A briefe and short instruction of the art of musicke to teach how to make discant, of all proportions that are in vse: very necessary for all such as are desirous to attaine to knowledge in the art; and may by practice, if they can sing, soone be able to compose three, foure, and five parts: and also to compose all sorts of canons that are usuall, by these directions of two or three parts in one, upon the plain-song. By Elvvay Bevin. Bevin, Elway, ca. 1554-1638. 1631 Approx. 32 KB of XML-encoded text transcribed from 32 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2005-03 (EEBO-TCP Phase 1). A09578 STC 1986 ESTC S101568 99837377 99837377 1696

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 Early English books online. (EEBO-TCP ; phase 1, no. A09578) Transcribed from: (Early English Books Online ; image set 1696) Images scanned from microfilm: (Early English books, 1475-1640 ; 1090:13) A briefe and short instruction of the art of musicke to teach how to make discant, of all proportions that are in vse: very necessary for all such as are desirous to attaine to knowledge in the art; and may by practice, if they can sing, soone be able to compose three, foure, and five parts: and also to compose all sorts of canons that are usuall, by these directions of two or three parts in one, upon the plain-song. By Elvvay Bevin. Bevin, Elway, ca. 1554-1638. [6], 52 p. : music Printed by R. Young, at the signe of the Starre on Bread-street hill, London : 1631. Some of the music is printed in red. Reproduction of the original in the British Library.

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 eng Music theory -- History -- 17th century -- Early works to 1800. Musical canon -- Early works to 1800. 2004-10 Assigned for keying and markup 2004-11 Keyed and coded from ProQuest page images 2004-12 Sampled and proofread 2004-12 Text and markup reviewed and edited 2005-01 Batch review (QC) and XML conversion

A BRIEFE AND SHORT INSTRVCTION OF THE ART OF MVSICKE, to teach how to make Discant, of all proportions that are in vse:

VERY NECESSARY FOR ALL such as are desirous to attaine to knowledge in the Art;

And may by practice, if they can sing, soone be able to compose three, foure, and five parts: And also to compose all sorts of Canons that are usuall, by these directions of two or three parts in one, upon the Plain-song.

By ELVVAY BEVIN.

LONDON, Printed by R. Young, at the signe of the Starre on Bread-street hill. 1631.

❧ TO THE RIGHT REVEREND FATHER IN GOD, AND MY HOnourable good Lord, the Lord Bishop of GLOCESTER. RIGHT REVEREND,

AFter much paines taken in the study and art of Musicke, for these many yeares last past, to compose Canons of two & three parts in one upon the Plain-song; have now at length laid downe this burden of my minde, the hopefull issue of my tyred braine. To the visiting of which Infant, many of my good friends resorting, and those skilfull in my profession, perswaded me to expose it to the world, and let try for it selfe; which I refused to doe, untill I called to minde, that it might tend to the praise and glory of Almighty God, and to the benefit of my native country: Yet finding, that such exposed Infants might easily perish without the protection of some worthy and powerfull Patron, resolved to keepe it at home, untill I remembred your good Lordship to be a lover and favourer of Musick, and unto whom I have beene much bound for many favours, for all which, being not able to returne worthy compensation, but rather to trench more and more daily upon your benignity, doe bequeath this my Infant unto your Lordships Patronage, whom I know for authority, wisedome, and learning to be able, and for piety and charity will bee willing, to protect the same; which if you vouchsafe, you have and alwayes shall have devoted

To your Lordships service, ELVVAY BEVIN.
TO THE READER.

BEing no lesse true than ancient, that good things common are of more regard, I might not imbrest this talent (the perfection of my long endeavours) and not impart it to the publique benefit, lest I should prove my selfe no Moralist, and so incurre their blackest censure, who first did backe me on this enterprise. I doubt not the perusers favour (yet not glory in my little one) if hee vouch safe it but a slender tryall; for though it be but small in quantity, yet for diversities of examples and difficulties, the quality may seeme the greater, and passe the elaborate workes of larger volumes. Thine,

Elway Bevin.
To Mr Elway Bevin upon his Canons of three parts in one▪ An EPIGRAM. MUsicke breaths heaven, nay more, it doth disclose it, If old Iudicious Bevin doe compose it. Astronomy stares high, and doth not feare To draw heavens curtaine, and unfold a Spheare: But Musicke climbes as high as Iacobs Scale, Out-vies a Iacobs Staffe: it doth unvaile Three for her one, or rather three in one: A mystery that Art ne're thought upon. Three parts in one, are no Trichotomy Of one in three, but a sweet Trinity Combin'd in one. This may (with wonder) make An Atheist (if hee'le lay his eares to stake) Sing Trinity in Vnity, when he shall Heare that (which he thought harsh) prove musicall. Church Musicke finds applause, then why not Hee That sets forth Canons of a Trinity? Thomas Palmer. Bristoll.
There are nine Concords of Musicke, as followeth:

A Vnison, Third, Fift, Sixt, Eight, Tenth, Twelfth, Thirteenth, and Fifteenth: Whereof five are called perfect, and foure unperfect.

