The pleasant companion: or New lessons and instructions for the flagelet. By Thomas Greeting, Gent

The pleasant companion: or New lessons and instructions for the flagelet. By Thomas Greeting, Gent

Table of contents

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Title page

Directions for Playing on the FLAGELET.

Of Holding the Flagelet.

Of the manner of playing on the Flagelet.

Of the Pinching Notes on the Flagelet.

Of the several Graces on the Flagelet.

The Names of the Notes, their Proportions and Time.

BOOKS lately Printed and Sold by JOHN PLAYFORD.

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THE Pleasant Companion: OR NEW LESSONS and INSTRƲCTIONS For the FLAGELET.

By Thomas Greeting, Gent.

London, Printed for John Playford, and are to be Sold at his Shop in the Inner-Temple, near the Church. 1675.

Directions for Playing on the FLAGELET.

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THe Flagelet is an Instrument that may very fitly be termed a A Pleasant Companion, for it may be carried in the Pocket, and so without any trouble bear one company either by Land or by Water. It hath this advantage over other Instruments, that it is always in Tune, which they are not: And for those whose Genius leads them to Musick, I know not a more easie and pleasant Instrument: And though at first it may seem difficult to Beginners, yet with the Practice of a few Hours, observing these following Directions, and a little assistance of a skilful Master, the knowledge hereof may be readily obtained.

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Of Holding the Flagelet.

THere are two ways of Holding the Flagelet usually taught by the Professors on this Instrument: The first way is to hold it with the left hand next the mouth, the thumb and three fingers thereof on the four first Holes, and the thumb and first finger of the right hand on the two last, holding the End of the Flagelet between the second and third finger. The second way of Holding it (which I conceive is the best) is to hold it with the left hand next the mouth as before, but with this difference, the thumb and two first fingers thereof stopping the three first Holes, and the thumb and two first fingers of the right hand stopping the three last Holes; so that as the Flagelet hath four Holes above, and two below, so they are stopt above with the four first fingers, and beneath with the two thumbs; and for the better staying it to ones mouth, the end of it is to be held between the third and little finger, placing the third finger above, and the little finger underneath, as is expressed in the Figure before the Title.

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Of the manner of playing on the Flagelet.

ALL Tunes or Lessons for the Flagelet are prick'd upon six Lines, answering to the six Holes on that Instrument, by certain Characters called Dots: These Dots direct what Holes are to be stopt, there being so many and the same holes to be stopt on the Flagelet each breath, as there are dots placed perpendicularly on the six Lines; as suppose a dot upon the first or uppermost Line, the first hole on the Flagelet (agreeing with that first Line) must be stopt; and if there be two dots one over another, as on the first and second, or first and third Lines, then the first and second, or first and third holes on the Flagelet are to be stopt: For instance, in pricking the Tune called Maiden Fair, for the two first Sounds or Breaths is made a dot upon the first and third Line twice over, and accordingly the first and third hole of the Flagelet must be stopt, and then blown gently twice. The like is to be understood of all the rest; observing, that as many rows of dots as there is from top to bottom on the six Lines, so many several sounds must there be on the Flagelet. Above the six Lines over the dots are placed [Page] Notes for expressing the Measure of Time, slow or swift; of which Notes or Time, I shall give you a certain Rule to know the Proportion on in its due place.

1st. Example of the plain Notes=Assending and Desending [...]

Your Flagelet being held as is directed, and your fingers on the six Holes, your first Stop or Note is 6 Dots, the second 5, the third 4, the fourth 3, the fifth 2, the sixth 2 divided, the seventh 1, the eighth a Cypher [o] which is all open. Blow gently, and take your Breath at every Note or Sound. Example of these in their order.

Directions for Playing the Eight Notes Up or Ascending.

1 Blow gently, all six Holes being stopt, is 6 Dots.

2 Up with the second finger of the right hand, is 5 Dots.

[Page]3 Off with the thumb of the right hand, is 4 Dots.

4 Up with the first finger of the right hand, is 3 Dots.

5 Up with the second finger of the left hand, is 2 Dots.

6 Up with the first finger on the left hand, and down again with the second finger, is 2 Dots divided.

7 Up with the second finger of the left hand, is 1 Dot.

8 Off with the thumb of the left hand is the Cypher [o] upon the first or uppermost Line, which is all open.

To Play the Eight Notes Down or Descending.

1 Blow gently all Holes being open, is the Cypher [o] upon the uppermost Line.

2 Stop with the thumb of the left hand, is 1 Dot.

3 Stop with the second finger of the left hand, the thumb remaining, is 2 Dots divided.

4 Stop with the first finger of the left hand, taking up the middle finger, is 2 Dots.

[Page]5 Stop with the second finger of the left hand again, the rest remaining, is 3 Dots.

