Musick's monument, or, A remembrancer of the best practical musick, both divine and civil, that has ever been known to have been in the world divided into three parts ... / by Tho. Mace ... — Musick's monument

Musick's monument, or, A remembrancer of the best practical musick, both divine and civil, that has ever been known to have been in the world divided into three parts ... / by Tho. Mace ... — Musick's monument

Table of contents

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Title page

THE EPISTLE DEDICATORY.

AN EPISTLE TO ALL DIVINE READERS; ESPECIALLY, Those of the Discenting Ministry, or Clergy, who want not only Skill, but Good-Will to This Most Excelling-Part of Divine-Service, viz. Singing of Psalms, Hymns, and Spiritual Songs, to the Praise of the Almighty, in the Publick Assemblies of His Saints; And yet more Particularly, to All Great, and High Persons, Supervisors, Masters, or Governors of the Church, (if any such should be) wanting Skill, or Good-Will Thereunto.

THE PREFACE.

A Short EPISTLE OF THANKFULNESS, To all my NOBLE SUBSCRIBERS;

The Names of Divers Honourable, Reverend, Worshipful, and very Worthy Persons, who did Encourage towards the Printing of This Book, by Subscribing Their Names, Each One to take a Copy of the Same, at the Price of 12 s. But It cannot be Expected, in the setting down of These Names, that I should know How to Place every One according to the Right of Precedency; nor (It may be) give every One His Due Title▪ because many (unknown to me) sent in Their Names without any Titles Express'd; Therefore I hope None will take Offence, that I Thus set Them down Promiscuously, as They hapned to come to my Hands, from Their own Hand Writings; yet I have, (as near as I could) Set Such and Such of a County, &c. to stand together; and Begin with the City of York First; because There, I First Tendred This Business to the Right Honourable

Having This Little Room to Spare, I thought It convenient to insert Thus much, by way of Answer to some, who seem to dislike my way of Rhiming.

A Short Epistle to the READER, concerning the Authors several Reasons for Writing This Book.

AN ADVERTISEMENT, Concerning the Value and Price of the BOOK.

Concerning the Church-Psalms, In reference to the POETRY: Composing and Singing of them. By way of Preparation.

CHAP. I.

CHAP. II. Concerning Parochial Musick, viz. Singing of Psalms in Churches.

CHAP. III.

CHAP. IV.

CHAP. V.

CHAP. VI. How to procure an Organist.

CHAP. VII. How Psalms may be well performed in Churches without an Organ.

CHAP. VIII.

CHAP. IX.

CHAP. X. Concerning the great Excellency and Eminency of a Psalm well Sung.

CHAP. XI. Concerning Cathedrall Musick.

CHAP. XII.

An EPISTLE To all Ignorant Despisers OF THIS Divine Part of MUSICK.

2

The Language of Musick confirmed.

The Second Part. The LUTE made Easie. CHAP. I.

CHAP. II.

CHAP. III.

CHAP. IV. Concerning the Mechanical Order of the LUTE.

CHAP. V.

CHAP. VI.

CHAP. VII.

CHAP. VIII.

CHAP. IX.

CHAP. X.

CHAP. XI.

CHAP. XII.

CHAP. XIII.

CHAP. XIV.

CHAP. XV.

CHAP. XVI.

CHAP. XVII.

CHAP. XVIII.

CHAP. XIX.

CHAP. XX.

CHAP. XXI.

CHAP. XXII.

CHAP. XXIII.

CHAP. XXIV.

CHAP. XXV.

CHAP. XXVI.

CHAP. XXVII.

CHAP. XXVIII.

CHAP. XXIX.

CHAP. XXX.

CHAP. XXXI.

CHAP. XXXII.

CHAP. XXXIII.

CHAP. XXXIV.

CHAP. XXXV.

CHAP. XXXVI.

CHAP. XXXVII.

CHAP. XXXVIII. Here follows a Sett of Lessons in the New Tuning.

CHAP. XXXIX. The First Table of Translation.

CHAP. XL. Concerning the Two last French Tunings, and which is the Best.

Concerning the DYPHONE: OR Double-Lute, The Lute of Fifty Strings. CHAP. XLI.

Concerning the THEORBOE. CHAP. XLII.

CHAP. XLIII.

The Third Part: CONCERNING The VIOL, AND MUSICK in General. Giving some Particular Directions towards a Righter Vse of That Instrument, than is Commonly Known and Practiced.

CHAP. I.

CHAP. II.

CHAP. III.

CHAP. IV.

CHAP. V.

CHAP. VI.

CHAP. VII.

CHAP. VIII.

CHAP. IX. Harp-Way-Tuning Sharp.

CHAP. X.

A Perswasive Adjunct, Directed to All Sober, and Serious-meaning Christians, who are in a Mistake, concerning the True, and High Worth, of Musick, if Rightly made use of.

§

[Page]

Effigies Tho: Mace Trin: Coll: Cantabr: Clericus. Aetat: Suae 63.

Hen. Cooke pinx.

W. Faithorne sculp.

§

[Page]

Musick's Monument, OR, A REMEMBRANCER Of the Best Practical Musick, Both DIVINE, and CIVIL, that has ever been known, to have been in the World. Divided into Three Parts.

The First PART,

Shews a Necessity of Singing Psalms Well, in Parochial Churches, or not to Sing at all; Directing, how They may be Well Sung, Certainly; by Two several Ways, or Means, with an Assurance of a Perpetual National-Quire; and also shewing, How Cathedral Musick, may be much Improved, and Refined.

The Second PART,

Treats of the Noble Lute, (the Best of Instruments) now made Easie; and all Its Occult-Lock'd-up-Secrets Plainly laid Open, never before Discovered; whereby It is now become so Familiarly Easie, as Any Instrument of Worth, known in the World; Giving the True Reasons of Its Former Difficulties; and Proving Its Present Facility, by Vndeniable Arguments; Directing the most Ample Way, for the use of the Theorboe, from off the Note, in Consort, &c. Shewing a General Way of Procuring Invention, and Playing Voluntarily, upon the Lute, Viol, or any other Instrument; with Two Pritty Devices; the One, shewing how to Translate Lessons, from one Tuning, or Instrument, to Another; The other, an Indubitable Way, to know the Best Tuning, upon any Instrument: Both done by Example.

In the Third PART,

The Generous Viol, in Its Rightest Use, is Treated upon; with some Curious Observations, never before Handled, concerning It, and Musick in General.

By Tho. Mace, one of the Clerks of Trinity Colledge, in the University of Cambridge.

LONDON, Printed by T. Ratcliffe, and N. Thompson, for the Author, and are to be Sold by Himself, at His House in Cambridge, and by John Carr, at His Shop at the Middle-Temple Gate in Fleetstreet, 1676.

THE EPISTLE DEDICATORY.

