which hath beene the reason that the excellent musitions haue discontinued it, although it be vnpossible for them to com­pose without it, but they rather employ their time in making of songes, which remaine for the posterity then to sing descant which is no longer known then the singers mouth is open expressing it, and for the most part cannot be twise repeated in one maner.

That is true, but I pray you brother proceede with the cause of your singing of descant in that order.

This Polyphemus carrying such name for descant, I thought it best to imitate him, so that euery lesson which I made was a counterfet of som of his,A course not to to be disliked if it had beene done with iudgement. for at all times and at e­uery occasion I would foist in some of his points which I had so perfectly in my head as my pater noster, and because my maister himselfe did not dislike that course I continued still therein, but what saide I? dislike it hee did so much like it as euer where he knewe or found any such example he would wright it out for me to imitate it.

I pray you set downe two or three of those examples.

Here be some which he gaue me as authorites wherewith to defend mine owne.

[...] Iste confessor. [...] Hyme. [...] [...] [...] [...]

[Page 122] [...] [...] [...] [...]

Such lips, such lettus, such authoritie, [...] such imitation, but is this maister Boulds owne descant?

The first is his own, the second he wrote [...] out of a verse of two partes of an Agnus dei, of one Henry Rysbie, and recommended it to me for a singular good one, the third is of one Piggot, but the two last I haue forgotten whose they bee, but I haue heard them highly commended by many who bore the name of great discanters.

The authors were skilful men for the time wherein they liued, but as for the ex­amples he might haue kept them al to himselfe, for they bee all of one mould, and the best starke naught,In musick both the eare is to be pleased and art shewed. therefore leaue imitating of them and such like, and in your musicke seeke to please the eare as much as shew cūning, although it be greater cunning both to please the eare and expresse the point, then to maintaine the point alone with offence to the eare.

That is true in deede, but seeing that such mens workes are thus censured, I can­not hope any good of mine owne, and therefore before you proceede to any other pur­pose, I must craue your iudgement of a lesson of descant which I made long ago, aud in my conceit at that time I thought it excellent, but nowe I feare it will bee found scant passable.

I pray you let vs here it, and then you shall quickly heare mine opinion of it.

It was not your opinion which I craued, but our maisters iudgement.

Then shew it me?

Here it is, and I pray you declare al the faults which you find in it. [...] Faults in this lesson. [...]

First that discord taken for the first part of the second note is not good ascending in that maner, secondly the discorde taken for the last part of the fift note, and another discord for the beginning of the next is very harsh and naught, thirdly the discord taken for the beginning of the tenth note is naught, it and all the other notes following are the same thing which weare in the beginning without any difference, sauing that they are foure notes higher, lastlie your close you haue taken thrise before in the same lesson a grosse fault in sixteene notes, to sing one thing foure times ouer.

I would not haue vsed such ceremonies to anotomise euery thing particularlie, but at a word I would haue flung it awaie, and said it was starke naught.

Soft swift, you who are so ready to find faultes, I pray you let vs see howe you can mend them, maintaining the point in euerie note of the plainsong as I haue done?

Many waies without the fuge and with the fuge, easely thus. [...] The former lessons bette­red. [...]

But you haue remooued the plainesong into the treble, and caused it rest two whole semibreues.

You cannot blame me for that, seeing I haue neither added to it, nor paired from it, and I trust when I sing vpon a plainsong I may chuse whether I will sing treble or base discant.

You saie true.

But why haue you made it in a maner all counterpoint, seeing there was enough of other shift.

Because I saw none other waie to expresse euerie note of the plainesong.

But there is an other way to expresse euery note of the plainsong, breaking it but verie little, and therefore find it out.

If I can find it out before you, I wil thinke my selfe the better descanter.

Doe so.

Faith I wil leaue further seeking for it, for I cannot find it.

Nor I.

I am glad of that, for it would haue grieued me if you should haue founde it out and not I.

You be like vnto those who reioise at the aduersity of others, though it do not a­ny thing profit themselues.

Not so, but I am glad that you can see no further into a milstone then my selfe, and therefore I wil plucke vp my spirits (which before was so much dulled, not by mine owne fault, but by the fault of them who taught me) and Audere aliquid breuibus gyaris & carcere dignum, because I meane to be aliquid.

So you shal, though you be a dunce perpetually.

That I denie as vnpossible in that sence as it was spoken.

These reasoninges are not for this place, and therefore againe to your lesson of Descant.

We haue both giuen it ouer as not to be found out by vs, and thereupon grew our iarre.

Then here it is, though either of you might haue found out a greater matter, and because you caueled at his remouing the plainesong to the treble, here I haue set it (as it [...] [...] was before) lowest, you may also vpon this plainesong make a way wherein the descant may sing euerie note of the ground twise, which though it shew some sight and maistry, yet will not be so sweet in the eare as others.

I pray you sir satisfie my curiositie in that point and shew it vs.

Here it is, and though it go harsh in the eare, yet be there not such allowances [...] [...] [...] [...] in taking of descordes vsed in it as might anie waie offende, but the vnpleasantnesse of it commeth of the vvresting in of the point, for seeking to repeat the plainsong, againe the musicke is altered in the aire, seeming as it were another song vvhich doth disgrace it so far as nothing more, and though a man (conceiting himselfe in his own skil, & glorying in that he can deceiue the hearer) should at the first sight sing such a one as this is, yet a­nother standing by, and perchance a better musicion then he, not knowing his determi­nation and hearing that vnpleasantnesse of the musicke might iustly condemne it as of­fensiue to the eare, then woulde the descanter alledge for his defence that it were euerie note of the plainsong twise song ouer, and this or some such like would they thinke a suf­ficient reason to moue them to admit anie harshnes, or inconuenient in musicke, what soeuer which hath beene the cause that our musicke in times past hath neuer giuen such contentment to the auditor as that of latter time, because the composers of that age ma­king no accoumpt of the ayre nor of keeping their key, followed only that vaine of wre­sting in much matter in small boundes so that seeking to shewe cunning in following of points they mist the marke, where at euerie skilful musition doth cheefely shoote, which is to shew cunning with delightfulnesse and pleasure, you may also make a lesson of des­eant [Page 125] which may be song to two plainsongs, although the plainesonges doth not agree one with another, vvhich although it seeme verie harde to them at the first, yet hauing the rule of making it declared vnto you, it will seemes as easie in the making as to sing a common vvay of descant, although to sing it at the first sight wil be somwhat harder be­cause the eie must be troubled with two plainsongs at once.

That is strange so to sing a part as to cause two other dissonant parts agree.

You mistake my meaning, for both the plainesonges must not be sung at once, but I meane if there be two plainesonges giuen, to make a lesson vvhich will agree with either of them, by themselues but not with both at once.

I pray you giue vs an example of that.

Here is the plainesong vvhereupon we song, with another vnder it taken at all aduentures, [...] now if you sing the descanting part it wilbe true to any one of them.

This is pretie, therefore I pray you giue vs the rules which are to be obserued in the making of it.