The five perfect, are, Unison, Fift, Eight, Twelfth and Fifteenth: Of these you may not take two of one sort together, neither rising nor falling, as two Fifts or two Eights.

The other foure, called unperfect, you may take two or three together of one sort, rising or falling, which are, a Third, Sixt, Tenth, and Thirteenth.

These nine Concords are comprehended in foure, viz. Unison, Eight, Fifteenth, are counted as one, for every eight is the same. So that in effect there are but foure Concords. Third, Tenth, likewise. Fift, Twelfth, likewise. Sixt, Thirteenth, in like sort.

The Discords are, a Second, Fourth, and Seventh, with their Eights; which being sometime mixt with Concords, make best musicke, being orderly taken.

The proportions, as follow.

Conter point: 〈♫〉

〈♫〉

Dupla. 〈♫〉

〈♫〉

Tripla. 〈♫〉

31

〈♫〉

Quadrupla. 〈♫〉

41

〈♫〉

Quadrupla by three. 〈♫〉

41 〈♫〉

Sextupla. 〈♫〉

61 〈♫〉

Octupla. 〈♫〉

81 〈♫〉 〈♫〉 〈♫〉

Nonupla. 〈♫〉

91 〈♫〉 〈♫〉 〈♫〉

Sesq. altera. 〈♫〉

32 〈♫〉

Sesq. tertia. Sesq. tertia. 〈♫〉

43 〈♫〉

Tripla Inductio to Nonupla 〈♫〉

31 91 〈♫〉 〈♫〉 〈♫〉

Sesq. altera Inductio to 92. 〈♫〉

32 92 〈♫〉

Divers other proportions there are, as Quintupla, Septupla, and suchlike, which are out of use. 〈1 page duplicate〉 〈1 page duplicate〉

Semb. and Mynome. 〈♫〉 〈♫〉

Mynome and Crochet. 〈♫〉 〈♫〉

Driuing an odde Mynome to the end. 〈♫〉 〈♫〉

Driuing an odde Crochet to the end. 〈♫〉 〈♫〉 〈♫〉

Subdupla Subtripla. 〈♫〉

The manner of maintaining a point. 〈♫〉 〈♫〉

Another Example. 〈♫〉 〈♫〉

Another of the same. 〈♫〉 〈♫〉

Another of Sextupla. 〈♫〉

61 〈♫〉

3. Voces. 2. partes to the plain-song: 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉

The point reuerted. 〈♫〉 〈♫〉 〈♫〉

The ordinary wayes of two partes in one, are as followeth.

2. in one in the Vnison. Second. Third. Fourth. Fift. Sixt. Seventh.

Of these sorts you may make upon one Plain-song a thousand wayes, onely by altering the Rests, and setting the Plain-song sometime above, sometime below, and sometime in the middest, which causeth great variety, as for example you may partly see, by these that follow.

Plain-song above. A Crochet following. 〈♫〉 〈♫〉

Canon. 〈♫〉

Plainsong in the middest.

Canon. 〈♫〉 〈♫〉 〈♫〉

Plainsong belowe:

1 Canon. 〈♫〉 〈♫〉

A Crochet following. 〈♫〉

2 Canon. 〈♫〉 〈♫〉 〈♫〉

3 Canon. 〈♫〉 〈♫〉

〈♫〉

4 Canon. 〈♫〉 〈♫〉 〈♫〉

5 Canon 〈♫〉 〈♫〉 〈♫〉

6 Canon. 〈♫〉 〈♫〉

〈1 page duplicate〉 〈1 page duplicate〉

〈♫〉

7 Canon. 〈♫〉 〈♫〉

A Mynome following. 〈♫〉

1 Canon. 〈♫〉 〈♫〉 〈♫〉

2 Canon. 〈♫〉 〈♫〉

〈♫〉

3 Canon. 〈♫〉 〈♫〉 〈♫〉

4 Canon. 〈♫〉 〈♫〉 〈♫〉

5 Canon. 〈♫〉 〈♫〉

〈♫〉

6 Canon. 〈♫〉 〈♫〉 〈♫〉

7 Canon. 〈♫〉 〈♫〉 〈♫〉

8 Canon. 〈♫〉 〈♫〉

A Semibriefe following. 〈♫〉

1 Canon. 〈♫〉 〈♫〉 〈♫〉

2 Canon. 〈♫〉 〈♫〉 〈♫〉

3 Canon. 〈♫〉 〈♫〉

〈♫〉

4 Canon. 〈♫〉 〈♫〉 〈♫〉

5 Canon. 〈♫〉 〈♫〉 〈♫〉

6 Canon. 〈♫〉 〈♫〉

〈♫〉

7 Canon. 〈♫〉 〈♫〉

Three Mynomes following. 〈♫〉

1 Canon. 〈♫〉 〈♫〉

Two Semibriefes following. 4. Voces.

1 Canon. 〈♫〉 〈♫〉 〈♫〉 〈♫〉

Thus may you increase your Rests, if the Plain-song be of any length, to eight or tenne Semibriefes, or more, before the following part cometh in. And in this order might a great number of wayes be made: But I will not counsaile any to the pursuit thereof; for I hold it better to know the way and meanes how it may be done, than to take so laborious a worke in hand.

Two parts to the Plainsong maintaining their seuerall points. 〈♫〉 〈♫〉 〈♫〉

Another example of the same. 〈♫〉 〈♫〉 〈♫〉

There are diuerse other wayes of two parts in one, which are not so common, but yet more difficult in composing, as two in one per Augmentation, that is, when one part doubleth euery Note, making the Crochet a Mynome, the Mynome a Semibriefe, &c.

Example. 〈♫〉 〈♫〉

Canon per Aug. 〈♫〉

Another example. 〈♫〉

Canon per Aug. 〈♫〉 〈♫〉

Also you haue two parts in one per Arsin & Thesin, by contrary motions, that when one part ascendeth the other descendeth, which is both difficult, and carrieth more maiesty than any other Canon: And are diuersly made in any distance.

Example.

Canon per Arsin & Thesin. 〈♫〉 〈♫〉 〈♫〉

Another example. 〈♫〉

Canon per Arsin & Thesin. 〈♫〉 〈♫〉

Moreouer you haue two in one Recte & Retro, when one part singeth forward and the other backward, which is somewhat difficult to be made vpon a Plainsong, but without, the easiest of all other. Many other wayes there are, and are daily inuented by the skilfull, as you shall perceiue by these examples that follow.

Canon. Recte and Retro: 〈♫〉 〈♫〉 〈♫〉

Another below. 〈♫〉

Canon. Recte and Retro. 〈♫〉 〈♫〉

Another.

Canon. Recte and Retro. 〈♫〉

There is also a kinde of double discant which is no Canon, but somewhat of the nature of a Canon, and sometime also made in a Canon.

Double discant.

The Principall. 〈♫〉 〈♫〉 〈♫〉

In the Reply the Treble is set eight notes lower and made the Counter, and the Base is set twelve notes higher and made the Treble, the Plainsong set an eight lower and made the Base.

The reply. 〈♫〉 〈♫〉 〈♫〉

Double discant in a Canon. 〈♫〉

The principall. 〈♫〉 〈♫〉

In the Reply the higher of the principall is set an eight lower and made the Base, and the Base set a fift higher and made the Counter, and the Plainsong being the Treble set eight notes lower.

The Reply. 〈♫〉 〈♫〉 〈♫〉

Diminution by turnes per Arsin & Thesin. 〈♫〉 〈♫〉 〈♫〉

Here are certaine Canons of three in one, very difficult, made of the Plainsong it selfe; euery part contrary to other in nature. These are compound Canons, euen as the Apothecary maketh his confections of diuers simples, compounded together of sundry wayes.

Recte and Retro, & per Arsin & Thesin. 〈♫〉 〈♫〉

Canon. Three in one, per Arsin & Thesin. 〈♫〉

Another example, per Arsin & Thesin. 〈♫〉

Canon. Three in one. 〈♫〉

Per Arsin & Thesin, Recte and Retro. 〈♫〉

I haue set them downe very briefe and short, and haue made choise of this Plainsong of purpose, to the intent, the Learner of Practitioner may the better conceiue of euery particular, being also set downe in partition.