[Page]

[Page]

TO Thee, One-Only-Oneness, I Direct

My Weak Desires, and Works; please to Protect

Both Them, and Me; For Thou alone art Able,

(And one but Thee) to make us Acceptable

Vnto the World. —

I am not of That Catholick Belief,

(I mean the Roman's Faith) who seek Relief

(At th' Second Hand): from Saints; but I Thus take

My Freedom, and (sans Complement) Thus make

My Seeming-Bold-Address: Not Judging It

A Crime with Thee; but rather count It fit;

Part of my Duty call'd for, which I owe

Vnto Thy Goodness; Therefore Thus It show.

I've wonder'd much, to see what Great Ado▪

Men make, to Dedicate their Works, unto

High Mortals; who Themselves can no way Save,

From th' Slan'drous Tongues, of every Envious Knave.

Thou (only) art The Able-True-Protector;

Oh be my Shield, Defender, and Director,

Then sure we shall be Safe. —

Thou know'st, (O Searcher of All Hearts) how I,

With Right-Downright-Sincere-Sincerity,

Have Longed Long, to do some [...]ttle Good,

(According to the Best I understood)

With Thy Rich Tallent, though by me made Poor;

For which I Grieve, and will do so no more,

By Thy Good Grace Assisting, which I do

Most Humbly beg for: Oh Adjoyn It, to

My Longing-Ardent-Soul; And have Respect

To This my weak Endeavour; and Accept

(In This Great Mercy) both of It, and Me,

Ev'n as We Dedicate Our Selves to Thee.

AN EPISTLE TO ALL DIVINE READERS; ESPECIALLY, Those of the Discenting Ministry, or Clergy, who want not only Skill, but Good-Will to This Most Excelling-Part of Divine-Service, viz. Singing of Psalms, Hymns, and Spiritual Songs, to the Praise of the Almighty, in the Publick Assemblies of His Saints; And yet more Particularly, to All Great, and High Persons, Supervisors, Masters, or Governors of the Church, (if any such should be) wanting Skill, or Good-Will Thereunto.

[Page]

NExt unto God, I turn my Self to You,

High Men of Honour, Judging It your Due;

You are the Chiefest Objects of Respect;

And Therefore you▪ (if Any) might Protect

Such Works as These: But not by your Great Names;

Renowned Titles; Worshipnesses; Fames:

The Best way to Refine our Cathedral-Church-Musick.

Those will not do't; Example is The Thing;

Ther's but One Way, which is, Your Selves to Sing:

That sure will do't; for when the Vulgar see,

Such Worthy Presidents, Their Leaders be,

Who Exercise Therein, and Lead the Van,

They will be brought to't, do they what they can;

How Church-Musick is come to Decay.

But otherwise, for want of such Example,

'Tis meanly Vallu'd, and on It they Trample:

☞And by That Great Defect, so long unsought.

Our Best Church-Musick's well-nigh brought to Nought.

Besides,

An Excellent Ornament, for Great, and Divine Persons.

No Robes Adorn High Persons, like to It,

No Ornaments for Pure Divines more Fit.

That Councel giv'n by the Apostle Paul,

Does certainly Extend to Christians All;

[Page]Especially to You, who Leaders are;

And therefore Judge to have the Greater Care ▪

Collossians ▪ the [...]. the 16th. Verse▪

(Turn to the Place;) That Text will Thus Reherse▪

(Viz.) Let th' Word of Christ dwell in you Plentiously▪

Christs Command for the use of It.

(What Follows? Musick in Its Excellency)

Admonishing your selves, (in Sweet Acchord)

In Singing Psalms, with Grace unto the LORD▪

Sed sine Arte, That cannot be done,

Et sine Arte, Better let alone.

I'le Hint you to an Eminent Example,

A Most Eminent Example in Musick, worthy Imitation.

Who was a Singer, Singularly Ample;

Though not a Priest, yet He a Prophet was,

And did All Priests, and Prophets far surpass,

In This same Art; and in It Sang so Well,

That He, The Singer Sweet of Israel,

Was call'd.—

He was both Prophet, and Great King of Fame,

Of High-Transcendent▪ Acts DAVID by Name,

A Man (Recorded) aften Gods own Heart;

And (Scripture says) could Sing, and Play His Part;

Or else, what mean Those Instruments▪ which Those

1 Chr. 23. [...].

Four Thousand us'd, (in Chronicles) He chose

To Praise the Lord with? Nay,

The Greatest Quire in the World.

Much more than That

He did, towards That Great Work: But wat ye what?

He made Those Instruments; which shews, That He

Did more than Slightly Price▪ This Mysterie:

☜ King David's Extraordinary skill, and Activity in Musick.

And had much more than Ordinary Skill:

Nor was He Lazie in His Mind▪ or Will;

He was Mechanick, Musicus, and Poet;

His Various Works in Scripture, Plainly show It.

He was not well Content to be One Thing:

(The Greatest Thing that wa [...] ▪ to be a King;)

Much less to be enclos'd within a Cell▪

'Mongst Piles of Books, which All Things would Him tell,

And He tell Them again, as if that He

Had Skill and Knowledge▪ in each Mysterie▪

Lip-Knowledge was to Him no Satisfaction,

But Vigorous He always [...] for Action;

He would be ever Doing something; and

What e're oppos'd Him, could [...] Hi [...] withstand.

Who can Example better for for us be▪

The Best Example for Great Persons, and Divines, in the World, as to This Thing.

Than such a Man? Yet such a Man as He?

WHO was Belov'd of God; His Chosen One;

WHO sat upon an Everlasting Throne;

WHOSE Pow'r was such, as He commanded All,

Both Princes, Priests, and Levites at His Call;

He Summon'd Those together;

1 Chro. 23.3.

and They came

Immediately, to Perform That same,

[Page]Which He should Them Command; and Streightway They

Chap. 25.7.

(As you may read) fell close to Sing, and Play,

Till they were Cunning; that is, Skilful; and

Not only Chatter'd▪ but did Understand

The Mystery, (without all doubt) so well,

That None each Other Therein did Excel;

Verse 8.

For by That Text, you'l read, They Lots did Cast,

Who should be First, and who should be the Last:

So Equal were They, Learned in Their Skill,

That Any might, Anothers Place well fill,

Without Defect, or Blemish; which (in such

A Number as we Read of

288

There) was much

And shows, a Wondrous Dilligential Care

Was had, to make That Service Choicely-Rare:

Nor can This Service, which we now do use,

(Instead of It) be done without Abuse,

Except such Hints as I have given, may

Prevail with You; not only for to Say;

And Sit; and Hear; and Pay; and give Command,

In That same Thing you do not understand;

But that you enter your own Selves into It,

That, That's the only way will surely do It.

How can a Master be a Right Commander,

When as He stands under so great a Slander,

As Ignorance?

How can He be a Judge of Good, or Ill,

When (in That Thing) Defective He's of Skill?

Or how can He tell, who Sings Right, or Wrong,

Who in the Chorus, cannot Joyn among?