Hauing any two plainesongs giuen you, you must consider what corde the one of them is to the other, so that if they be in an vnison, then may your descant be a 3. 5. 6. 8. 10. 12. or 15. to the lowest of them, but if the plainesonges bee distant by a second or ninth, then must your descant bee a 6. or a 13. to the lowest of them, moreouer, if your plainesongs stand still in secondes or ninthes, then of force must your descant stand still in sixts, because there is no other shifts of concord to be had, if your plainesongs be dis­tant by a thirde, then may your descant be a 5. 8. 10. 12 or 15. to the lowest, and if your plainsonges bee distant by a fourth, then may your descant bee a sixth 8. 13, or 15. to the lowest of them, likewise if your plainesongs bee a fifth one to another, your descant may be a 3. or 5. to the lowest of them, but if your plainesongs be in the sixth, then may your discant be an 8: 10 15. or 17. to the lowest of them: lastly, if your plainsongs be distant a se­uenth, then may your descant be only a twelfth, also you must note that if the plainsongs come from a fifth to a second, the lower part ascending two notes, and the higher falling one (as you may see in the last note of the sixth bar, and first of the seuenth of the exam­ple) then of force must your descant fall from the tenth to the sixt with the lower plaine­song, and from the sixth to the fith with the higher, and though that falling from the sixth to the fiftth, both partes descending be not tolerable in other musicke, yet in this we must make a vertue of necessitie, and take such allowances as the rule wil afford.

This is well, but our comming hither at this time was not for descant, and as for you (brother) it will bee an easie matter for you to leaue the vse of such harsh cordes in your descant, so you wil but haue a little more care not to take that which first commeth in your head.

I will auoide them so much as I can hereafter, but I pray you maister before wee proceede to any other matter, shal I here you sing a lesson of base descant?

If it please you sing the plainsong. [Page 126] [...] [...] [...] [...]

Here is an instruction for vs (brother) to cause our base descant be stirring.

I would I could so easely imitate it as marke it.

But nowe (maister) you haue sufficientlie examined my brother Polymathes, and you see he hath sight enough, so that it will be needlesse to insist any longer in teaching him descant, therefore I pray you proceede to the declaration of the rules of setting.

They bee fewe and easie to them that haue descant, for the same alowances are to be taken, and the same faults which are to be shunned in descant must bee auoided in setting also. And because the setting of two parts is not very farre distant from singing of descant, we will leaue to speake of it and goe to three partes, and although these pre­cepts of setting of three parts wil be in a maner superfluous to you, (Philomathes) because to make two parts vpon a plainesong is more hard then to make three partes into volun­tary, yet because your brother either hath not practised that kinde of descant, or per­chance hath not beene taught how to practise it, I will set downe those rules which may serue him both for descant and voluntary, and therefore to bee breefe peruse this Table wherein you may see all the waies whereby concords may be set together in three parts, and though I do in it talke of fifteenth and seuententhes, yet are these cordes seldome to be taken in three parts except of purpose you make your song of much compas and so you may take what distances you will, but the best maner of composing three voices or how many soeuer is to cause the parts go close.

I pray you giue me an example which I may imitate. [...]

Let this suffice for one at this time, and when you come to practise, let the third, fift, and sixth (sometimes also an eight) bee your vsuall cords because they bee the sweetest, and bring most vari­etie, the eight is in three parts seldome to be vsed, except in passing maner or at a close, and because of all other closes the Cadence is the most vsuall (for without a Cadence in some one of the parts, either with a discord or without it, it is vnpossible formallie to close) if you carrie your Cadence in the tenor part you may close all these waies follow­ing and manie others, and as for those waies which here you see marked with a starre thus * they be passing closes, which we commonly cal false closes, being deuised to shun a final end and go on with some other purpose, & these passing closes be of two kinds in the base part, that is, either ascending or descending, if the passing close descend in the base it commeth to the sixth, if it ascend it commeth to the tenth or third, as in some of these examples you may see. [...] [Page 132] [...] [...]

If you carrie your Cadence in the base part, you may close with any of these waies fol­lowing the marke stil shewing that which it did before, & as concerning the rule which I tould you last before of passing closes if your base be a Cadence (as your tenor was be­fore not going vnder the base) then will the rule bee contrarie, for whereas before your base in your false closing did descend to a sixt, nowe must your Altus or Tenor (because sometime the Tenor is aboue the Altus) ascend to the sixth or thirteenth and descend to the tenth or third, as here following you may perceiue. [...]

But if your Cadence be in the Alto, then may you choose any of these waies following for your end, the signe stil shewing the false close, which may not be vsed at a finall or full close, and though it hat beene our vse in times past to end vpon the sixt with the base in our songes, and speciallie in our Canons, yet is it not to bee vsed but vpon an extremitie of Canon, but by the contraty to be shunned as much as may be, and because it is almost [Page 129] euerie where out of vse, I will cease to speake any more against at this time, but turne you to the perusing of these examples following. [...]

Thus much for the composition of the three parts, it followeth to shew you howe to make foure, therefore here be two parts, make in two other middle partes to them, and make them foure.

Nay, seeing you haue giuen vs a table of three, I pray you giue vs one of foure also.

Then (that I may discharge my selfe of giuing you any more tables) here is one which wil serue you for the composition not only of foure parts, but of how many else it shal please you, for when you compose more then foure parts, you do not put to anie o­ther part, but double some of those foure, that is, you either make two trebles or two meanes, or two tenors, or two bases: and I haue kept in the table this order. First to set down the cord which the treble maketh with the tenor, next how far the base may be di­stant from the tenor, so that these three parts being so ordained, I set down what cordes the Alto must be to them to make vp the harmony perfect, you must also note that som­times you find set down for the Alto more then one cord, in which case the cordes may serue not only for the Alto but also for such other parts as may be added to the foure, nor shal you find y^e Alto set in an vnison or eight with any of the other parts, except in foure places, because that when the other parts haue amongst themselues the fifth and thirde, or their eights of necessitie such parts as shalbe added to them (let them be neuer so ma­ny) must bee in the eight or vnion, with some of the three afore named, therefore take it and peruse it diligentile.

Here be also certaine examples whereby you may perceiue, your base landing in a­ny key, how the rest of the partes (being but foure) may stand vnto it: both going close and in wider distances.

[Page 131] [...] [...] [...]

[Page 132] Lastlie, here be examples of formall closes in foure, fiue and sixe partes, wherein you must note that such of them as be marked with this marke *serue for middle closes, such as are commonlie taken at the ende of the first part of a song, the other bee finall closes whereof such as bee suddaine closes belong properlie to light musicke, as Madrigals Canzonets, Pauins and Galliards, wherein a semibriefe will be enough to Cadence vpon, but if you list you may draw out your Cadence or close to what length you wil. As for the Motets and other graue musick you must in them come with more deliberation in bin­dings and long notes to the close. [...] [...] [Page 129] [...] [...] [...] [Page 134] [...] [...] [...]

[Page 135] Closes of fiue voices. [...] [...] [Page 136] [...] [...] [Page 137] [...] [...] [Page 138] [...] [...] [Page 139] [...] [...]

[Page 140] Closes of sixe voices. [...] [...] [Page 141] [...] [...] [Page 142] [...] [...]

And though you haue here some of euerie sort of closes, yet wil not I say that here is the tenth part of those which either you yourselfe may deuise here­after, or may finde in the works of other men, when you shall come to peruse them, for if a man woulde go about to set down eue­rie close, hee might com­pose infinit volumes with­out hitting the mark which he shotat, but let these suf­fiice for your present instru­ction, for that by these you may finde out an infinite of other which may be parti­cular to your selfe.

Nowe seeing you haue aboundantlie satisfied my desire in shewing vs such profitable tables and closes, I pray you goe forwarde with that discourse of yours which I interrupted.

Then (to go to the matter roundly without [...] circumstances) here be two parts make in two middle partes to them and make them foure,Generall rules for setting. and of all other cordes leaue not out the fifth, the eight and the tenth, and looke which of those two (that is the [...] eight or the tenth) commeth nexte to the treble that set vppermost:A caueat for the sixth. How the fift and sixt may be both vsed together. [...] but when you put in a sixt then of force must the fift bee left out, except at a Cadence or close where a discorde is taken thus, which is the best manner of closing, and the one­lie waie of taking the fifth and sixth toge­ther.