Per Arsin & Thesin. Example. 〈♫〉

Recte and Retro per Arsin & Thesin. 〈♫〉

Canon three in one 〈♫〉

Example. 〈♫〉 〈♫〉

Canon three in one, per Arsin & Thesin, making euery note a Semibriefe. 〈♫〉

Take one and leaue one per Aug. So the Plainsong contained therein.

Canon three in one. 〈♫〉 〈♫〉 〈♫〉

Foure in two. 4. Voces. 〈♫〉

Canon. 〈♫〉 〈♫〉

Canon per Arsin & Thesin. 〈♫〉

Another foure in two. 〈♫〉 〈♫〉

Canon Recte & Retro & per Arsin & Thesin. 〈♫〉

Canon. 〈♫〉

Canon Diapente. Another foure in two. 〈♫〉

Canon Diapente. 〈♫〉

Another of foure in two.

Canon subdiapente. 〈♫〉 〈♫〉

Canon subdiapente. 〈♫〉 〈♫〉

Per Augmentation, Aliud crescit in Duplo.

Canon. Three in one. 〈♫〉 〈♫〉 〈♫〉 〈♫〉

These Canons that follow are also very difficult to be made on any Plainsong.

Three in one of sundry proportions.

Canon three in one. 〈♫〉 〈♫〉

Crescit in Duplo. 〈♫〉

Per Aug. & per Arsin & Thesin. 〈♫〉

Another of like difficulty.

Canon. per Arsin & Thesin. Aliud per Aug. 〈♫〉 〈♫〉 〈♫〉 〈♫〉

Crescit in duplo, leauing the rest at the beginning. 〈♫〉 〈♫〉

Per Arsin & Thesin. 〈♫〉

Canon three in one. 〈♫〉

Fiue in two, Recte & Retro & per Arsin & Thesin. 〈♫〉 〈♫〉

Canon three in one, Recte & Retro. 〈♫〉 〈♫〉

Canon two in one, Recte & Retro. 〈♫〉

A Mynome following. 〈♫〉

Canon in diatessaron. 〈♫〉 〈♫〉

Ad placitum. 〈♫〉 〈♫〉

Canon per Arsin & Thesin. 〈♫〉 〈♫〉

Ad placitum. 〈♫〉

A note aboue. 〈♫〉 〈♫〉

Canon. Nota superior. 〈♫〉 〈♫〉

Mynome and Crochet binding one vpon another. 〈♫〉

Canon. 〈♫〉 〈♫〉 〈♫〉

Double discant made in a Canon 〈♫〉 〈♫〉

Canon. 〈♫〉 〈♫〉

Ad placitum.

In the Reply the Meane is made the Base, set eight notes lower, the Base is made the Meane, set eight notes higher. 〈♫〉

Canon. 〈♫〉 〈♫〉 〈♫〉

A note aboue. 〈♫〉

Canon. 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉

Canon in the third. 〈♫〉 〈♫〉

This Canon singeth onely the Crochets Semibriefes, the other onely the Crochets making them Briefes.

Canon. Foure in two. 4. Voces. 〈♫〉 〈♫〉

Canon. 〈♫〉 〈♫〉

Foure in two. 〈♫〉

Canon. 〈♫〉 〈♫〉

Canon. 〈♫〉

Here follow certaine Canons of diuerse and sundry sorts, which are many of them very difficult to be made to any Plainsong.

This Canon may be sung after the manner of a Round, falling a note at euery returne, and falling note by note to the end. 〈♫〉 〈♫〉

Canon. 〈♫〉 〈♫〉

This Canon riseth a note at euery returne, and riseth note by note to the end. 〈♫〉

Canon three in one, Diapente inferior, making euery note a Semibriefe. 〈♫〉 〈♫〉 〈♫〉

Two parts falling, the third rising, making euery note a Semibriefe.

Canon three in one. 〈♫〉 〈♫〉 〈♫〉 〈♫〉

The third part singeth onely the Mynomes making them Semibriefes, per Aug.

Canon three in one Vnison. 〈♫〉 〈♫〉 〈♫〉 〈♫〉

A Canon of three in one, hath resemblance to the holy Trinity, for as they are three distinct persons and but one God, so are the other three distinct parts, comprehended in one. The leading part hath reference to the Father, the following part to the Sonne, the third to the holy Ghost.

Diapason. Aliud per Arsin & Thesin making euery note a Semibriefe.