What shall I say? or shall I say no more?

I must go on, I'm Brim-full, Running o're:

But yet I'le hold, because I judge ye wise;

And few words unto such, may well suffice.

But Much-much more than This, I could Declare;

Yet for some Certain Reasons I'le forbear;

But less than This, I could not say; because,

If saying less, I should neglect Gods Cause;

For 'tis His Cause Alone, I plead so strong for;

And 'tis His Cause-Compleated, that I long for:

And 'tis True Doctrine certainly, I Preach:

And 'tis That Doctrine every Priest should Teach:

Therefore I hope your Pardon I shall have,

For being Thus Bold; the which I Humbly Crave.

THE PREFACE.

[Page]

ALthough I have Fronted my Book, with the Divine Part; in which I have Preached my Little Short Sermon, upon That Text of St. Paul, (as you will find) Relating to the Most Excellent Part, or Biece of All True Christians Publick Service, to God Almighty; the which I hope I have done, to the Satisfaction of All Rationally-Pious Christians, who do, and cannot but Account It Most Necessary, to Serve Him, according to His Own Exhortations, Order, or Appointment. Yet My 1st, and Chief Design, In Writing This Book, was only to Discover the Occult Mysteries of the Noble Lute, and to show the Great Worthiness of That too much Neglected, and Abused Instrument; and my Good Will to All the True Lovers of It; in making▪ It Plain and Easie; (as now It will certainly be found) Giving the True Reasons, why It has been Formerly, a Very Hard Instrument to Play Well upon; And also why Now, It is become so Easie, and Familiarly Pleasant: And I believe, that Whosoever will but Trouble Himself to Read Those Reasons, which he shall find, in the First Chapter of the 2d. Part of This Book; and Joyn his own Reason, with the Reasonableness of Those Reasons, will not be able to find the Least Reason to Contradict Those Reasons; But must needs Conclude with Me; That the Lute is a very Easie Instrument.

‘That is, Any Person (Young or Old) shall be Able to Perform so Much, and so Well upon It, in so Much, or so Little Time; (towards a Full, and Satisfactory Delight, and Pleasure; Yea, if it were but only to Play Common Toys, Giggs, or Tunes) as upon▪ Any Instrument whatever; yet, with This most Notable,☜ and Admirable Exception, (for the unspeakable Commendations of the Lute) that they may (besides such Ordinary, and Common Contentments) Study, and Practice It, all the Days of Their Lives; and yet find New Improvements; yea doubtless, if They should live unto the Age of Methusalem, Ten times over;No Limitation to the Bounds, and Bravery of the Lute. for there is no Limitation to Its Vast Pounds, and Bravery.’

‘Yet for Common Pleasure, (such as most Ayrey, and Ingenious Persons Learn upon Instruments for) I do Really Affirm, There is no Easier Instrument in use, than is the Lute.’

I have spoken in That 2d. Part to every Particular Thing, (so far as I could Remember) concerning Its whole Progress, from [Page] the very Rudimental Beginning, to the Highest known Perfections of It; and in such a Plain, and Exact Manner, that None can doubt of my Meaning, or of a Right Information concerning It; so that (New) the Lovers of It can find no Greater Enemy to It, and Themselves, than Faithlesness; nor Greater Friend, than Belief, and Resolution to Attempt the Tryal of It.

I have Prov'd This out, by several Young Ladies, and others, in London, Nothing omitted concerning the very Mystery of the Lute, either Practical, or Mechanical. during the Time of my Attending the Press, since I began to Print; and Two of Those Young Ladies, before They had Learn'd out their 1st. Month, (which was but Twelve Times to Their Month) were so Fully Satisfy'd, (by Their own Experimental Tryal) that Both of Them agreed in the very same Saying, viz.Eminent confirm'd. Testimonies, concerning the Easiness of the Lute. That They did wonder, why any Body should say, the Lute was Hard. And These Two Persons were not at all Acquainted with each other, nor had either Seen, or Heard one another Play; But both Play'd so very well for such a Time, as much Rejoyced both Themselves, and all Their Parents, and Friends, beyond all Expectation.

This is a Real Truth, of which I can Produce divers Witnesses, if need were.

Why the Mechanical Part is Publish'd.And as to the Mechanical Part Thereof, (about which I have taken up the Room of 2 Chapters, viz. the 4th. and 5th.) I apprehend, that some will think It Superfluous, and others, a Thing too far below Them to undertake; which I grant may be for very many; yet Below None to be able to know how It should be done, or when Well, or Ill done; so that Thereby They may not be Gull'd, No Injury to an Honest Work-man. or Their Instrument Injur'd by some Ignorant, Careless, or Knavish Work-man; who too often Abuse both It, and the Owners; which He durst not venture to do, but that he presumes They are wholly Ignorant of His Art.

Besides, I have known many, Living in the Countrey, (Remote from Good Work-men) upon some very Slight Mischance happening to their Instrument, A Great Loss for want of the Knowledge of It. (for want of That Knowledge, which Here they may find) quite Lay It by; and the Instrument, for want of Timely Assistance, has grown Worse and Worse, (sometimes) to Its Vtter Ruine.

These are no Small Inconveniences.

Besides, (to some sort of Ingenious, and Active Persons, (although of Quality) there is a Satisfactory Recreation, attending such Agitations.

And whereas in my Expressions I am very Plain, and Downright, and in my Teaching-Part, seem to Tautollogize; It would be Consider'd, (and whoever has been a Teacher, will Remember) that the Learners must be Plainly dealt with, and must have Several Times Renewed unto Them the same Thing; which according to my Long, and Wonted Way of Teaching, I have found very Effectual; Therefore I have chosen so to do in several Places; because I had rather (in such Cases) speak 3 Words too Many, than one Sillable too Few.

[Page]But if I had been only to have spoke to Those of Experience and to show the Elegancy of my Tongue; I should have contriv'd my Discourse into another Shape; But in that I intend It chiefly for Learners, I conceive I have not spoke Much too Much: And whereas I may seem too Smart, or Satyrical, in some Particular Places, concerning the Great Abuse, and Abusers of Musick; I do not at all Repent me, as thinking what is said to such Ill deserving Persons, Much too Little.

'Tis like I may be condemn'd by some, for speaking so Confidently, against the General Swing of the Times, so very much in Force, and Estimation.

The Truth is, I have consider'd: that if I should say Any Thing to the Purpose, I cannot tell how to say otherwise, except I should be a Time-Server; to Connive, Dissemble, Flatter, and Speak against my own Knowledge, and Conscience; in Joyning with what is Sleight, and Trivial, and forsaking that which is Solid, and Substantial; which, (I thank God) I have been too Long, and Well Grounded in, to Renounce; and to Turn me (now) to Embrace Jingles, Toys, or Kick shawes; which at This Day, too Generally bear Sway, to the Great Prejudice, both of the Art, and the True Lovers of It.