6 Stop with the first finger of the right hand, the rest remaining, is 4 Dots.

7 Stop with the thumb of the right hand, is 5 Dots.

8 Stop with the second finger of the right hand, and now all is stopt, which is 6 Dots.

Practise to Play these Eight Notes ascending and descending, till you are perfect in them, always observing this Rule, that in Notes ascending gradually, you must increase your Breath by degrees; and contrary in Notes descending, and in Notes that Rise or Fall by Skips, you must suddenly increase or diminish your Breath, as the Notes require: The taking off a Finger raiseth, and the stopping down the contrary. Always remember to stop the Holes close, and to hit every Note distinctly with the tip of your Tongue.

In the next place is set down an Example of the Pinching Notes, as also an Example of the several Graces on this Instrument, together with a Table [Page] of the Notes Flat and Sharp, ascending on the Violin and Flagelet: I shall say somewhat to explain these two Examples, and proceed to the Names of the Notes, their Proportions and Time.

Example of the Pinching or higer Notas [...]Notes Assending Notes Desending

3d. Example of shaks & Beats [...]a Beat: a shak: a slur: a slur & beat.

A Table of the Notes flat & sharp Assending on the Violin and on the Flagilet [...]

[Page]

Of the Pinching Notes on the Flagelet.

The Pinching Notes ascend eight Notes higher than the Plain Notes, and are distinguished from them by a dash drawn through the first or highest Dot, making it a Cross, as in the foregoing Example. To play it on the Flagelet you must do thus: Bend your left thumb, and let it be but half over the first Hole (on which the Pinch is always made, by pinching your Nail hard over half the Hole) then give it a stronger Breath than the former Notes had, and you shall find the Sound of the Flagelet to be eight Notes higher. All the other Stops are the same with the former.

Of the several Graces on the Flagelet.

In the former Example of the Graces, the Mark or Character of a Beat and Shake is all one, but in playing them there is this difference: When the Mark is on the same Line even with the Dot, then you are to lift up that Finger and shake, and lay it down again before you play any other Note; this is called a Beat. But when the Mark stands alone upon any other Line underneath the Dot, then with the Finger belonging to that Line on which [Page] it is set you must shake, taking it off again before you play any other Note; and this is called a Shake. The third Mark or Character is for a Slur or Slide, that is, when two Notes are tyed together by a crooked dash underneath, then those two Notes are to be expressed with one Breath. There is another not much unlike this, which concludes with a Beat, and is played thus: Hit the first Note with the tip of your Tongue, and continuing your Breath, take up the second and bring on the first beating.

The Names of the Notes, their Proportions and Time.

Semibreve. Minim. Crotchet. Quaver. Semiquaver. [...]

THe Mood for the Common Time is thus Marked 𝇍, and is multiplied by 2, as one Semibreve is two Minims, one Minim two Crotchets, one Crotchet two Quavers, &c.

[Page]If what is said here concerning the Common Time be not sufficient to instruct a Beginner, I refer him to Mr. Playford's Introduction to the Skill of Musick, where he may not only be instructed in this, and the Triple Time, but in all the Grounds of Musick, both Vocal and Instrumental. [...]

The Mood for Triple Time is thus Marked 𝇊3, and is multiplied by 3, (the Note having a Prick added to it) as one Minim with a Prick is three Crotchets, &c. [...]

[...]

[Page]I shall conclude all at present with an Example directing what Key or Note any Tune prick'd for the Violin is proper for the Flagelet; in which observe, that all Lessons beginning on the Violin in A re, F fa vt, C sol fa, and D la sol, have the same Key on the Flagelet.

Violin [...]

Flagelet [...]

Tho. Greeting.

BOOKS lately Printed and Sold by JOHN PLAYFORD.

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THe Dancing-Master, containing Rules for Dancing Country-Dances, with the Tunes over each Dance for the Treble-Violin. Bound 2 s. 6 d.

Musicks Recreation on the Viol Lyra-way, containing choice Lessons for the lone Lyra-Viol, with Instructions for Beginners; newly Reprinted with large Additions. 2 s. 6 d.

Apollo's Banquet for the Treble-Violin, set forth in new Theatre Tunes, Ayres, Corants, &c. to which is added the Tunes of the new French-Dances; also Rules and Directions for Practitioners on the Treble-Violin. 1 s. 6 d.

Musicks Solace, containing Lessons and Instructions for the Cithren; newly Printed in a more easie method than it was formerly. Bound 1 s. 6 d.

Musicks Handmaid, presenting new Lessons for the Virginals, fitted for the practice of young Beginners. 2 s. 6 d.

An Introduction to the Skill of Musick, both Vocal and Instrumental; newly Reprinted and Enlarged. Bound 2 s.

Psalms and Hymns to the Common Tunes used in Parish Churches, Composed in Four Parts, in Folio; a Book far more useful than that of Mr. Ravenscrofts formerly published. 3 s.

