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.

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.

1^st. 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.

• 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.

• 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

3^d. 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 [...]

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 [...]