If This Apology will not serve, to Excuse the Errat's in my Book, of Those Natures,; I must rest satisfied, to undergo the Brunt of It.

The Best on't is, I need not Fear, any Judicious Masters, or other Ingenious Knowing Solid Persons, (some such, God be thanked, we have still Living;) and as for others, I am as Careless, as They can be Envious.

And although These Instructions, are chiefly intended for Learners; yet (upon due Examination, it will be found) they may be of Good, and Necessary use, to some Young, Raw, and Vnexperienced Teachers, who are often too Confident of their Own Supposed-Skill, and Ways.

‘But the Chief Sum of the whole Work it:The Sum, and Great Benefit of the whole Book. That It shall stand as a Monument, or Remembrancer of the Very Best Performances in Musick, (both Divine, and Civil) which have been known in the World; and (as to the Civil Part) Practiz'd by the Best Masters of These last 50 Years; Better than Which, no Memory of Man, Record, or Author can be produced, which can say, That Ever there was Any that could Equal It; nor certainly Any Ever likely to Exceed It.’

‘But yet more especially, as to the Particular Benefit of Any☜ Person making use of This Book, whether He be Skilful, or not Skilful in the Art; yet if He shall employ a Teacher in His Family, for His Children, or Others; He shall need, but to turn to the Contents, of whatsoever Business may be in Hand; and by That, He may be able to judge (Exactly) of the Right, or Wrong Dealing of such a Teacher; and may (if He have any Indifferent Skill in Song) Teach Himself▪ without the Assistance of any other Teacher.’

[Page] Of Procuring Invention, or Playing Voluntarily.The Hints and Directions which I have given, as towards the Procuring of Invention, or Playing Voluntarily, will be of no Small, but Great Advantage, to any who are capable of such Observations, and will take Good Notice of the manner of Them, in Their Explanation; the Way to which may be Plainly Perceived, in the whole Number of Lessons, quite through the Book.

And whereas I Treat, and Compare, or Similize Musick to Language, Concerning the Language of Musick I would not have That thought a Fantacy, or Fiction: For whosoever shall Experience It, as I have done, and consider It Rightly, must needs Conclude the same Thing; there being no Passion in Man, but It will Excite, and Stir up, (Effectually) even as Language, or Discourse It self can do. This, very many will acknowledge with me.

The Divinity of Musick.But whereas I Similize It to Divinity, &c. I am not unsensible, but too-too many will Discent from me, in That Particular; concerning Which, I shall Conclude my Preface with These following Rhimes, and only Thus much say.

Where in This Book, in certain Places, I

Do mention Musick, in Its Mystery;

And in Its Vast Profundity, do tell

Such Stories, as perchance won't Relish well,

In th' Ears of some; To whom I thus much say;

Let Them go Practice well, to Sing and Play,

And Study in the Art, as much as I:

Then, may They Vnderstand Its Mystery,

As I have done. — 'Tis Foolishness in Men,

To Contradict, they know not what; and when

They'v done, Pretend Authority; because

They'r some ways Learn'd: Therefore their Words are Laws

They think; or else would have Them so; but I

Do understand, that True Authority,

Comes from True Knowledge, and Experience,

In That Same Thing, of Which It gives Its Sence,

And by no other means.

How can a Blind Man, Judge of Colours be,

Which should be Judg'd, by Those, who Well can See?

How can a Deaf Man Judge of Sounds, by th' Ear,

Who, Thundring Cannons, cannot cause to Hear?

Or how can He, who Vnderstanding Lacks,

In th' Mystery, be Judge? although He Cracks

Never so much, of His Great Wit, and Parts;

True Artists They must be, who Judge of Arts.

Therefore,

Forbear to Judge, who e're you be, that Thus

In your own Conscience, are Thus Conscious:

Let Things Alone, you do not Vnderstand;

Take Them on Trust, rather at th' Second-Hand;

'Tis far more Crdit so to do, than Vant

Of Skill, and Knowledge, when you'r Ignorant.

[Page]The Fool, oftentimes by Silence, Credit gains,

And is thought Wise, whilst Wiselings for their Pains,

In Talking, oft are known for Fools; yet They

(Through Self-Conceit) will still find what to say,

Though little to the Purpose; and their Talk,

Much like to Parrots, who Cry, Walk Knave Walk;

Though Nought they understand, as to the Sence;

Yet think Themselves the Birds ef Eloquence.

What Here I've said, I've said to None but Such ▪

Whose Knowledge, is Beneath their Tongues, too Much▪

And if I've said too much, they'l say;

I'm Sorry not at all;

For much more unto Such, I may,

And not be Criminall.

A Short EPISTLE OF THANKFULNESS, To all my NOBLE SUBSCRIBERS;

[Page]

WHat Differs Men, but Heav'n? Inspiring Arts

Into some Certain Souls of Worthy Parts;

And Tinct'ring them, (at least) with so much Love,

That Nothing seems so Good, They'l Prize, above

Such Excellent Endowments; which they show,

By Countenancing All Things, that they know

Are Fit, and Worthy to be Known, and Priz'd,

By True Ingenious Souls, and Exercis'd.

Loe▪ Here such be; Each in This Number stand,

Who Freely lent, a Ready-Helping-Hand,

To Raise This Work of Mine; which otherwise

Would Scarce 'been Able of It Self to Rise.

Alas, Alas! Poor Arts; yea Artists too;

Were't not for Such as These; what would you do?

I say again, wer't not for Such as These,

What could you do? — You might go do your Ease;

And when ye'd done, ye might go Beat your Brains

Again; and have your Labour for your Pains;

This would be your Reward; and Nothing More,

Which to a Manly-Man must needs seem Poor;

But Thanks to Heav'n, whose Wisdom's-Ordring-Might,

Not only made the Darkness, but the Light.

Those Two Contraries, which in Nature be,

In All Created Things, are Mysterie.

The 2 Contraries in Nature.

Good, could not (Properly) be said to Be,

Were not the Ill, to cause Diversitie;

Nor could the Ill, be said to bear a Name,

But for the Good, which Diff'renceth the Same.

The Ill in all Things, is of Ex'lent use,

If Men could use It Right, without Abuse;

[Page]The very worst of Evils, (understood)

Was made (for certain) to Set off the Good,

Those Heavy-Moulded-Saturnines, which do

Despise all Liberal-Arts; yea Artists too,

Are much to be Regarded in their Places,

Ev'n like Black-Patches, in Fair-Ladies Faces;

Which though They Bright, and Beautious were before;

Yet when Those Dulls appear, They are much more

Esteemed Fair.—

God 'twixt His Creatures, has Vast-Diff'rence made,

Witness the Racey Courcer, and the Jade,

The Towering-Faulcon, Lessning in his Flight,

The Buzzard-Dull, the Heavy-winged Kite,

The Nightingale, with Her Sweet-Jugging-Note,

The Screech-Owle, with His Dismal-Frightful-Tote,

The Fam'd Camelion, Living on the Air,

The Cormorant, who no Good Things will Spare.

