THe Abusiveness, not Excellency of the pretended Vniversal Cha­racter, gave me occasion of pre­senting you these Remarques; wherein I have endeavour'd to manifest the falsity, insignifi­cancy, contradictory, and (in some parts) impossibility of its Authors Proposals. But e're I proceed, since he has been liberal to evince the intricate and difficult way of your proceeding by an Experiment of his own (Pag. 25.) the Ground indeed of his whole Discourse, and (being truely applied) the Square of all mens Understanding; to be [Page 2] out of his debt (taking it for granted, how ignorant soever he renders you, you under­stand the degrees of Comparison) I'le tell you a Tale:

Once upon a time, when I was a School­boy, had got a smack'ring of the Syntax, could Sing my Part, put three or four Parts together in Musick, and Play a Voluntary and Service on the Organ (perhaps well enough for the time) I began to admire my own excellency, despise others, and (Lucifer-like) thought on nothing but setting up for my self; not doubting, but fame and fortune would attend those so suddenly acquired accomplishments, which they (silly fellows) had been so long groping after to so little purpose. But here my good Genius put a stop to my cariere, and (with a Seest thou a man wise in his own eyes? there is more hope of a Fool than of him) prevented the pub­lication of my folly; that by longer study and experience I might become sensible of the vanity and impudency of it. And truly when I began to write Man, and had con­vers'd in the world, it prov'd so; for not­withstanding the fair progress I had made, I found I was but at the beginning of my journey: which, the more seriously I re­flected on, the closer it obliged me to proceed [Page 3] cautiously, and not judge of any thing I was not certain I knew.

Gentlemen, you have the priviledge to make what application you please: mine is to keep within compass in the following Dis­course.

Be pleas'd then to know, that about three years since, our Vniversal Essayer made his address to me for instruction in Composition; but I, never having contriv'd any method that way, referr'd him to Mr. Simpson's Compendium of Practical Musick for the first Rudiments, and to Mr. Birabensha (his now Publisher) for his further advance; assuring him I knew no man fitter for that purpose; it being in a manner his whole business. This advice was civilly and kindly taken, and after a short time put in execution. But e're the Sun had run his Annual Circuit the case was alter'd; such pretty canting Que­stions came so innocently nibling after Solu­tions, that I knew not whether they were proposed by way of joke or in earnest, till (I know not how) a Brother broke out, 'Tis another Circulation of the Blood! and then, O then 'twas I began to suspect that Mid­summer Moon lasted all the year; though the several favours I had receiv'd from the Family (which I shall always acknowledge) [Page 4] kept me within the bounds of modesty, and fed me with hopes of a farther discovery.

Which there was no appearance of (not so much as by way of hint, for a Vniversal Cha­racter) till the last Summer, and that by accident too; for meeting with Mr. Iohn Carr, a Seller of Instruments in the Middle-Temple, I had the favour of a running view both of it and the Publishers Preface, and withall, a request to write somewhat in commendation of it: which how in civility to refuse, or in respect of my own reputation to do (being ignorant of many particulars therein, and not well satisfied in others that I thought I understood) I knew not. However, impor­tunity prevailing over good Nature, his desire in innocent Drollery (in hopes to occasion a more serious survey of those many bold and unmanly aspertions in it) I endeavour'd thus to comply with.

This immediately was communicated, and severely censur'd; the Publication of the Work (by adding, changing, wherefore-not­ting and why-notting) put off for near two Terms; and I, poor I, delivered up to be buf­feted. Which coming in general to my Ears put me in mind of what I had read, and that (after a little) wriggling of the merry Mag­got) of Ralph's cholerick Answer to my Petition: which was thus:

Thus it rested (and truly for the Authors sake I wish it had still) till about the latter end of the last Term, when it come forth, being ushered in with as much National Ex­pectation and splendor, as the Authors own recommendatory Epistles, or (if near home) Elegant Speeches could embellish it with: And what care and pains have been since taken to beget an answerable reception of it, I suppose none that know him or his Relation can be ignorant of. Hitherto by way of History: Now, Behold and have regard!