I thinke I vnderstand that for proofe whereof here bee wo other parts to those which you haue set downe. [...]

In deed you haue taken great paines about them, for in the second and thirde notes you haue taken two eightes betwixt the tenor and base part,Faults contron led in this les­son, which faulte is committed by leauing out the tenth in your second note in the tenor, for the eight you had before betwixt the base and tre­ble, in your third note you haue a flat Cadence in your counter tenor, which is a thing against nature, for euerie Cadence is sharpe: but some may re­plie that all these three following. [Page 144] [...] (the first whereof hath onelie one Cadence, in the treble, the second hath two Cadences to­gether, the one in the treble, the other in the counter, in the thirde, the meane counter and tenor Cadence all at once) bee flat Cadences: which thing though it might require long dis­putation for solutiō of many arguments which to diuerse purposes might be brought, yet will I leaue to speake any more of it at this time, but only y^t they be al three passing closes, and not of y^e nature of yours, which is a kind of ful or final close although it be cōmonlie vsed both in pas­sing maner in diuers places of your cōposition, and finally at the close, but if your base ascende halfe a note thus, [...] any of the other parts making Syn copation (which we abusiuely cal a Cadence) then of force must your Syncopation be in that order as the first of the aforeshewed examples is, the other two not hauing that necessitie be not in such common vse, though being apt­lie taken they might in some places bee both vsed and allowed, but of this too much, therefore to returne to the other faultes of your lesson, in your fifth and sixth notes, your base and counter make two eights, and the base and tenor two fifts, likewise in the ninth note you haue in your tenor part a sharpe eight, which fault I gaue you in your descant to bee auoided: but if you had made the tenor part an eight to the treble it had beene farre better: Last of all your eleuenth and twelfth notes bee two fifthes in the tenor and base.

Brother me thinketh your setting is no better then my descanting.

It were well if it were so good, for then could I in a moment make it better, but I pray you (master) shew me howe these faults may bee auoided hereafter, for that I haue obserued your rule euery where sauing in the second and twelfth notes in the tenor part.

[...] Obiection.

In this example you may see al your ouersights mended.

But when your base and treble do ascend in tenths, as in the fifth and sixth note of this example, if you must not leaue out the fifth and the eight, I see no other but it will fall out to bee two eights betwixt the base and coun­ter, and likewise two fiftes betwixt the base and tenor.

Then for auoiding of that faulte, take this for a generall rule, that when the base and treble ascend so in tenthes,Solution with rules for true ascending or descending. then must the tenor bee the eight to the treble in the se­cond note as for example: [...] but by the conrrary, if the base and treble descend in the tenthes then must the tenor bee the eight to the treble in the first of them: example. [...]

These bee necessary good rules and easie to be vnderstood,The middle parts may go one through another. but may you carrie your tenor part higher then your counter as you haue don in your example of tenths ascending.

You may.

But what needed it, seeing you might haue caused the counter sing those notes which the tenor did, and contrary the tenor those which the counter did.

No, for if I had placed the fourth note of the tenor in the counter, and the fourth note of the counter in the tenor,For what rea­son one part may sing that which the o­ther may not. then had the third and fourth notes beene two fiftes be­twixt the counter and the treble, and the fourth and fifth notes beene two eightes be­tweene the tenor and treble.

You say true, and I was a foole who could not conceiue the reason thereof before you told it me, but why did you not set the fourth note of the tenor in C sol fa vt, seeing it is a fifth and good in the eare. [...]

Because (although it were sufferable) it were not good to skip vp to the fifth in that manner,Comming frō the eighth to the fifth both parts ascen­ding naught. but if it were taken descending, then were it very good thus.

This example I like very wel for these reasons, for (brother) if you marke the artifice of the composition you shall see that as the treble ascendeth fiue notes, so the tenor descendeth fiue notes likewise, the binding of the third and fourth notes in the tenor, the base ascen­ding from a sixth to a fifth, causeth that sharpe fifth to shew very wel in the eare, and it must needes bee better then if it had beene taken ascending in the first way as I desired to haue had it, last of all the counter in the last foure notes dooth answere the base in fuge from the se­cond note to the fifth, but now I will trie to make foure parts al of mine owne inuention.

Take heed of breaking Priscians head, for if you do I assure you (if I perceiue it) I will laugh as hartily at it as you did at my Sel­lengers round. [...]

I feare you not, but maister how like you this?

Well for your first triall, but why did you not put the sixth, seuenth and eight notes of the tenor eight notes higher, and set them in the counterpart, seeing they woulde haue gone neerer to the treble then that counter which you haue set downe.

Because I should haue gone out of the compasse of my lines.

I like you well for that reason, but if you hadde liked the other waie so well you might haue altered your cliffes thus: [...] whereby you should both haue had scope e­nough to bring vp your partes, and caused them come closer together, which woulde so much the more haue graced your exam­ple: for the closer the partes goe the better is the hermony, and when they stande farre asunder the harmonie vanisheth, there­fore hereafter studie so much as you can to make your partes goe close together,The parts must be close, so that no other may be put in be­twixt them. for so shall you both shew most art, and make your compositions fittest for the singing of all companies.

I will, but why do you smile?

Let your brother Polymathes looke to that.

If you haue perused his lesson suffici­ently, I pray you shew it me.

Here it is, and looke what you can spie in it.

I do not thinke there be a fault so sensible in it as that he may spie it.

But either my sight is daseled or there brother I haue you by the backe, and ther­fore I pray you be not offended if I serue you with the same measure you serued me.

What is the matter?

Do you see the fifth note of the tenor part?

I doe.

What corde is it to the base.

An eight, but how then.

I conclude that the next is an eight likewise with the base, both descen­ding, and so that you haue broken Piscians head, wherefore I may Lege talionis laugh at incongruity as well as you might at vnformality, but now I cry quittance with you.

In deed I confesse you haue ouertaken me, but master, do you find no other thing discommendable in my lesson?

Yes, for you haue in the closing gone out of your key, which is one of the grosest faults which may be committed.

What do you call going out of the key?

The leauing of that key wherein you did begin, and ending in an other.

What fault is in that?

A great fault,Going out of this key a great fault. for euery key hath a peculiar ayre proper vnto it selfe, so that if you goe into another then that wherein you begun, you change the aire of the song, which is as much as to wrest a thing out of his nature, making the asse leape vpon his maister and the Spaniell beare the loade. The perfect knowledge of these aires (which the an­tiquity termed Modi) was in such estimation amongst the learned, as therein they pla­ced the perfection of musicke, as you may perceiue at large in the fourth booke of Seue­rinus Boetius his musick, and Glareanus hath written a learned booke which he tooke in hand onely for the explanation of those moodes; and though the ayre of euerie key be different one from the other, yet some loue (by a wonder of nature) to be ioined to others so that if you begin your song in Gamut, you may conclude it either in C fa ut or D sol re, and from thence come againe to Gam ut: likewise if you begin your song in D sol re, you may end in aire and come againe to D sol re, &c.

Haue you no generall rule to be giuen for an instruction for keeping of the key?

No, for it must proceede only of the iudgement of the composer, yet the church men for keeping their keyes haue deuised certaine notes commonlie called the eight tunes, so that according to the tune which is to be obserued, at that time if it beginne in such a key, it may end in such and such others, as you shall immediatly know. And these be (although not the true substance yet) some shadowe of the ancient modi whereof Bo­tius and Glareanus haue written so much.

I pray you set downe those eight tunes, for the ancient modi, I mean by the grace of God to study hereafter.