And as the Creatures Thus do plainly show,

This Contrariety which All Men know;

So may the very Same be seen 'mongst Men;

Yet Differenc'd Thus; that scarcely One in Ten

Adheres unto True Worth,

But You,

Renowned Worthies, worthy of Renown,

You are the Men, High Jupiter will own:

And wer't not for Those Vertues you Retain,

Within Your Noble-Breasts, It were in Vain,

For Artists Thus to strive, as I've done Here,

(For Publick Good) in making Art appear

Delightful; Lovely; Facile; Acceptable

Vnto the Weaker Sort; who are made Able

Now, to Enjoy such Things, as formerly were Hard,

And They (by that means) utterly Debarr'd.

Therefore to You, and only Such as You

Belongs all Real Praises, as Your Due;

You are the Men Ile Value, Love, and Prize,

And whom (if any) I would Idolize.

But lest I should both You, and Heav'n Offend,

(In Modesty to Yours) I'le make an End;

Only

My Just-Due-Debt I'le Pay: My Thanks

I give

And Thus will own Your Favours whilst,

I Live.

The Names of Divers Honourable, Reverend, Worshipful, and very Worthy Persons, who did Encourage towards the Printing of This Book, by Subscribing Their Names, Each One to take a Copy of the Same, at the Price of 12 s. But It cannot be Expected, in the setting down of These Names, that I should know How to Place every One according to the Right of Precedency; nor (It may be) give every One His Due Title▪ because many (unknown to me) sent in Their Names without any Titles Express'd; Therefore I hope None will take Offence, that I Thus set Them down Promiscuously, as They hapned to come to my Hands, from Their own Hand Writings; yet I have, (as near as I could) Set Such and Such of a County, &c. to stand together; and Begin with the City of York First; because There, I First Tendred This Business to the Right Honourable

The Names of Divers Honourable, Reverend, Worshipful, and very Worthy Persons, who did Encourage towards the Printing of This Book, by Subscribing Their Names, Each One to take a Copy of the Same, at the Price of 12 s. But It cannot be Expected, in the setting down of These Names, that I should know How to Place every One according to the Right of Precedency; nor (It may be) give every One His Due Title▪ because many (unknown to me) sent in Their Names without any Titles Express'd; Therefore I hope None will take Offence, that I Thus set Them down Promiscuously, as They hapned to come to my Hands, from Their own Hand Writings; yet I have, (as near as I could) Set Such and Such of a County, &c. to stand together; and Begin with the City of York First; because There, I First Tendred This Business to the Right Honourable

[Page]

John Lord Frescheville Baron of Stavely, and Governour of York.

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York.

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[Page]Will. Coodall Cler

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The Vniversity of Cambridge.

Dr. Pet. Gunning Bishop of Ely.

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Dr. Isa. Barrow Vice-Chancellor, and Mr. of Trin. Colledge.

O. Mountague, Noble-Men.

J. Mountague, Noble-Men.

Sir Tho: Slater Baronet.

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Dr. Tho Holbeck Mr. of Eman: C.

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Tho Watson D.D.

Clem: Nevill Senior of Trin. Col.

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Peirce Brakenbury M.D.

Edm: Matthewes Bs. D.

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Mich. Belk B.D.

Tho: Peel Mr's of Art, and Fellows.

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Tho: Bainbrigg

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Will. Sampson Mr's of Art, and Fellows.

Nat. Coga Mr's of Art, and Fellows.

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Ric: Neech Mr's of Art, and Fellows.

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Ra: Earle Fellow Com:

Joh: Wodehouse Fellow Com:

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O. Doyley Mr's A. & Fel.

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Eze: Foxcroft Mr's A. & Fel.

Tho: Palmer Mr's A. & Fel.

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Matth: Rutton Mr's A. & Fel.

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Rich: Leach Mr's A. & Fel.

[Page]Will: Buckley Mr's of Art. and Fellows.

Sim: Bagge Mr's of Art. and Fellows.

Cha: Alston Mr's of Art. and Fellows.

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Ja: Goodwin Mr's of Art. and Fellows.

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Luke Bagwith Mr's of Art. and Fellows.

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Tho: Fairmeadow Mr's of Art. and Fellows.

Char: Smithson Mr's of Art. and Fellows.

Tho: Burlz: LL.B·

Robert Drake Gent·

Robert Wilson Mr. in Musick.

Tho: Tudway Mr. in Musick.

Fra: Crispe Mr. in Musick.

Dan: Price Batchelors in A.

Jo: Brookbank Batchelors in A.

Jo: Tuthill Batchelors in A.

Jos: Oldroyd Batchelors in A.

Joh: Caesar Batchelors in A.

Jo: Galurd Batchelors in A.

Wil: Umfrevile Batchelors in A.

Tho: Felstead Batchelors in A.

VVill: Ashton Batchelors in A.

Cambr. Town.

Ja: Robson Gent.

Isa: VVatlington Gent.

Tho: Flack Gent.

Mrs. Eliz. Heath.

Mrs. Sarah Lilly

County of Camb.

Joh: Robson Gent.

Rich: VVinde Gent.

Char: Studeville Esq

Captain Roger Thornton Esq

Joh: Badcock Gent.

Tho: Archer Cler.

Bedf. Shire.

Rich: Lee D.D.

Jo: Browne Esq

Hen: Beacher Esq

Tho: Salmon Cler.

Norwich and Norfolk

Herbert Ashley Dean of Nor: D.D.

VVill: Herbert D.D.

Joh: Hobert Esq

VVill: Crabe M.D.

Ow: Hughes LL.D.

Tho: Tenison B.D.

Cha: Robotham B.D.

VVill: Adamson Cler.

Jo: Connould A.M.

Hen: Mazey Cler.

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Gawen Nash Cler.

VV: Rawley Gent.

Joh: Hayward School-master.

Tho: Pleasants Organist.

Sam: Cook Gent.

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Rich: VVebster Cler:

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Ja: Lawes Masters in Musick.

Tho: Lawes Masters in Musick.

Nath: Burrel of Sudbury Cler.

Kings-Lynn.

Hen: Bell Jun' Gent▪

Hen: Hoogan M.D.

Jo: Putuertoft Gent.

Joh: Cary Gent.

Manch. C.

Nich: Stratford Warden D.D.

Fra: Mosely Fellows. A.M.

Mich: Adams Fellows. A.M.

Linc. Sh.

Sir Robert Bolles Baronet.

Math: Barraford A.M.

Ja: Spencer A.M.

Peterbor.

Fra: Standish Cler.

Joh: VVorkman Cler.

VVill: Forster

Rich: Carier Cler.

Jo: VVyldbore

At London.

Dr. Hen: Bridgeman, Bishop of the Isle of Man.

Sr VVill: Langham Knight.