Where, in the first place, you are enter­tain'd with the device of a Frontispiece; the mind whereof (as I humbly conceive) may be this: A melodious Hackney Lady under a pleasant shade, near the Entring into a delicate Garden, playing the elaborate and incomparable [Page 7] Arro [...]s Jigg; at the hearing whereof, the Author, having seated himself among the Gods, descends; and (for the encouragement of poor deluded Mortals) with his own right hand fur­nishes the World with his own Invention of the Harmonical and Immutable B. M. T. on the one side, and the old discordant confused Cliffs on the other. If this be not the genuine sense of the Imagery, I must blame its obscurity, and advance to the Preface.

Where, to make way for the Essay, the Publisher at one blow knocks all or most in the head, that either have written of, or practiz'd Musick from the first Invention of the Scale or Gamut to our days. His words are these: ‘There is not any Art which at this day is more rude, unpolish'd, and im­perfect in the Writings of most of the An­cient and Modern Authors than Musick; for the Elementary part thereof is little better than an indigested Mass, and con­fus'd Chaos of impertinent Characters, and insignificant Signs. It is intricate and diffi­cult to be understood, it afflicts the me­mory, and consumeth much time before the knowledge thereof can be attained, because the Cliffs are divers, their transpo­sition frequent, and the order and places of Notes very mutable, and their deno­mination [Page 8] alterable and unfix'd. These things being consider'd, &c.’

Behold the Platform of insignificant Inno­vation! first complain, then propose, next reform if you can: 'tis no matter which way. But who can help it? What's bred in the bone will ne're out of the flesh: and you know 'tis hard crossing Proverbs; however I shall wil­lingly pass him by, as a Gentleman (I fear) strugling under an obligation beneath either his Birth, Education, or Knowledge, and proceed.

Be pleas'd then to observe, that the first Chapter is nothing to the purpose of his Vniversal Character, but for the most part a bare Discourse of Musicks Advantages over other Recreations, without so much as taking notice of the Divine Use thereof, notwith­standing the many Commands and Examples recounted in holy Writ to that purpose. I will not be so severe as to judge it a wilful omission: but I'le assure you it looks very odd. The rest of it (after Teazing the No­bility and Gentry for some miscarriages in other Recreations) is made up with a serious invitation, and solemn assurance, that as Mu­sick never begger'd any, so it never made any rich; that is to say in plain English:

Encouragement enough doubtless for such as shall make it their business to follow his Tract; and perchance agreeable to some who have been conversant within the narrow cir­cuit of his progress. But as to the genera­lity of that Profession abroad, there is no knowing Traveller, that dares speak truth, but will assure him, they live as splendidly, with as much respect, as large rewards, and as many advantages to enrich themselves (if they please) as any Professors of any Art or Science whatsoever. And at home, were he not very short sighted, he might with ease meet with those who have made fair pur­chases; and, were they so inclin'd, could still adventure the buying of a good Benefice, without the least assistance of their frugal Parents. But ex Pede Hercules; from this praise and contempt, you may guess at your future usage.

In his second and third Chapter, to carry on a thorough Reformation, the Axe is laid to the Root, and in a moment, you and all Musical Mankind living are made Conjurers and Stults. But who hath not heard of Frier Bacon's Oracle! However, be not daunted for a [Page 10] hasty word, nor doubt of setting the Saddle on the right Horse; for the proof of the Pud­ding is in the Eating, as the learned Sanca Panca has it; and though comparisons are odious, as the saying is, yet to compare Notes is not: And therefore, &c.

[Page 11]This Scale contains or implies the compass of all Voyces and Instruments by Alphabe­tical and Gradual Motion; so that wherever either of the three Cliffs are plac'd, that Character or Cliff takes with it so much of the Scale as is pertinent to the Voyce or In­strument it is applied to for any single Part.

His new Scale of G. A. B. C. D. E. F. G. confusedly divides it self at every Octave Note or Tone, and consequently Tinker-like instead of mending one hole makes two or three, imposing a necessity of more muta­bility and perplexity, where each part en­joys its own latitude, than was or could be in the old, and (by not planting the begin­ning of his second Octave inclusive to the first) making that same Note or Tone to be in several places or distances at the same time; and from this I make my exceptions against his whole Book.

For Example: Vnison [...]

Behold the Inventor's grand Invention, on which all his other Inventions depend! And [Page 12] if it be not worthy the Author let the world judge.