Here they be in foure partes, the tenor stil keeping the plainesong.

The first tune. [...]

The second tune. [...] The eight tunes.

[Page 148] The third tune. [...]

The fourth tune. [...]

The fifth tune. [...]

The sixth tune. [...]

The seuenth tune: [...]

The eighth tune. [...]

I will insist no further to craue the vse of them at this time, but because the day is far spent, I will pray you to go forward with some other matter.

Then leaue counterpoint, and make foure parts of mingled notes.

I wil.

I thinke you will now beware of letting me take you tardie in false cords.

You shal not by my good will.

Peruse your lesson after that you haue made it, and so you shal not so often com­mit such faults as proceed of ouersight.

That is true indeed.

I pray you (maister) peruse this lesson, for I find no sensible fault in it.

I pray you shew it me before you shew it to our master, that it may passe censures by degrees.

I wil, so you wil play the Aristarchus cunningly.

Yea, a Diogenes if you wil.

On that condition you shall haue it.

And what haue you spied in it?

As much as he did, which is iust nothing.

Then let me haue it.

Here it is, and it may bee that you may spie some informalitie in it, but I will an­swere for the true composition. [...]

This lesson is tolerable, but yet there bee some thinges in it which I verie much dislike, and first y^t skipping from the tenth, to the eight in the last note of the first bar,Skipping from the tenth to the eight both parts ascēding. & first not of the second in the counter & base part, not being inioy­ned thereunto by any necessitie, either of fuge or Canon, but in plaine counterpoint where enough of o­ther shift was to be had, I know you might defend your felfe with the Authorites of al­most all the composers, who at all times and almost in euerie song of their Madrigals and Canzonets haue some such quiditie, and though it cannot bee disproued as false des­cant, yet would not I vse it no more then many other thinges which are to bee found in their works as skipping from the sixth to the eight, from the sixth to the vnison from a tenth to an eight ascending or descending and infinite more faultes which you shal find by excellent men cōmitted,Faults to be a­uoided in imi­tation. specially in taking of vnisons which are seldome to be vsed but in passing wise ascēding or descending, or then for the first or latter part of a note,A note for ta­king of vnison. & so away, not standing long vpon it, where as they by the contrarie wil skip vp to it from a sixth, third or fifth, which (as I told you before) we cal hitting an vnison or other cord on y^e face, but they before they wil break the are of their wāton amorus humor wil chose to runne into any inconuenient in musick whatsoeuer, & yet they haue gotten the name of musick masters though the world by their Madrigals and quicke inuentions, for you must vnderstand that few of them compose Mottets, wheras by the contrary they make [Page 150] infinit volumes of Mardigals, Canzonets, and other such ayreable musicke, yea though he were a priest he would rather choose to excell in that wanton and pleasing musicke then in that which properly belongeth to his profession, so much bee they by nature in­clined to loue, and therein are they to be commended for one musicion amongst them will honor and reuerence another, whereas by the contrarie, we (if two of vs bee of one profession) wil neuer cease to backbite one another so much as we can.

You play vpon the Homonymie of the word Loue, for in that they be inclined to lust, therein I see no reason why they should be commended, but whereas one musici­on amongst them will reuerence and loue one another, that is in deede praiseworthie, and whereas you iustly complaine of the hate and backbiting amongst the musicions of our countrey, that I knowe to bee most true, and speciallie in these young fellowes, who hauing no more skill then to sing a part of a song perfectlie, and scarselie that will take vpon them to censure excellent men, and to backbite them too, but I would not wish to liue so long as to see a set of bookes of one of those yong yonkers compositions, who are so ready to condemne others.

I perceiue you are cholericke, but let vs returne to your brothers lesson, though imitation be an excellent thing, yet would I wish no man so to imitate as to take whatso­euer his author saith, be it good or bad, and as for these scapes though in singing they be quickly ouerpast (as being committed in Madrigals, Canzonets, and such like light mu­sicke and in small notes) yet they giue occasion to the ignorant of committing the same in longer notes, as in Mottets where the fault would bee more offensiue and sooner spi­ed. And euen as one with a quicke hand playing vpon an instrument, shewing in vo­luntarie the agilitie of his fingers, will by the hast of his conueiance cloke manie faultes, which if they were stoode vpon would mightilie offend the eare, so those musicians be­cause the faultes are quickly ouerpast, as being in short notes, thinke them no faultes but yet wee must learne to distinguish betwixt an instrument playing diuision, and a voice expressing a dittie, & as for the going from the tenth to the eight in this place ascending, if the base had descended to Gam ut, where it ascended to G sol re ut, then had it beene better, but those fyrie spirits from whence you had it, would rather choose to make a whole newe song, then to correct one which is already made, although neuer so little alteration would haue auoided that inconuenient, else woulde they not suffer so manie fiftes and eightes passe in their workes, yea Croce himselfe hath let fiue fiftes together slip in one of hisTste 17. song of his second booke of Madrials of 5. voices, in the 11. & 12. semi­breeues. See also the 5. 8▪ 9. & 15. of the same set. songes, and in many of them you shall finde two (which with him is no fault as it should seeme by his vse of them) although the eastwind haue not yet blown that custome on this side of the Alpes. But though Croce and diuerse others haue made no scruple of taking those fiftes, yet will wee leaue to imitate him in that, nor yet will I take vpon me to saie so much as Zarlino doth, though I thinke as much, who in the 29. chapter of the third part of his Institutions of musick, discoursing of taking of those cords together writeth thus. Et non si dee hauer riguardo che alcuni habbiano voluto fare il con­trario, piu presto per presuntione, che per ragione alcuna, che loro habbiano hauuto, come vedia mo nelle loro compositioni; conciosia che non si deue imitare coloro, che fanno sfacciatamente contra li buoni costumi, & buoni praecetti d'um' arte & di vna scienza, senza renderne ragione aleuna: ma dobbiamo imitar quelli, che sono stati obseruatori dei buoni praecetti, & accostar si aloro & abbracciarli come buoni maestri: lasciando sempre il tristo, & pigliando il buono: & questo dico per che si comme il videre vnapittura, che sia dipinta convarij colori, magiormen te dilettal'occhio, di quello che non farebbe se fusse depinta con vn solo colore: cosi l'udito maggiormente si diletta & pigliapiacere delle consonanze & delle modulationi variate, pos­te dal diligentissimo compositore nelle sue compositioni, che delli semplici & non variate: Which is in English. Nor ought wee to haue any regard though others haue done the contrary, rather vpon a presumption then any reason which they haue had to doe so, as [Page 151] we may see in their compositions: although wee ought not to imitate them, who doe without any shame go against the good rules and precepts of an Art and a science, with out giuing any reason for their doings: but we ought to imitate those who haue beene obseruers of those precepts, ioine vs to them and embrace them as good maisters, euer leauing the bad and taking the good: and this I say because that euen as a picture pain­ted with diuers cullours doth more delight the eie to beholde it then if it were done but with one cullour alone, so the eare is more delighted and taketh more pleasure of the consonants by the diligent musicion placed in his compositions with varietie then of the simple concords put together without any varietie at all. This much Zarlino, yet do not I speake this, nor seeke this opinion of his, for derogation from Croce or any of those excellent men, but wish as they take great paines to compose, so they will not thinke much to take a little to correct, and though some of them doe boldly take those fiftes and eightes, yet shal you hardly find either in master Alfonso (except in that place which I cited to you before) Orlando, striggio. Clemens non papa, or any before them, nor shall you redily find it in the workes of anie of those famous english men who haue beene no­thing inferior in art to any of the afore named, as Farefax, Tauerner, Shepherde, Mun­dy, White, Persons, M. Birde, and diuers others, who neuer thought it greater sacrilidge to spurne against the Image of a Saint then to take two perfect cordes of one kind toge­ther, but if you chance to find any such thing in their works you may bee bold to impute it to the ouersight of the copyers, for copies pasing from hand to hand a smal ouersight committed by the first writer, by the second will bee made worse, which will giue occa­sion to the third to alter much both in the wordes and notes, according as shall seeme best to his owne iudgement, though (God knowes) it will be far enough from the mea­ning of the author, so that errors passing from hand to hand in written copies be easilie augmented, but for such of their workes as be in print, I dare bee bould to affirme that in them no such thing is to be found.