Sir Sam: Morland Baronet.

Sim: Patrick D.D.

Jo: Gardiner D.D.

Luke Ridgeley M.D.

Peter Barwick M.D.

Edw: Duke M.D.

Dr. Chamberlaine Jun' M.D.

[Page]Peter Vinke B.D.

Robert Tatnall A.M.

Eze: Lampen Gent.

Hum: Dove Gent.

Hen: Dove Gent.

Ja: Chase Gent.

Ja: Hart of the Royal Chap. Gent.

Bryan Fairfax Esq

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Madam Ann Monteth

Jer: Forcer Mr. in Musick.

Josias Chorley A.M.

Tho: Clebourne Gent.

Basil Hill Chyrurgion.

Ja: White Organmaker.

Sam: Bishop, of Finchingfeild Cler.

Jo: Bourn, of Wiltshire Cler.

Lawr: Fogge, of Chester B.D.

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Mid. Temple.

Jo: Orleber Esq

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Gr. Inn.

Justin Paget Esq

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Lincolns-Inn.

Sir Rich: Stote Kt. & Serj. at Law.

Will: Lodge Gent.

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Will: Faithorne, for 3 Books. Gent.

Hum: Salt, the Printer-Composer of This Book.

These are All the Names which have been Hitherto sent me In, from Sundry Friends, (My Self having Visited very Few, of the whole Number;) Therefore I hope I shall not be Blam'd, for not Publishing the Names of Divers, (who I doubt not but have already Subscribed; but (as yet) not come to my Hands) the Work not admitting any Longer Delay. Yet I have left This Next Page Blank, on Purpose, for the Names of All Such Persons, as may happly be sent In, before the whole Impression be Quite put off: And if so, I do intend (God willing) to have Them set down in That Page, in Those Books which shall Then Remain un-put off.

Having This Little Room to Spare, I thought It convenient to insert Thus much, by way of Answer to some, who seem to dislike my way of Rhiming.

I Hear, some Are, who do pretend to Spie

Faults in my Rhimes, but give no Reason why.

The Rhimes are Perfect; All True-Number'd-Feet;

Run Glib, and Smooth; and in True Accent meet;

What should They more? I'le tell Them: There's Good Store

Of Sence, and Reason too; which They, Alas!

Regard not much; But let That Sleightly pass;

That's not the Thing They Look for; yet should be:

And is The Chief, Wise Folks desire to see.

If That be wanting Here; Then let Them Shame Me:

If Otherwise; Then let Them Cease to Blame Me.

Yet for Their Further Answer, let Them know,

'Tis for my Recreation, Thus I do;

And for my Pleasure, why I Thus sometimes

Link Sence, and Reason In, with Musick-Rhimes;

(Yea, Solid Matter too.) Let This Suffice

To Answer Those, who are so very Wise.

A Short Epistle to the READER, concerning the Authors several Reasons for Writing This Book.

[Page]

[Page]

1st.

LOok for no Splendid-Painted-Outside Here;

But for a Work Devotedly Sincere;

A Thing Low-Priz'd, in These too High-flown Days;

Such Solid, Sober Works get Little Praise;

Yet some there be,

2d▪

Love True Solidity.

And unto Such Brave Noble Souls I Write,

In Hopes to do both Them, and Musick Right.

I Write It not to please the Itching Vain

Of Idle-Headed Fashionists, or Gain

Their Fond Applause;

I Care for no Such Noise.

I Write It Only for the Sober Sort,

3d.

Who love Right Musick, and will Labour for't:

And who will Value Worth in Art, though Old,

And not Affrighted with the Good, though told

'Tis out of Fashion,

By

The Reader has Liberty to put in what Word he thinks most Proper.

— of the Nation:

I Write It also,

4th▪

for to Vindicate

The

The Lute.

Glory'f Instruments, now out of Date,

And out of Fashion Grown, (as Many Tell)

'Tis doubtful (sure) that All Things are not Well,

When Best Things are

Most Sleighted, though most Rare.

I Write It likewise,

5th▪

for That Fervent Love

I Bear unto the Lute, which far Above

Most Instruments I Prize; This cannot be

A Fault; For All Men have Liberty,

To Like, and Love,

What They do Most Approve.

I Write It also,

6th.

out of Great Good Will

Vnto my Countrey-men; and Leave my Skill

Behind me, for the Sakes of Those, that may

Not yet be Born; But in some After-day

May make Good Vse

Of It, without Abuse.

But Chiefly, I do Write It,

7th.

for to show

A Duty to my Maker, which I Owe;

And I no Better Way know how to do,

Than Thus, to strive to make One Tallent Two:

If Thus too Blame,

I'le Humbly Bear my Shame.

AN ADVERTISEMENT, Concerning the Value and Price of the BOOK.Licensed R. L'Estrange, May 5. 1675

[Page]

Reader,

YOV may see, by This Worthy Person, (the Licenser) who is an Eminent, and Skilful Critick in This Noble Art) and by Those Honourable, Learned, and Worthy Persons (my Subscribers) before mentioned, what Fair Encouragement I have had to Publish This Piece; (the which has been Freely Exposed to the View, and Examination of many of Them;) However, I must not expect It can Please All; But if It Please the Judicious, Wise, and Sober Sort, I shall have what I look for.

And as to the Price:

Take Notice, That although It has been Hitherto Subscribed but at 12 s. in Sheets, by All Those Honoured Persons, Yet in regard of My Vnexpected Great Charge, besides My Vnconceivable Care and Pains, to have It Compleatly done; It cannot well be Afforded at That Price, to return Me any Tollerable, or Reasonable Requital.

However, out of a High Respect to All the True Lovers of the Art; and more especially to Divers, (and I believe very many) who would willingly have been Subscribers, (together with Those abovesaid) had they known of It, or could have had opportunity of So Doing; I do (I say for Their sakes) Declare, That whosoever shall Purchase This Book within the 1st. 3 Months, viz. before the 10th. day of August, in This Present Year 1676. shall be look'd upon as a Subscriber, and shall only pay for It, the Subscription Price, viz. (in Sheets) 12 s. But after That day is past, the Price is intended to be Raised; There being not Many of Them Printed.

I shall only Add Thus much, (as being bold to say) That there are several Pages; yea several Lessons in This Book, (according to the Ordinary Value, Esteem, or Way of Procuring such Things) which are every one of Them of more Value than the Price of the whole Book, by Far.

And for the peculiar Credit of my Printer, (upon the Comparative Examination of the Well-doing of This Work, in reference to his Vndertaking,) It will be found that He has Out-done all Musick-work in this kind, Ever before Printed in this Nation; And is the only fit Person to do the like: He only having those New Materials, the like to which we never had made before in England.

Concerning the Church-Psalms, In reference to the POETRY: Composing and Singing of them. By way of Preparation.

[Page]

CHAP. I.