From this fixedness (for so he'l have it) ariseth and destruction of his whole design, and indeed, makes it appear that he either understands not, or wilfully mistakes the proper use of the old Scale as to Vocal Mu­sick; for in the first Septinary thereof there is implied the three manners of Naming the Notes in Singing, by sharp, natural, and flat, each taking its rise from the Syllable Vt, &c. as in the former Scale is demonstrated, (of which more hereafter.) Now the Natural contains the compass of the generality of Mens Voyces, and is thus set down by us:

But by his new found way thus:

Or by the addition of two lines more thus:

Or with as many above, if he prick in his B Thing.

[Page 13]So that either it leaves not room to put words under your Notes, or forces you to skip from one of his Hieroglyphical Characters to another,

Which how inventingly it shews, and how cunningly it runs into the perplexities before-mentioned, none can be ignorant that have Eyes in their heads.

The same 'tis in the superiour Part for the Voyce, which generally takes up the same compass, and is regularly set down by us, thus:

But by his reform'd way, thus:

Or by the addition of two lines to his Man T, which is far worse.

And in this he might have convinc'd him­self, had he but taken the pains to have transcrib'd the Tune of Aurelia in the Key proper for singing it, which ought to be thus planted:

But his way, thus:

And if some Teachers of Vocal Musick write their single Ayres by the G Cliff, 'tis rather to assist those who learn by Ear only, by the Violin, (that being the proper Cliff for that Instrument, and that Instrument more generally known and used than any other, and always in Unison with the Voyce for that Part, if truly tuned and applied,) than in the least to contradict our certain Method of the Scale; which never gives so much as occasion for the chopping and changing of Cliffs, or writing in Improper Keys; one or both of which he must of necessity do, if he'l stick to his own Principles; the whimsies of his Lieger Line (pag. 23.) and Exotick Notes (pag. 73.) not at all mending the mat­ter, whatever he pretends; but rather (Sir Positive-like) declares that not to be which really is; for do but observe how facile to the Eye (which pag. 41 he seems to be a friend to) a Double Relish appears our way:

[Page 15]And how subtilly, or rather conjuringly, in a Treble and higher Octave, according to his new Scheme (pag. 23.) thus:

And if it have not a powerful operation on your understandings (if he'l permit you to have any) that he writes by a more than or­dinary Illumination, I'm much mistaken.

I shall only add an Example or two of Vo­cal Musick in Parts, and proceed to the exa­mination of his borrowed ones.

[Page 16]Here's no Bugbear to fright Children, or perplexity to deter the Lovers of Science from their and our rational and gradual pro­ceeding; but in his reform'd way, Behold its Physnomy?

And if in courtesie you'l permit him to write the Bass as 'tis in the former way, 'tis nothing to the purpose of his fower-line loving Friends to the Eye and possessour of a com­pleat Octave (as he calls them,) but a strong [Page 17] confirmation of our Scale, without the use whereof, he could not shun the ridiculous fop-doodles above mentioned; and with it hath been necessitated to dash out the [...] of his dear Babes Invention and Reforma­tion. But O the Father! what will not a Man do to be Chronicl'd on Inventor. If you can make any shift, without swo [...] [...] and blubber'd Cheeks, call to mind I beseech you the memorable and never to be forgot­ten Invention of burning Diana's Temple; and accordingly, &c.

[Page 27]By these Examples (which are not propo­sed so much to signifie the conveniency and necessity of removing the Cliffs according to our Scale and Method, as to revive, if possible the excellent and almost lost kind of Musick call'd Canon) it appears that all his abusive Rhetorick tends to nothing more, than to de­throne what is self-evident, and (to make a new Common-wealth) set up supposition, imagi­nation, and if so, why then so, &c. to reign in its stead; as if there were no certainer way in the World to make a Man clear sighted, but putting out his Eyes.

And his Scheme of our Cliffs (pag. 21.) which he would fain render ridiculous and useless, is sufficient to convince any rational Man, that has studied Musick, of the necessi­ty of retaining them: For by the C Cliff is understood (and universally so used) not only a Tenor, but a Contra-tenor, and a higher and lower Mean; whereby the Parts of a regular Composition are fix'd in their proper places; which by his way cannot be done, without the transposition of his darling Letters BMT. And the B Cliffs, flat and sharp, are so essen­tially necessary, that without them 'tis impos­sible to compleat Harmony; which, he know­ing (if I guess right) made him give quarter and confine them: but how contradictory to [Page 28] his own Hand and Seal pag. 32. and the Plate of Aurelia, we'l manifest when we come to the Nomination of Notes. So that after all the gay assurances of his plain and easie Me­thod, instead of after Saturday night comes Sunday morning, as he tells us pag. 73. we are to accept of after Sunday morning comes Sa­turday night; and in lieu of a compleat Body, be contented with a lame Foot, half a Head, and one single Gut. But enough of this. The following Observations, and comparing both Scales, will assure you the Author is no Changeling, and that his whole piece is of a lump.