You haue giuen vs a good caueat how to behaue our selues in perusing the works of other men, and likewise you haue giuen vs a good obseruation for comming into a vnison, therefore now go forward with the rest of the faults of my lesson.

The second fault which I dislike in it is in the latter end of the fift bar and begin­ning of the next, where you stand in eights, for the counter is an eight to the base, and the tenor an eight to the treble, which fault is committed by leauing out the tenth, but if you had caused the counter rise in thirdes with the treble, it hadde beene good thus: [...] the third fault of your lesson is in the last note of your seuenth bar, comming from B fa b my, to F fa ut, ascending in the tenor part, of which fault I told you enough in your descant, the like fault of vn­formal skipping is in the same notes of the same bar in the coun­ter part, and lastly in the same counterpart you haue left out the Cadence at the close.

That vnformal fift was committed because I woulde not come from the sixth to the fifth, ascending betweene the tenor and the treble, but if I had considered where the note stoode, I would rather haue come from the sixth to the fifth then haue made it as it is.

That is no excuse for you, for if your partes do not come to your liking, but bee forced to skip in that order, you may alter the other partes (as being tide to nothing) for the altering of the leading part will much helpe the thing, so that sometime one part may lead, and somtime another, according as the nature of the musick or of the point is, for all points wil not be brought in alike, yet alwaies y^e musick is so to be cast as the point bee not offensiue, being compelled to run into vnisons, and therefore when the partes haue scope enough, the musicke goeth well, but when they bee so scattered, as though they lay a loofe, fearing to come neere one to another, thē is not the harmonie so good.

That is verie true indeed: but is not the close of the counter a Cadence.

No, for a Cadence must alwaies bee bound or then odde, driuing a small note through a greater which the Latins (and those who haue of late daies written the art of musicke, call Syncopation, for all binding and hanging vpon notes is called Syncopation, as this and such like: [...] Examples of Syncopation. [...] [...] [...] [...]

Here be also other examples of Syncopation in three partes, which if you consider dili­gentlie you shall finde (beside the Syncopation) a laudable and commendable manner of causing your partes driue odde, either ascending or descending, and if you cause three parts ascend or descend driuing, you shal not possiblie do it after any other maner then here is set down, it is true that you may do it in longer or shorter notes at your pleasure, but that will alter nothing of the substance of the matter. Also these driuings you shall find in manie songes of the most approued authors, yet shall you not see them otherwise corded, either in musicke for voices or instruments then here you may see.

[...] Other exam­ples of Synco­pation. [...] [...] [Page 153] [...] [...]

This I will both diligentlie marke and careful­lie keepe, but now I pray you set downe my lesson cor­rected after your maner, that I may the better remem­ber the correction of the faults committed in it. [...]

Here it is according as you might haue made it without those faults. [...] [...]

I will peruse this at leasure, but now (brother) I pray you make a lesson as I haue done, and ioine practise with your speculation.

I am contented, so you wil not laugh at my errors if you find any, but rather shew me how they may be corrected.

I will if I can, but if I cannot here is one who shall supplie that vvant.

I pray you then be silent, for I must haue deliberation and quietnes also, else shall I neuer do any thing.

You shall rather thinke vs stones then men.

But (maister) before I begin I remember a peece of composition of foure parts of maister Tauernor in one of his kiries, which maister Bould and all his companions did highly comend for exceeding good, and I would gladly haue your opinion of it.

Shew it me.

Here it is.

Although maister Tauerner did it I would not imitate it.Faults in this lesson. [...]

For what reasons?

First of all the beginning is neither pleasing nor artificial because of that ninth taken for the last part of the first note, and first of the nexte which is a thing vntolerable except there were a sixth to beare it out, for discordes are not to bee taken except they haue vnperfect cordes to beare them out, likewise betwixt the treble and counter parts another might ea­silie bee placed, all the rest of the mu­sicke is harsh, & the close in the coun­ter part is both naught and stale like vnto a garment of a strange fashion, which being new put on for a day or two will please because of the noueltie, but being worne thread bare, wil grow in contempt, and so this point when the lesson was made being a newe fashion was admitted for the raritie, al­though the descant was naught, as being onely deuised to bee foisted in at a close a­mongst many parts, for lacke of other shift, for though the song were of tenne or more parts, yet would that point serue for one, not troubling any of the rest, but nowe a daies it is growne in such common vse as diuers will make no scruple to vse it in fewe partes where as it might well enough be left out, thongh it be very vsuall with our Organists.

That is verie true, for if you wil but once walke to Paules church, you shall here it three or foure times at the least, in one seruice if not in one verse.

But if you marke the beginning of it, you shal find a fault which euen now I con­demned in your brothers lesson, for the counter is an eight to the treble, and the base an eight to the tenor, & as the counter commeth in after the treble, so in the same maner without varietie, the base commeth into the tenor.

These bee sufficient reasons indeede, but howe might the point haue otherwise beene brought in.

Many waies, & thus for one. [...] The former lesson bettered

I woulde I could set down such another.

Wishing will not auaile, but fabricando fabri fimus therefore neuer leaue practi­sing for that is in my opinion the readiest way to make such another.

You say true, and therefore I will trie to bring in the same point another way.

I see not what you can make worth the hearing vpon that point hauing such two going before you.

Be not by his words terrified, but hold forward your determination, for by such like contentions you shall profit more then you looke for.

How like you this way? [...]

Very ill.

I pray you shew me parti­cularlie euerie fault.faultes in this lesson.

First of all you begin vp­on a descorde, secondlie the parts be vnfor­mall, and last­lie the base is brought in out of y^e key which faulte is com­mitted because of not causing the base answere to the counter in the eight, or at least to the tenor, but because the tenor is in the lowe key, it were too lowe to cause the base answere it in the eight, and therefore it had beene better in this place to haue brought in the base in D sol re, for by bringing it in C fa ut, the counter being in D la sol re, you haue changed the aire and made it quite vnformall, for you must cause your fuge answere your leading parte either in the fifth, in the fourth, or in the eight, & so likewise euery part to answer other, although this rule bee not general, yet is it the best manner of maintaining pointes, for those waies of bringing in of fuges in the third, sixth, and euery such like cordes though they shew great sight yet are they vnpleasant and seldome vsed.

So I perceaue that if I had studied of purpose to make an euill lesson I could not haue made a worse then this, therefore once againe I will trie if I can make one which may in some sort content you.

Take heed that your last be not the worst.

I would not haue it so, but tandem aliquando. how like you this? [...]