Choice Songs and Ayres for one Voice to Sing to a Theorbo-Lute or Bass-Viol, being most of the newest Songs sung at Court, and at the Publick Theaters. 2 s. 6 d.

An Antidote against Melancholly, compounded of merry Ballads and Songs. Bound 2 s.

The Cabinet of Mirth, containing merry Tales, Jests, and Bulls, being the Second Part of the Antidote against Melancholly. Bound 2 s.

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Lessons for the Flagilett

1 [...]Mayden Faire

2 [...]Amarillis

[Page] 3 [...]Nightingale

[Page] 4 [...]The Kings Delight

[Page] 5 [...]The Queens Delight.

6 [...]Parthenia.

[Page] 7 [...]Mackbeth

[Page] 8 [...]Love in a Tubb: a dance

[Page] 9 [...]Sweet Betty

[Page] [...]A Theater Tune

[Page] 11 [...]Bore de Angleter

12 [...]A Saraband

[Page] 13 [...]The Grange

[Page] 14 [...]Parthenia

[Page] 15 [...]Love & Honour a Dance

[Page] 16 [...]The Hobby Horse Dance

[Page] 17 [...]Minrvais a French Ayre

[Page] 18 [...]A French Ayre

[Page] 19 [...]Corant La Royall

[Page] 20 [...]A Tune by Mr John Banister

[Page] 21 [...]A Tune by mr John Banister

[Page] 22 [...]A Jigg or Horne Pipe

[Page] 23 [...]A Tune by mr John Banister

[Page] 24 [...]A Tune by mr John Banister

[Page] 25 [...]A Gauot by Mr J: Banister

[Page] 26 [...]A Gavot by mr math: Locke

[Page] [...]A Horne Pipe

[...]A Tune by mr J: Banister.

[Page] 29 [...]Sr Martin Maralls Jigg

[Page] 30 [...]A new Northen Tune

[Page] 31 [...]A Tune by mr John Banister

[Page] 32 [...]La Dutchess

[Page] 33 [...]The Running Boure

[Page] 34 [...]La Fountaine Bleav

[Page] [...]Princess Royall

[Page] [...]The Gallyard

[...]Courante Mr Babtista

[Page] 38 [...]La Cakley a French Daunce

[Page] 39 [...]La Monmouth: by mr Grabu

40 [...]A Gavot by Mr Grabu

[Page] 41 [...]An Ayre by mr Grabu

[Page] 42 [...]Cardinall Mazarin

[Page] 43 [...]The Italian Courant

[Page] 44 [...]Saraband by mr John Banister

[Page] 45 [...]A Tune by mr Jeffery Banister

[Page] 46 [...]mr Will: Aylworths last Tune

Finis.

[Page] 47 [...]A Gavot by mr. John Banister

[Page] 48 [...]Brautes by mr. John Banister

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[Page] [...]Saraband by mr John Banister

[Page] 50 [...]A New Theater Tune

Mr. John Banister

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[...]

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[...]

[Page] 51 [...]Epsom Wells

Mr. John Banister

[Page] 52 [...]Theater Tune by mr Clayton

[Page] 53 [...]A Tune by mr Clayton

[Page] 54 [...]A Theater Tune by mr. Clayton

[Page] 55 [...]Menvet by mr. Robert Smith

[Page] 56 [...]A new Tune by Mr. Pelham Humphrys

[Page] 57 [...]The Earle of Sandwich Farwell

mr Robert Smith

[Page] 58 [...]Sr. Fretch Hollis Farwell

[Page] [...]A Mock Tune to Aminda

FINIS.

Information about this book

Title statement

The pleasant companion: or New lessons and instructions for the flagelet. By Thomas Greeting, Gent

Greeting, Thomas, d. 1682.

Edition statement

1675

Publication

Publisher

Text Creation Partnership,

Place of publication

Ann Arbor, MI ; Oxford (UK) :

Date

2009-03 (EEBO-TCP Phase 1).

ID [DLPS]

A42033

ID [STC]

Wing G1874B

ID [STC]

ESTC R216442

ID [EEBO-CITATION]

99828173

ID [PROQUEST]

99828173

ID [VID]

32600

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(EEBO-TCP ; phase 1, no. A42033)

Transcribed from: (Early English Books Online ; image set 32600)

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Source

— The pleasant companion: or New lessons and instructions for the flagelet. By Thomas Greeting, Gent, Greeting, Thomas, d. 1682..

Extent

[72] p. : ill., music

printed for John Playford, and are to be sold at his shop in the Inner-Temple, near the Church,. London :: 1675.. (With engraved frontispiece.) (The music, in tablature, with caption, "Lessons for the flagilett" is engraved.) (First quire is in letterpress; rest is engraved.) (Signatures: ¹A A-G⁴.) (Reproduction of the original in the Bodleian Library.)

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