Canon three in one. 〈♫〉 〈♫〉 〈♫〉 〈♫〉

A note aboue Another. 〈♫〉 〈♫〉

Canon three in one. 〈♫〉 〈♫〉

Rising a note at euery returne, a fift one aboue another. 〈♫〉 〈♫〉 〈♫〉

Canon three in one. 〈♫〉

Rising a note at euery returne. 〈♫〉 〈♫〉 〈♫〉

Canon three in one. 〈♫〉

O Iesu dulcis remissio omnium peccatorum meorum ▪ O Iesu.

Foure parts in two. 〈♫〉

Canon. 〈♫〉 〈♫〉

Canon. 〈♫〉

Fiue voc. foure in two. 〈♫〉

Canon. 〈♫〉 〈♫〉

Canon. 〈♫〉 〈♫〉

Fiue Voc. 〈♫〉

Ad placitum. 〈♫〉 〈♫〉 〈♫〉

Canon three in one per Arsin & Thesin & Vnison. 〈♫〉

Canon three in one. 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉

Foure in two. 〈♫〉

Ad placitum. 〈♫〉

Canon. 〈♫〉

Canon. 〈♫〉

This taketh onely the Semibriefe. 〈♫〉

Foure in two: 〈♫〉

Canon in the third. 〈♫〉 〈♫〉

Ad placitum.

Canon. 〈♫〉 〈♫〉

Foure in two.

Canon. 〈♫〉 〈♫〉 〈♫〉

Canon. 〈♫〉 〈♫〉

Foure in two. 〈♫〉

Canon. 〈♫〉 〈♫〉 〈♫〉

Canon. 〈♫〉

Foure in two, either part repeting that the other sung before.

Canon per Arsin & Thesin. 〈♫〉 〈♫〉 〈♫〉

Canon Vnison. 〈♫〉 〈♫〉 〈♫〉

Canon three in one per Arsin & Thesin. 〈♫〉 〈♫〉 〈♫〉 〈♫〉

Foure in two.

Canon. 〈♫〉 〈♫〉 〈♫〉

Canon. 〈♫〉 〈♫〉

These Canons be of different natures, therefore the more difficult.

Foure in two. Canon per Arsin & Thesin. 〈♫〉 〈♫〉 〈♫〉 〈♫〉

Canon Vnison. 〈♫〉

This Canon is very difficult to make vpon any plainsong, either part repeating that the other sung before.

Canon three in one per Arsin & The sin & Vnison. 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉

Canon three in one per Aug. & Vnison. 〈♫〉 〈♫〉

Per Aug. 〈♫〉 〈♫〉

Ad placitum. 〈♫〉

Fiue Voc. This Canon is to be prict in two seuerall colours.

Canon three in one. 〈♫〉 〈♫〉

The red is one part, the blacke another, the third part singeth both colours, leauing all the Rests, as appeareth below.

The Canon explained. 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉

Here follow certaine Canons, which are most difficult in composition, by reason of the great variety of Canons contained in them.

This Canon hath a resemblance to the frame of this world, for as this world doth consist of the foure Elements, viz. Fire, Ayre, Water, and the Earth, and in either of them sundry liuing and moueable creatures: So likewise this Canon consisteth and is deuided into foure seuerall Canons, and to euery one belongeth fifteene parts, a certaine number for an vncertaine.

The whole sixty parts are contained in these seuen. These figures are set to distinguish the parts.

1 2 3 4 5 6 7 〈♫〉

1 3 5 7 〈♫〉

2 4 6 〈♫〉

1 2 3 4 5 6 7 〈♫〉

1 3 5 7 〈♫〉

2 4 6 〈♫〉

Here is to be noted, that the following parts of euery Canon rest two Semibriefes after other, euery Canon different in nature. 〈♫〉 〈♫〉 〈♫〉

You shall vnderstand that in the Canon, which is the red, is diuided into foure seuerall Canons, and to euery of them belongeth fifteene parts, in the whole three score: Two of these Canons are whole, and two are halfe Canons, because they take onely the later part, which is the Semibriefe and Semibriefe Rest, and are to be sung in diuers tunes according to the direction.

Bis binos capit Canon verosque Canones: Integri duo sunt, dimidiique duo. Horum quisque Canon vero terquinque requirit: At primo debent caetera cuncta Cani. Sed iuncto duplici Basso ponitur infra, Vocibus isto nouem singularite Canas.