The musick is in deed true, but you haue set it in such a key as no man would haue done, except it had beene to haue plaide it on the Organes with a quier of singing men, for in deede such shiftes the Organistes are many times compelled to make for ease of the singers, but some haue brought it from the Organe, and haue gone about to bring it in common vse of singing with bad successe if they respect their credit, for take me any of their songes, so set downe and you shall not find a musicion (how perfect soeuer hee be) able to sol fa it right, because he shall either sing a note in such a key as it is not natu­rally as la in C sol faut, sol in b fa b my, fa in alamire. or then hee shall be compelled to sing one note in two seueral keyes in continual deduction as fa in b fa b mi, and fa in A la mi re immediatlie one after another, which is against our very first rule of the singing our sixe notes or tuninges, and as for them who haue not practised that kind of songes, the verie sight of those flat cliffes (which stande at the beginning of the verse or line like a paire of staires, with great offence to the eie, but more to the amasing of the yong singer) make them mistearme their notes and so go out of tune, wheras by the contrary if your song were prickt in another key any young scholler might easilie and perfectlie sing it, and what can they possiblie do with such a number of flat b b, which I coulde not as well bring to passe by pricking the song a note higher? lastly in the last notes of your third bar and first of the next, and likewise in your last bar you haue committed a grosse ouersight of leauing out the Cadence, first in your Alto, and lastly in the tenor at the very close, and as for those notes which you haue put in the tenor part in steede of the Cadence, though they be true vnto the partes, yet would your Cadence in this place haue beene farre better, for that you cannot formally close without a Cadence in some one of the parts, as for the other it is an olde stale fashion of closing commonly vsed in the fift part to these foure (as you shall knowe more at large when I shall shewe you the practise of fiue partes) but if you would set downe of purpose to study for the finding out of a bad close, you could not readily light vpon a worse then this.

Then I pray you correct those faults, retaining that which is sufferable.

Here is your owne way altered in nothing but in the Cadences and key. But here [...] you must note that your song beeing gouerned with flats it is as vnformall to touch a sharpe eight in Elami, as in this key to touch it in F fa ut, and in both places the sixth would haue beene much better, which would haue beene an eight to the treble, besides (which I had almost forgotten) when they make their songes with those flats, they not onelie pester the beginning of euery verse with them but also when a note commeth in [Page 157] any place where they should be vsed they will set another flat before it, so that of neces­sitie it must in one of the places bee superfluous, likewise I haue seene diuers songes with those three flats at the beginning of euerie verse, and notwithstanding not one note in some of the places where the flat is set from the beginning of the song to the ende. But the strangers neuer pester their verse with those flats, but if the song be naturally flat they will set one ♭, at the beginning of the verses of euerie part, and if there happen anie ex­traordinarie flat or sharpe they will set the signe before it, which may serue for the note and no more, likewise if the song bee sharpe if there happen anie extraordinarie flat or sharpe they will signifie it as before, the signes stil seruing but for that note before which it standeth and for no more.

This I will remember, but once againe I will see if I can with a lesson please you any better, and for that effect I pray you giue me some point which I may maintain

I will shewe you that peece of fauour if you will promise to requite me with the like fauor.

I promise you that you shall haue the hardest in all my budget.

I wil deale more gentlie with you, for here is one which in my opinion is familiar enough, and easie to be maintained. [...]

Doubt not but my descant will be as familiar and as easie to bee amended, but I pray you keepe silence for a little while else shal I neuer do any good.

I pray God it be good when it comes, for you haue already made it long enough.

Because you say so, I will proceed no further, and nowe let me here your opinion of it: there after I will shew it to our master. [...] [...]

[Page 158] [...]

I can perceiue no grosse faults in it except that the lea­ding part goeth too far, before any of the rest follow, and that you haue made the three first parts go to wide in distance.

For the soone bringing in of the point, I care not, but [...] in deede I feare my maisters reprehension, for the compas therefore I will presentlie bee out of feare and shewe it him: I pray you (sir) shew me the faults of this lesson,

The first thing which I dislike in it is the widenesse and [...] distāce of your parts one from another,Faults in the lesson prece­dent. for in your fourth bar it were an easie matter to put in two parts betwixt your treble and meane, and likewise two others betwixt your meane and tenor, therefore in any case hereafter take heed of scattering your parts in that order, for it maketh the musick seeme wild, secondly in your fifth bar you go from the fifth to the eight in the treble and tenor partes, but if you had set that mynime (which standeth in b square) in D sol re causing it to come vn­der the counter part, it had beene much better and more formal. Thirdly in the seuenth bar, your counter and tenor come into an vnison, whereas it is an easie matter to put in three seuerall parts betweene your counter and treble. Fourthly in the eight bar your te­nor and base go into an vnison without any necessitie. Fiftlie in the tenth bar all the rest of the partes pause while the tenor leadeth and beginneth the fuge which causeth the musicke to seeme bare and lame, in deede if it had beene at the beginning of the second part of a song, or after a full close the fault had beene more excusable, but as it is vsed in this place, it disgraceth the musicke verie much. Sixthly the last note of the fifteenth bar and first of the next are two fifths in the base and tenor parts. Lastly your close in the tre­ble part is so stale that it is almost worme eaten, and generally your treble part lieth so a­loofe from the rest as though it were afraide to come nigh them, which maketh all the musicke both vnformall and vnpleasing, for the most artificial forme of composing is to couch the parts close together, so that nothing may be either added or taken away with out great hinderance to the other parts.

My brother blamed the beginning, because the leading part went so farre before the next: therefore I pray you let me here your opinion of that matter?

In deed it is true, that the neerer the following part be vnto the leading, the bet­ter the fuge is perceaued and the more plainelie decerned, and therefore did the musici­ans striue to bring in their pointes the soonest they coulde, but the continuation of that neerenes caused them fall into such a common manner of composing that all their points were brought in after one sort, so that now there is almost no fuge to be found in anie booke which hath not beene many times vsed by others, and therefore wee must giue the fuge some more scope to come in, and by that meanes we shall shew some vari­etie which cannot the other may be showne.

Now (Sir) I pray you desire my brother Philomathes to maintaine the same point, that I may censure him with the same liberty wherewith hee censured me, for hee hath heard nothing of al which you haue saide of my lesson.

I wil. Philomathes: let me here how you can handle this same point.

How hath my brother handled it?

That shalbe councel to you til we see yours.

Then shal you quickly see mine. I haue rubd it out at length, though with much adoe: here it is, shew me the faults.

[Page 159] [...] [...]

Wee will first here what your: brother saieth to it, and then will I declare mine opinion.

If he be the examiner, I am not afraide of condem­nation.

What? do you thinke I will spare you?

Not so: but I doubt of your sufficiencie to spie and examine the faultes, for they will be very grosse if you find them.

It may be that before I haue don you wil thinke them grosse enough.

Go then roundly to worke, and shew vs what you mislike in the lesson.

Then:Faults in the lesson Prece­dent. Inprimis, I mislike the beginning vpon an vnison, Item I mislike two dis­cordes (that is a second and a fourth) taken both together after the vnison in the second bar betwixt the tenor and counter: Item, Tertio I condemne as naught, the standing in the sixt a whole briefe together in the third bar in the counter & tenor parts, for though it be true and withal other shift enough to be had, yet be those vnperfect cords, seldome vsed of the skilfull, except when some perfect commeth immediatlie after them, and there for being taken but to sweeten the musicke, though they make great varietie they must not be holden but in length, and stood vpon so long as others, but lightlie touched and so away. Besides, in manie parts if the sixth be so stood vpon it will be the harder to make good parts to them. Item, Quarto I condemne the standing in the vnison a whole semibriefe in the last note of the seuenth bar in the treble and counter parts, where you must note that the fault is in the treble and not in the counter. Lastlie, I condemne two fiftes in the penulte and last notes of the tenth bar in the treble and tenor parts: likewise, that close of the tenor is of the ancient blocke, which is now growne out of fashion, be­cause it is thought better & more cōmendable to come to a close deliberately with draw­ing and binding descant, then so suddenly to close, except you had an aeuoue or Amen to sing after it. How saie you (M.) haue I not said prettely wel to my young maisters lesson.