His assuring his Reader (pag. 14.) that you cannot declare a Note to be in a different Octave, because their Names are different in every Octave, is false; for the Cliffs and Scale distinguishes them by Capital, single and double Italick Letters, as before is set down.

His swallowing the old way of Alphabe­tical Numeration, without giving any account why he commences with G and not A, (as the honest Horn-books and Kalenders do,) was no small oversight; for had he done it, it might in some measure have answered the hungry Gapers after his pretended Invention and Reformation; but being omitted, they still remain Seekers: And I with them, had [Page 29] there not been a happy accident of meeting with an Acquaintance and worthy Neighbour of his; who assured me, the sole reason of his proceeding that way, was, because G was the Dominical Letter that Year he writ: which, how admirably it demonstrates the Excellency of his Invention, the very Rab­ble, his dear Cronies as it seems (pag. 78.) will confess, and give him thanks for. But in earnest, had I occasion to quarrel with that account, I should have thought it ra­tional to have reform'd it, by taking the Al­phabet end wise; which, in all probability, would have freed us from those perplexities he says we are involv'd in, and those we are sure he would lead us in.

His arguing upon supposition, that the fiction words of the Gam-vt (for so he's pleased to dip them pag. 15.) were originally design'd to shew the place of Mi, is of the same stamp; for they were Syllables pur­posely chosen as most proper for opening the Mouth and putting forth the Voyce, every Vowel mastering his fellow Consonant, and every Syllable properly signifying a more Grave or Acuter Sound in relation to their plantation: which, had he been con­versant in Vocal Musick, he might sufficiently have experienc'd, or indeed with common [Page 30] sense; for either would have satisfied him, that the Consonant Letters concluding any word, do generally in their pronounciation force the Tongue either against the Teeth, Roof of the Mouth, stop the Mouth, or pro­duce an unpleasant hesitation: For Example, stop, mouth, from, which, his, tub, &c. His asser­ting that the former Syllables are now become useless, because English Musicians have laid aside Vt and Re, is like the rest; for if some have, some have not; and in foreign parts they are generally us'd for the same reasons above mentioned. But what's this to the purpose of his Vniversal Character? 'tis the Thing not the Name we contest for; the Names being not so much as necessary Acci­dents (as is manifest in all Instrumental Mu­sick) but onely convenient Assistances for young Beginners: yet this is the great Go­liah our little David has undertaken to de­feat! This the Gibberish and Conjuring you are charg'd to cheat the World with (p. 11.) But 'tis a thousand pities, a Man should have so much Wit as to lose his Memory; for not­withstanding this horrible Charge, he com­mands the Use of them (pag. 18.) in these words; And for the placing of Mi you must take the usual Monosyllables, so you order them in the most practicable Methods, viz. Mi fa sol la fa sol la Mi.