8 9 10 11 12 13 14 15 〈♫〉

9 11 13 15 〈♫〉

8 10 12 14 〈♫〉

8 9 10 11 12 13 14 15 〈♫〉

9 11 13 15 〈♫〉

8 10 12 14 〈♫〉

Canon sixty in one. Diapente superior 15. Sexto superior Retro. 15. 〈♫〉

Tertio inferior per Arsin & Thesin 15. Diatessaron inferior 15. 〈♫〉 〈♫〉

These threescore parts in one are contained in foure red notes.

This Canon is to be sung in all distances, as appeareth in the page following.

Foure Voc. 〈♫〉

Canon Vnison. 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉

He that will looke into the depth of this Canon, must take the paines to pricke out euery one of these at large, for I haue set downe only the beginning of euery part, to saue labour: And so likewise in the next that followeth.

2 3 4 5 6 〈♫〉

Secundo. Tertio. Diatessaron superior. Diapente superior. Sexto. 〈♫〉 〈♫〉

three in one.

7 8 9 10 11 12 〈♫〉

Septimo. Octauo. Nono. Diatessaron inferior. Diapente inferior. Subdiapason. 〈♫〉 〈♫〉

The Plainsong neuer changeth, neither the Base, but onely in the fift way, which is the Canon set eight notes lower.

The other two parts may easily be prict according to the directions set downe already.

Three parts to the Plain-song, composed in such sort, as euery part is made the Base or ground to the other, which causeth variety of musicke, by reason of the changing of the parts and is to be sung foure seuerall wayes, as appeareth.

Foure Voc: 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉

Either of these Replies are to be prict out at large.

The first Reply. The second Reply. The third Reply. 〈♫〉

1 The Treble in the first Reply, is the Tenor of the principall, prict an eight higher. 2 The Treble in the second Reply, is the Meane of the principall, prict a fift higher. 3 The Treble in the third Reply, is the Base of the principall, set twelue notes higher.

〈♫〉

1 The Meane in the first Reply, is the Treble of the principall. 2 The Meane in the second Reply, is the Base of the principall, set twelue notes higher. 3 The Meane in the third Reply, is the Tenor of the principall, set eight notes higher.

〈♫〉

1 The Tenor in the first Reply, is the Base of the principall, set eight notes higher. 2 The Tenor in the second Reply, is the Treble of the principall, set eight notes lower. 3 The Tenor in the third Reply, is the Meane of the principall, set foure notes lower.

〈♫〉

1 The Base in the first Reply, is the Meane of the principall, set eight notes lower. 2 The Base in the second Reply, is the Tenor of the principall. 3 The Base in the third Reply, is the Treble, set fifteene notes lower.

xxi. parts. Foure parts to the plain-song, euery part fiue in one, resting fiue Semibriefes after other.

Canon fiue in one. 〈♫〉

Canon fiue in one. 〈♫〉 〈♫〉

Canon fiue in one. 〈♫〉

Canon fiue in one. 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉

Whose will take a view of all the parts of this song, must take the paine to pricke out euery part by it selfe. The first resteth fiue Semibriefes, the second tenne, the third fifteene, the fourth and last twenty: and so likewise euery Canon.

The Closes that are set here, serue to shew where euery part endeth: The part that resteth fine Semibriefes, endeth on the last Close saue one, that part that resteth tenne Semibriefes, endeth on the last Close, saue two. So the rest accordingly.

Fiue parts in one to the plain-song, resting fiue Semibriefes after other, in a Round.

Sixe Voc. Thrice ouer. 〈♫〉

Gloria tibi Domi- ne, qui natus es de Virgi-

Canon fiue in one. 〈♫〉

Gloria tibi Domine, qui natus es de Virgine, ▪ 〈♫〉 ne, cum Pa- tre & Spiri- tui san- cto in sempiter- na sae- cu- la. 〈♫〉 cum Patre & Spiritui san- cto in sempiterna saecula ▪

Fifteene parts in one, loc here may you see, Vpon the Plain-song, all contain'd in three. And to this intent, In fiue notes consist, That may represent the fiue wounds of Christ.

Canon three in one per Arsin & Thesin, aliud in Diapason.

Sing this fiue times ouer. This last note that standeth by it selfe, is for the finall Close of the first part. 〈♫〉

Tenor. Fiue voc. 〈♫〉

Bassus. 〈♫〉 〈♫〉

Laus Deo.

Thus much haue J thought sufficient for young Practitioners at this present, but if I may perceiue any to take profit herein, shall be encouraged hereafter to set out a larger Volume, is it please God to giue me life, and enable me thereunto. In the meane season, I wish thee all happinesse and good success in thy proceedings. Thy harty wel-willer in Christ Iesus, Elway Bevin▪

FINIS.