ALL things in the Church, and in its Service, would be so contriv'd and order'd, that the Common-Poor-Ignorant-People might be so much capable as 'tis possible of Apprehending, Discerning or Understanding; so, as they might unite their Voices, Hearts and Affections together with the Congregation, and the Service. The which cannot more hopefully be effected, or brought to pass, than by making all things in the Service plain and easie to their Capacities.

Now as to Musick, 'tis known and observed by Experience,The benefit of short and uniform Ayrs. that Short-square-even and uniform-Ayres are both Pleasant, and readily Apprehended and Learned by most.

And as there are likewise a great number, who are but indifferently inclined by Nature to Singing, who notwithstanding, if they were considered after this manner, together with what I shall further make mention of, would make a very good Assistance in the Chorus, which otherwise are utterly debarr'd, and made uncapable.

There are two things very considerable as to this Preparation of good Singing in Churches.

First, the Poetry. Secondly, the Composition of Musick. For Psalms what manner of Poetry best.

The Poetry would be, 1. Even and uniform, as to the number of Feet in each Staff.

2ly. Every Staff of the same Psalm would correspond with the [Page] first Staff, in the same order of Feet; otherwise the same Tune which his the first Staff, will not serve the whole Psalm.

There would not be too great a variety.Again, (as to the whole number of Psalms) there would not be too great a variety of Poetical forms or shapes in the Staves: Because that then a fewer number of Tunes might serve for the whole; so that if the Book of Psalms were composed by an Excellent Poet, and as Excellent a Musician, into a matter of 8, 10, or 12 Varieties, and those Varieties even, smooth, short, and uniform to themselves, it might be enough, and doubtless conduce very much to the drawing in of a Congregational-good-Quire.

But if the Poetry be too various and intricate, as I will instance in that Excellent Piece of Mr. or Dr. Woodford's, (which I have lately seen) in which there is scarcely two of the whole number of his Psalms which are of the same order or quantity of Fee [...] quite through his whole Book, and several of them un-uniform to themselves, viz. not one Staff like another of the self-same Psalm. I say, that although it be an Excellent Piece, for a Poet to look upon, yet it is not a fit Piece to be composed for the use of a Congregational Quire, for those Reasons aforesaid. There being work more than enough, for a most excellent Musician during his whole life, to compose proper and fit Ayres to those Psalms, but never to have them Sung by any Country or City Congregation.

For those Ayres which are intricate and un-uniform (the which I call unnatural, as those must needs be) are difficult to be Sung, especially by those who have no Skill.

The Poet and the Composer to be of the same understanding.The Poet therefore and the Composer ought both to be so much of the same Understanding in each Art, that these, or such like Observations might guide them both. And doubtless he is to be look'd upon as the most exquisite Poet, who is that able to command his Fancy.

The Common Rhimes and Phrases in our Psalms are many of them very absurd and ridiculous, and it is to be wished that they might be amended. Many of our old Psalm Tunes excellent. But many of our old Psalm Tunes are so excellently good, that I will be bold to say, Art cannot mend them or make better.

I conceive it might be very well worth a Considerative Poet's undertaking, to suit some of those Psalms which need amendment, to some of those our old good Tunes; because those Tunes are already apprehended and learned by most of the Common People. The benefit of retaining them. Therefore they will the more readily embrace a new Alteration, when as they find they are not too much puzzled with Novelty, but can bring them with ease into their old Tunes.

Concerning the Composer, and his Observations in Composing.As for the Composition, making, or inventing Tunes for the Church-Psalms, it would, First, be done by a Chief Musician, according to the Example of the Prophet King David.

Secondly, the Musician should observe to cast all such Psalms as are concerning Humiliation, Confession, Supplication, Lamentation or Sorrow, &c. into a flat, solemn, mournful Key; and on the contrary, all such as are concerning Rejoycing, Praising of God, giving Thanks, or extolling his wondrous works or goodness, &c. [Page] into a sharp, sprightly, brisk Key; contriving for both as much Majesty and Stateliness as can be found out in the Art, which abounds with plenty; observing the nature of the words, so as to suit them with the same likeness of conceit or humour from his Art. There being a very great affinity, nearness, The great affinity betwixt Language and Musick too much neglected; and known to very few▪ naturalness or sameness betwixt Language and Musick, although not known to many. And it is a bemoanable pity to consider how few there are who know, but fewer who consider, what wonderful-powerful-efficacious Virtues and Operations Musick has upon the Souls and Spirits of Men Divinely-bent. And to publish here what I am able to say in this particular, according to a daily experience which (I thank God) I have of it, will be look'd upon as a piece of Vanity, therefore (as to that) I shall be silent, and so proceed to my intended purpose of giving Directions for the best way of Singing Psalms in Parochial Churches; concerning which there are two ways which I have prompted unto, so that either may be followed to very good purpose, but both together put into Practice will be most magnificent, and is as followeth.

CHAP. II. Concerning Parochial Musick, viz. Singing of Psalms in Churches.

I Shall not need to blazon it abroad in Print, how miserably the Prophet David's Psalms are (as I may say) tortur'd or tormented, and the Service of God dishonoured, made course, or ridiculous thereby; seeing the generall outcries of most Parochial Churches in the Nation are more than sufficient to declare and make manifest the same, so often as they make any attempt to sing at those Psalms.

Therefore I will say no more to that particular, nor rubb that sore place. Only thus much I will presume to say, viz. That (sure) it were far better never to sing at all in Churches, or in Gods Service, than to sing out of Tune: that is, not in Harmonical Conchord or Agreement.

For as I often use to say,The signification of Conchords and Dischords in Musick. that as Conchording unity in Musick is a lively and very significant simile of God, and Heavenly joyes and felicities, so on the contrary, Jarring Discords are as apt a simile of the Devil, or Hellish tortures.

This observation is clear enough to all who understand those Admirable-Divine-Mysteries, which lie couch't in Musick, and This (too much neglected) part thereof (Singing.)

Certainly the first Institution of Singing of Divine Hymns and Psalms in Churches was, both to illustrate and adorn the Service, and likewise to be as a means or an occasion of help towards the raising of our Affections and Devotions, to praise and extoll God's Holy Name.

[Page] How Christ's Church was exhorted to Sing with a Grace, and to make melody.'Tis very well worth noting how St. Paul instructed the Ephesians, chap. 5. vers. 18, & 19. Thus. Be fulfilled with the Spirit, speaking to your selves in Psalms and Hymns, and spiritual Songs; singing and making melody to the Lord in your hearts, &c.

So likewise doth he exhort the Colossians, chap. 3. vers. 16. in these words: Let the word of Christ dwell in you plenteously in all wisedom, teaching and admonishing your own selves in Psalms and Hymns, and spiritual Songs, singing with a Grace in your hearts to the Lord.

This was (we may see) the undoubted practice and endeavour of Christ's Church in His, and the Apostles time, not only to Sing, but to Sing with a Grace and making melody. The which two things are not possibly to be done, without some skill, and singing in Tune.