In deede you haue spied well, but yet there bee two thinges which haue escaped your fight.

It may be it past my skil to perceiue them, but I pray you which be those two?

The taking of a Cadence in the end of the fifth barre,More faults in the lesson pro­cedent. and beginning of the next, which might either haue beene below in the tenor or aboue in the treble, and is such a thing in all musicke, as of all other things must not bee left out, especiallie in closing ey­ther passing in the middest of a song or ending: for though it were but in two partes yet would it grace the musicke, & the [...] i [...] were vsed, the better the song or lesson would be: much more in many parts: and in this place it had beene far better to haue left out a­ny cords whatsoeuer then the Cadence: and though you would keepe all the foure parts as they be, yet if you sing it in G sol re ut, either in the treble or tenor, it wold make a true fifth part to them. The Cadence likewise is left out where it might haue beene taken in the ninth bar and counter part, which if it had beene taken would haue caused the Te­nor to come vp neerer to the counter, and the counter to the treble, and therby so much the more haue graced the musicke.

It greeues me that he should haue found so many holes in my cote, but it may be that he hath bin taken with some of those faultes himselfe in his last lesson, and so might the more easely find them in mine.

You may peruse his lesson and see that.

But (sir) seeing both wee haue tried our skill vpon one point, I pray you take the same point and make something of it which we may imitate, for I am sure my brother wil be as willing to see it as I.

And more willing (if more may be) therefore let vs intreat you to do it.

Little intreatie will serue for such a matter, and therefore here it is.

[...] [...] [Page 161] [...] [...] [...]

In mine opinion hee who can bnt rightly imitate this one lesson may be counted a good musicion.

Why so?

Because there be so many and diuers waies of bringing in the fuge shewed in it as would cause any of my humor bee in loue with it, for the point is brought in in the true ayre the parts going so close and formally that nothing more artificiall can bee wi­shed: likewise marke in what maner any part beginneth and you shal see some other re­ply vpon it in the same point, either in shorter or longer notes also in the 22. barre when the Tenor expresseth the point, the base reuerteth it, and at a worde I can compare it to nothing but to a wel garnished garden of most sweete flowers, which the more it is sear­ched the more variety it yeldeth.

You are too hyperbolicall in your phrases, speaking not according to skil, but af­fection, but in truth it is a most common point, and no more then commonly handled, but if a man would study, he might vpon it find varietie enough to fil vp many sheets of paper: yea, though it were giuen to all the musicions of the world they might compose vpon it, and not one of their compositions be like vnto that of another. And you shall find no point so wel handled by any man, either Composer or Organist, but with stu­die either he himselfe or some other might make it much better. But of this matter e­nough, and I thinke by the lessons and precepts which you haue already had, you may well enough vnderstand the most vsual allowances and disallowances in the compositi­on of foure parts. It followeth now to shew you the practise of fiue, therefore (Philoma­thes) let me see what you can doe at fiue, seeing your Brother hath gone before you in foure.

I wil: but I pray you what generall rules and obseruations are to bee kept in fiue partes?

I can giue you no generall rule, but that you must haue a care to cause your parts giue place one to another, and aboue all thinges auoide standing in vnisons, for seeing they can hardly bee altogether auoided the more care is to bee taken in the good vse of them, which is best shown in passing notes, and in the last part of a note. The other rules for casting of the partes and taking of allowances be the same which were in foure parts.

Giue me leaue then to pause a little, and I wil trie my skill:

Pause much, and you shal do better.

What? wil much studie helpe?

Too much study dulleth the vnderstanding, but when I bid him pause much, I wil him to correct often before he leaue.

But when he hath once set downe a thing right, what neede him study any more at that time?

When he hath once set downe a point, though it be right, yet ought hee not to rest there, but should rather looke more earnestly howe hee may bring it more artifici­allie about.

By that meanes hee may scrape out that which is good, and bring in that which wilbe worse.

It may be that he wil do so at the first, but afterwards when he hath discretion to decerne the goodnesse of one point aboue another, hee will take the best and leaue the worst. And in that kind, the Italians and other strangers are greatlie to be commended, who taking any point in hand, wil not stand long vpon it, but wil take the best of it and so away to another, whereas by the contrarie, we are so tedious that of one point wee will make as much as may serue for a whole song, which though it shew great art in variery, yet is it more then needeth, except one would take vpon them to make a whole fancy of one point. And in that also you shall find excellent fantasies both of maister Alfonso, Ho­ratio Vecci, and others. But such they seldome compose, exceptit either bee to shewe their varietie at some odde time to see what may be done vpon a point without a dittie, or at the request of some friend, to shew the diuersitie of sundrie mens vaines vpon one subiect. And though the Lawyers say that it were better to suffer a hundred guilty per­sons [Page 163] escape them to punish one guitles, yet ought a musicion rather blotte out twentie good points then to suffer one point passe in his compositions vnartificially brought in.

I haue at length wrested out a way, I pray you sir peruse it and correct the faults.

[...] [...]

You haue wrested it out in deede, as for the faults they bee not to be corrected.

what? is the lesson so excellent wel contriued?

No: but ex­cept you change it all you cannot cor­rect the fault which like vnto a heredi­tarie lepresie in a mans bodie is vncurable without the dissolution of the whole?

I pray you what is the fault.

The compasse, for as it standeth you shall hardly finde fiue ordinarie voices to sing it, and is it not a shame for you being tould of that fault so many times before, to fall into it now againe? for if you marke your fift bar, you may easely put three parts betwixt your meane and tenor, and in the eight bar you may put likewise three parts betweene your treble and meane, grosse faults and only committed by negligence, your last notes [Page 164] of the ninth bar and first of the next are two fifts in the treble, and meane parts, and your two last barres you haue robde out of the capca [...]e of some olde Organist, but that close though it fit the singer as that the deformitie whereof may be hidden by flurish, yet is it not sufferable in compositions for voices, seeing there be such harsh discordes taken as are flat against the rules of musicke.

As how?

Discorde against discorde, that is, the treble and tenor are a discorde, and the base and tenor likewise a discord in the latter part of the first semibriefe of the last barre, and this fault is committed by breaking the notes in diuision, but that and many other such closings haue beene in too much estimation heretofore amongst the verie chiefest of our musicians, whereof amongst many euill this is one of the worst. [...]

Wherein do ye condemne this close, seeing it is both in long notes and likewise a Cadence.

No man can condemne it in the treble counter or base partes, but the Tenor is a blemish to the other, and such a blemish as if you will study of purpose to make a bad part to any others you coulde not possible make a worse, therefore in any case abstaine from it and such like.

Seeing the other parts be good how might the tenor be alterid and made better.

Thus, [...] nowe let your eare bee iudge in the singing, and you your selfe will not denie but that you find much better ayre and more fulnes then was be­fore, you may replie and say the other was fuller because it did more offende the eare, but by that reason you might likewise argue that a song full of false descant is fuller then that which is made of true cords. But (as I tolde you before) the best comming to a close is in binding wise in long drawing notes (as you see in the first of these examples following) and most chiefely when a fuge which hath beene in the same song handled is drawne out to make the close in binding wise, as imagine that this point hath in your song beene maintained [...] you may drawe it out to make the close as you see in the last of these examples. [...] [...]

I pray you take the fuge of my lesson, and shew me how it might haue beene fol­lowed better.

Manie waies, and thus for one. [...] [...]

You haue caused two sun­drie parts sing the same notes in one and the selfesame keye.

That is no fault, for you may make your song ether of two Trebles, or two Meanes in y^e high key or low key, as you list.