[Page 31]O Reformation! Reformation! how ami­able art thou in the Nostrils of those that cann't see! Was't ever seen, felt, heard, or understood, that the Toning of the Voyce must take its rise from a Semi-tone? or Com­position begin or end with half a Bass? for so it is, (and must be, if Mi be his fundament Syllable) Sol or Vt beneath, making it perfect, and compleating a proper Octave. But if he'l have it so, let him ride his own Hobby Horse: we'l enquire what's become of his fix'd Mrs. Mi in Aurelia? as certain as two Two pences make a Groat she's gone a rambling and turned Quean; for notwith­standing his special care of the Baggage (pag. 36.) that she should keep within doors, in one or two Apartments only, she's there whipt into a third; and in his Scheme (pag. 32.) into two others; so that in plain English, we are got out of the frying Pan into the Fire, or as far off from being fix'd his way as our own, though in a far worse condition upon the account of Composition; yet we must take it for an Invention, and glad we can scape so. His other Accusation for ob­liging your Pupils, to be able to account their distances forwards and backwards by heart (pag. 11.) is so horribly out, that 'tis as impossible for any flesh to Sing, Play, or [Page 32] Compose without it, as for a Man to make a good Accomptant, that cannot reckon ten. He abuses Mr. Chr. Simpson (a Person whose memory is precious among good and know­ing Men, for his exemplar life and excellent skill) by asserting (pag. 30.) That he perceiving it impossible for a Composer to have ready enough in his eye the Concords as they are placed, ad­vised an ad [...]ition of Figures between the Parts; for he proposed it not to a Composer but to a Novice, for prevention of: such lapses as young Beginners are subject to: And I think the Essayer would not think it [...]easonable in his Tutor, to oblige him to read all days of his life with a Festo [...]e because he learn'd his Letters with one: yet, valens nolens, so he'd have it, and in all probability take it ill if you won't grant it; though you can assure him, there's no Man wears the Name of Composer, put to those straights.

I am weary of Citing; let the Reader if he please, for want of better employment, peruse him, and accordingly judge.

His telling us that a Beginner may learn as well his way, as ours, is as much to the purpose, as if I were to teach one to read, should perswade him A signified Blockhead; or a Mother, her Child may sooner learn to go on all four than upright, because a Puppy [Page 33] (commonly his first play-fellow) gave him an Example.

The referring us to the French Musicians for placing their G in the lower Line, assures he understands not their Musick; for they use it onely in such Tunes as are made for Dancing; where they never descend below that Cliff, but frequently into that which he would wheedle in, under the appellation of an higher Octave, for invention sake. All other Parts they write as we, and the rest of the Musical part of the World. Though to save the labour of going into France, I do assure both him and you, that I can produce Compositions of Dr. Taverner (who lived in King Henry the Eighth's time) and other his Cotemporaries, with that very individual G, in the very same Line where he would make the World believe he invented it to be.

The Viol, which he seems most Knight Er­rantly to take for a distressed Lady, and to fight her relief; instead of accomplishing it (O Misfortune in so great an Adventure!) he has both pinion'd and fetter'd her; for where the old Tuning gives her the fair li­berty of all sorts of Keys in all kinds of Mu­sick for that Instrument, with a far greater advantage to the hand than any other, he confines her to one that can hardly do either, [Page 34] saving such lean stuff as Fortune my Foe, or Iohn come kiss me now; and them well nei­ther, without the removing a String half a Note higher or lower at every Tune; which how ridiculous it is, when compar'd with his plausible pretences, is enough to make an healthy Man sick, and a rational mad. But in that, I blame not him so much as his Publisher, who hath been a profess'd Violist, and consequently could not be ignorant of the impossibility of it. The Example he sets down, made by Mr. Chr. Simpson for Children (for it seems the Vniversal Character can reach no farther) contradicts his long pleading for four lines only in a Part, the first Note thereof after his B beginning in a Sixth, and more than con­firms my Example of putting the same Note in two places at one time: For there 'tis proposed as in different Parts, and so might be liable to exception, being he tells us no Part must mind what another does (but keep every Octave within the System of four lines;) but here, the same Note, to be plaid on the same String and Fret, is in the same Lesson at least forty times set down in different places. Let him not pretend he is misunderstood, the thing is evident: The first Note after his B is C in the Line, the first Note after his M is the same C in the Space, and so forward; [Page 35] which, what need there was for, heaven knows! I do not. For after he found 'twas impossible to carry on his Plot of Four Lines without perpetual afflicting the Mind and Eye, he humbly submits; and gives Com­mission for the speedy raising three, four, or more Lines (as their might be occasion) for defence of his Vniversal Character; but the filthy foul Fiend was in 't: when they came to duty, they were all false disciplin'd. If you'l satisfie your selves, you may; I suppose the Author has not bought all his Books and given them away yet.