What do you meane by the high key?

All songs made by the Mu­sicians, who make songs by discretion, are either in the high key or in the lowe key. For if you make your song in the high key, here is the compasse of your musicke, with the forme of setting the cliffes for euery part.

[Page 166] [...] Canto. Alto. Tenor & Quinto. Basso.

But if you would make your song of two trebles you may make the two highest parts both with one cliffe, in which case one of them is called Quinto. If the song bee not of two trebles, then is the Quinto alwaies of the same pitch with the tenor, your Alto or meane you may make high or lowe as you list, setting the cliffe on the lowest or second rule. If you make your song in the low key, or for meanes then must you keepe the com­passe and set your cliffe as you see here. [...] The high Meane. The low Meane. Alto. Tenor. Basso.

The musicians also vse to make some compositions for men onely to sing, in which case they neuer passe this compasse. [...] Alto. Tenor primus. Tenor secundus. Bassus.

Now must you diligentlie marke that in which of all these compasses you make your musicke, you must not suffer any part to goe without the compasse of his rules, except one note at the most aboue or below, without it be vpon an extremity for the ditties sake or in notes taken for Diapasons in the base. It is true that the high and lowe keyes come both to one pitch, or rather compasse, but you must vnderstand that those songs which are made for the high key be made for more life, the other in the low key with more gra­uetie and staidnesse, so that if you sing them in contrarie keyes, they wil loose their grace and wil be wrested as it were out of their nature: for take an instrument, as a Lute Orphad­rion, Pandorae▪ or such like, being in the naturall pitch, and set it a note or two lower it wil go much heauier and duller, and far from that spirit which it had before, much more being foure notes lower then the naturall pitch.

Likewise take a voice being neuer so good, and cause it sing aboue the naturall reach it will make an vnpleasing and sweete noise, displeasing both the singer because of the straining, and the hearer because of the wildenes of the sound: euen so, if songes of the high key be sung in the low pitch, & they of the low key sung in the high pitch, though it will not be so offensiue as the other, yet will it not breed so much contentment in the hearer as otherwise it would do. Likewise, in what key soeuer you compose let not your parts be so far asunder as that you may put in any other betwixt them, (as you haue don in your last lesson) but keepe them close together, and if it happen that the point cause them go an eight one from the other (as in the beginning of my example you may see) yet let them come close together againe, and aboue all thinges keepe the ayre of your key (be it in the first tune, second tune, or other) except you bee by the wordes forced to beare it, for the Dittie (as you shall know hereafter) will compell the author many times to admit great absurdities in his musicke, altering both time, tune, cullour ayre and what soeuer else, which is commendable so hee can cunninglie come into his former ayre againe.

I wil by the grace of God diligentlie obserue these rules, therefore I pray you giue vs some more examples which we may imitate, for how can a workeman worke, who hath had no patterne to instruct him.

If you would compose well the best patternes for that effect or the workes of excel­lent men, wherin you may perceiue how points are brought in, the best way of which is when either the song beginneth two seuerall points in two seuerall parts at once, or one point fore­right and reuerted. And though your foreright fuges be verie good, yet are they such as any man of skil may in a manner at the first sight bring in, if hee doe but heare the leading part sung: but this way of two or three seueral points going together is the most artificiall kinde of composing which hetherto hath beene inuented, either for Motets or Madrigals, speciallie when it is mingled with reuertes, because so it maketh the musick seeme more strange, wher­of let this be an example.

[...] [...] [Page 168] [...] [...]

In truth if I had not looked vpon the example, I had not vnderstood your wordes, but now I perceaue the meaning of them.

And must euerie part maintaine that point wherewith it did begin, not touching that of other parts?

No, but euerie part may replie vpon the point of another, which causeth verie good varietie in the harmonie, for you see in the example that euerie part catcheth the point from another, so that it which euen now was in the high part, will bee straight waie in a lowe part and contrarilie.

Now shew vs an example of a point reuerted.

Here is one.

[Page 169] [...] [...]

Brother here is a lesson worthie the noting, for euerie part goeth a contrarie waie, so that it may be called a reuert reuerted.

It is easie to be vnderstood, but I am afraid it wil carrie great deficultie in the practise.

The more paines must be taken in learning of it, but the time passeth away, therefore I pray you (Sir) giue vs another example of a foreright point without anie reuerting.

Here is one, peruse it for these maintaining of long pointes, either foreright or reuert are verie good in Motets, and al other kinds of graue musicke.

[Page 170] [...] [...]

Here be good musicians, but in the ninth bar there is a discord so taken, and so mixed with flats and sharps as I haue not seene any taken in the like order.

You must not thinke but that our master hath some one secret in composition which is not common to euery scholler, and though this seeme absurd in our dul and weake iudge­ment, yet out of doubt our master hath not set it downe to vs without iudgement.

Yet if it were lawfull for me to declare mine opinion, it is scant tolerable.

It is not onely tollerable but commendable, and so much the more commendable as it is far from the common and vulgar vaine of closing, but if you come to peruse the works of excellent musicians you shall finde many such bindings, the strangenesse of the inuention of which, chiefelie caused them to be had in estimation amongst the skilful.

You haue hetherto giuen vs all our examples in Motets maner, therefore I pray you [Page 171] giue vs nowe some in forme of a Madrigale, that wee may perceiue the nature of that mu­sicke as well as that of the other.

The time is almost spent: therefore that you may perceiue the maner of compositi­on in sixe partes, and the nature of a Madrigale both at once. Here is an example of that kind of musicke in sixe partes, so that if you marke this well, you shal see that no point is long staid [...] [...] [Page 172] [...] vpon, but once or twice driuen through all the partes, and sometimes reuerted, and so to the close then taking another and that kind of handling points is most esteemed in Madrigals ei­ther of fiue or sixe parts, specially when two parts go one way, and two another way, and most commonly in tenthes or thirdes, as you may see in my former example of fiue parts, of main­taining two points or more at once. Likewise the more varietie of points bee shewed in one song, the more is the Madrigal esteemed, and withall you must bring in fine bindinges and strange closes according as the words of your Dittie shal moue you, also in these compositi­ons of sixe parts, you must haue an especiall care of causing your parts giue place one to ano­ther, which you cannot do without restings, nor can you (as you shall knowe more at large anon) cause them rest till they haue expressed that part of the dittying which they haue be­gun, and this is the cause that the parts of a Madrigal either of fiue or sixe parts go somtimes full, sometimes very single, sometimes iumping together, and somtime quite contrarie waies, like vnto the passion which they expresse, for as you schollers say that loue is ful of hopes and feares, so is the Madrigall or louers musicke full of diuersitie of passions and ayres.

Now sir because the day is far spent, and I feare that you shall not haue time enough to relate vnto vs those things which might be desired for the ful knowledge of musicke, I will re­quest you before you proceede to any other matters to speake something of Canons.

To satisfie your request in some respect, I will shewe you a fewe whereby of your selfe you may learne to find out more. A Canon then (as I told you before scholler Philomathes) may be made in any distance comprehended within the reach of y^e voice, as the 3. 5. 6. 7. 8. 9 10. 11. 12. or other. but for the composition of Canons no generall rule can be giuen as that which is performed by plaine sight, wherfore I wil refer it to your own studie to find out such points as you shall thinke meetest to bee followed, and to frame and make them fit for your Canon, the Authors vse the Canons in such diuersitie that it were folly to thinke to set down al the formes of them, because they be infinet, and also dailie more and more augmented by diuers, but most commonly they set some darke words by them, signifiyng obscurely how they are to be found out, and sung as by this of Iusquin you may see.