The Organ and Harpsechord fall next un­der his lashe which, who understands, will assert to be Compleat Consorts, if rightly managed. But he, for the advancement of his humble T, has left 'm emptier than Three blew Beans in a blew Bladder, not so much as allowing them the priviledge of a poor Welsh Harp (viz. the playing of Three Parts) without the hopping and skipping of his Servants BMT upon all occasions, as in the Example he has inserted from Mr. Thetcher, and that only for Children too: For had he presented you with what either of those In­struments are worthy of, Composed by the incomparable Dr. Bull, Mr. Orlando Gibbons, heretofore; Mr. Albertus Bryne, Mr. B. Rogers, [Page 36] of London, lately of our own Country; Senior Froscobaldi of St. Peter's in Rome, Senior Froberger of the Christian Emperial Court, Monsieur Samboneer of the French, or any other Eminent Author; it would have so evidenc'd his confus'd way, that you might without the least breach of Modesty conclude who has been dipt in Pump-water has the advantage of a Rubical Complexion, and a security from blushing, come what will.

His dear Empress the Lute, which his Romantick Brethren (if he speak truth) do so infinitely admire, brings up the Rere of his Examples; but with the like success (poor dumb thing) as the rest: For at first dash (as a true friend to Confusion) he sets her at defiance with her sister Instruments, by buz­zing her in the head, that she is supream; which is as absolute a Tale of a Tub (how elo­quently soever told) as ever wanted Bottom or Truth; the Harpsechord and Organ far ex­ceeding her in Compass and Parts, the Viol and Violin in lowdning, softning, and continuing a Note or Sound, Sagbuts and Cornets the same; every Instrument having one or other Excellency proper to it self: The conveni­ency of its being portable and useful at the same time is common to most other Instru­ments: That true Excellency which is pecu­liarly [Page 37] hers, is the making of a compleat Con­sort with the stop of one hand onely; which he (notwithstanding all his gay commenda­tion) has absolutely robb'd her of in his con­founded Example of Arrons Iig, his way of writing being incapable of containing the Parts of a well-composed Lute-Lesson, with­out all the absurdities before mentioned. And truly, had I had a mind to have abused Mr. Iohn Rogers (the eminent'st Lutenist that this Nation could ever glory in) I should hardly have thought of any thing fitter for that purpose, than the publishing to the World under his great Name so pitiful and unmasterly a piece. 'Tis not to the purpose to urge, he teaches it his Scholars; for that is only to such as are incapable of better things, which when they arrive at, he advances: As Children are cherisht with Milk, till they have Teeth and strength to eat and digest stronger Meat.

By what has hitherto been said, appears the groundless, insignificant, and indeed saucy attaques of our Scale by the Essayer; whence may be evinc'd the truth of that old Saying, 'Tis the easiest thing in the World to find faults, but the hardest to mend them. But 'tis no new thing: Eves Play-fellow begun, and with as much vigilance carries it on. Yet [Page 38] we must not be ungrateful; as we have been beholding to the Publisher for his re­ferring those who had no Latine to the Greek, for understanding the English of his Tran­slated Alstedius; so our ingenious Author, who supposes we ken GABCDEFG, re­fers us to't, to assure us that the Bass is so call'd, because 'tis the Foundation of Musick. But more especially the tender Feminine Sex, if it be true what a learned Gentleman of the Authors Acquaintance and Profession, when he professed Physick, assured me: For, said he, FCG have but the bare signifi­cation of FCG, but BMT have a double sense, in the first place, Bass, Mean, and Treble; in the second, the most Essential Balsam of the World, viz. [...]. A Man T— erected, apply it to the Basis of the Patient with a gentle motion, and 'twill give present Ease. Which doubt­less will infinitely oblige those amorous Af­fecters of his way of Prick-song. But whether it be so or not, I shall not urge; 'tis sufficient for me that his standing on another Mans shoulders, signifies no more than the Gentle­man Usher of the Bears his annual Procession on his dear brother Animal, who at the years end is altogether as wise as at the beginning.

To conclude, the experience of those ex­cellent Young-men, (Children, long since His [Page 39] Majesties happy Restauration) who have at­tain'd to that Eminency in Musick by our Scale, (the onely Vniversal Character, by which All People, of All Nations, of what Opinion, Humor, or Religion soever, converse with each other) will convince him and the World of his calumnious affirming the neces­sity of the taking up a Mans whole life, till he has overcome the drudgery of that Science.

I have omitted several Passages in his Book, on purpose to invite him to blot more paper. If I have us'd too much Gall in these lines, 'tis only to let him know that I can write with his Ink; and that I intend to vindicate the old Scale till I meet with a better; while I am capable of subscribing my self,