And that (viz, Singing in Tune) I do confidently affirm can never be done, except there be some other way found out than that which at the present is generally in practice in our Churches; the which I shall by and by demonstrate and make very plain, by undeniable Arguments.

But first I desire that Those foregoing Admonitions of St. Paul might be a little better taken notice of than generally they are.

And because I am as much a Divine (I mean a Priest, and Son of the Church) as a Master in Musick: I will take the liberty to give my Explanation of those words of St. Paul, yet humbly submitting to better Judgments.

St. Paul speaks to the Colossians thus: Let the word of Christ dwell in you plenteously in all wisedom, teaching and admonishing your own selves in Psalms and Hymns,The Explanation of St. Paul's words. and spiritual Songs, &c. which to me seems as much as if he should have said, Let that word which Christ formerly spake unto you about such things dwell in you, or be remembred by you, &c.

Whence I do inferr thus much, viz. that it was Christs own instruction, direction, advice, or command formerly given unto them, to teach and admonish one another in that very exercise of Singing of Psalms, &c. otherwise what can be meant by that saying of St. Paul's, Let the words of Christ dwell in you, but that Christ had taught and admonished them before concerning it, and so that by their diligence and careful practice therein (which was a piece of wisedom in them so to do, in regard they had been formerly so admonished by Christ) they might thereby be enabled so to Sing, as it might be both graceful, and melodious.

The Reason why Christ and St. Paul gave this earnest Instruction.For without all question Christ (who was the wisedom of his Father) was not ignorant of the least secret or mysterie in any Art whatsoever, nor of any thing that might conduce to the Benefit or Compleating of any Performance in reference to any undertaking. Christ knew the difficulty of that service of Singing so very well, that (I am subject to believe) therefore it was that he had formerly by his own word admonished them to that Duty of practising and teaching one another: And therefore likewise was it, that St. Paul thus was to re-mind them of it, their Duty; [Page] well knowing how very needfull such a piece of practice was to the right performing of so solemn and Saint-like a Duty, in that it was as a Sacrifice done unto God. And how subject men are to do it lamely or ill-favour'dly without skill, care, or practice, is too manifest by the general ignorance in that quality of Singing, which may be perceived in most, who chiefly should, or ought to have so much skill in it, as both to perform in it themselves, and also to teach and admonish those who are weak or ignorant, according to that Exhortation of the Apostle in those last quoted places. By which Exhortation it plainly appears,Singing of Psalms no slight or negligent business, as too often is seen▪ that Singing of Psalms is not a Duty of so slight or negligent regard, as all those who do not enable themselves to have that skill, seem to believe it is, otherwise (sure) they would not be so idle, careless or negligent, to make so slight of it, as not to endeavour for so much skill (at least) as to be able to set or lead a Psalm-Tune by the Rule of Art, which a Child may be taught to do in a months time or less.

And those who have not that faculty, nor do endeavour so far as in them lies to obtain it, shall never make me believe that they have the word of Christ dwelling in them plenteously, &c. let them talk never so fairly and well.

Yet I will not deny but some there are who by Nature are absolutely uncapable of Singing any Tune Harmonically Who are to be excus'd from it.

Such, I say, after they have endeavour'd all they can, and find that impossibility of attaining it, are justly excusable.

Provided they still encourage and promote it in others. But certainly all Christians who are in Nature capable of it, Who are culpable▪ and do neglect it, are culpable before God.

Now by what I have here said it cannot but appear, that Singing of Psalms is both a Christian mans Duty, and ought to be his great care to do it well, and no ways slightly or negligently.

But because this Duty is generally neglected in most Parochial Congregations in the Nation, and that they are also at a loss how to have it well performed, (and I do confidently affirm that 'tis absolutely impossible ever to have the Psalms rightly and well performed according to the common way used throughout the Nation) I will (here following) first give my Reasons why I thus conclude, as also propose an absolute-certain and infallible way, Impossible to have the Psalms constantly well Sung, but by some other means than formerly. how to have them well and rightly performed.

CHAP. III.

ANd as concerning this matter, I will not deliver my Opinion, but my practical Experience, Knowledge and Judgment ▪ both according to the rules of Reason, and above 50 years experience and practice in this Art of Singing. And thus I proceed.

First, It is to be noted what a general defect, Note how hard it is to Sing in Tune. or insufficiency there is in Nature, observable in all Voices whatever; so that let [Page] the most curious, tractablest, and best accomplish'd Voice, adjoyned to the most exact Ear, both which uniting in one person, together with the most perfect and profound skill in the Art of Musick that can be imagined;Proved by the rule of Reason and Experience in the Art. this person (I say) shall not assure himself to be able to Sing any one Song (although never so well practis'd in it) of the length of one of our ordinary Church-Psalms, but that he shall be prov'd to have Sung out of Tune, before he hath finished that Song.

This is a real Truth, which I doubt not but all experienced Masters in the Art will affirm with me; Experience having all along confirmed this thing, (viz.) That no Voice has ever been found able (certainly) to sing steadily and perfectly in Tune, and to continue it long, without the assistance of some Instrument, but that it would either Rise or Fall some small matter from the first pitch it began at before it had made an end.

Yet I will not say that it is so impossible but that by chance it may be done, but not certainly.

Nor need any one fear to lay a good wager against the most confident Attempter of such an undertaking; especially when the Key shall be given him from another person, ☞ as always the Psalm-Tunes are (in Churches) given by the Clarks.

The consequence, proving the necessity of some assistance.Now what I would inferr from hence, is this, viz. That if such an absolute Voice as I have made mention of, shall be thus uncertain of Singing in Tune, &c. what shall the unskilfull-inharmonious-course-grain'd-harsh-Voice be able to do without some certain help or support? most apparent it is, that it must needs Sing miserably out of Tune, and all others who venture at it thus confusedly, without regard, skill, or any other help besides their own ignorance, &c. And this is the general condition of most of our Parochial Quires. And certainly God Almighty can take no delight or pleasure in such halt, lame and blind Sacrifices.

Therefore I say, and advise, that if you will Sing Psalms in Churches, Sing in Tune.

But now you will say, That's impossible by your own Arguments. I say so still. Why, what will you have us to do? you'l say.Note just here what you are to do. Still I say, Either Sing in Tune, or Sing not at all. Why then you'l say, Sure we must not Sing at all. I say not so, but yet I say Sing, for Christ has bid you Sing, and Sing in Tune too, or with a Grace, which can never be without it, viz. Singing in Tune. How can that be? why now I'le tell you how, viz.

The certain way how to Sing Psalms well and in Tune according to the best Advice.If you will Sing well and in Tune, the first thing you are to do is to take the advice of St. Paul, which is to teach and admonish one another, as before he has directed you unto, in Psalms and Hymns, and spiritual Songs, &c. This is his advice and counsel; and if it be worth any thing take notice of it: but if you think it be not worth noting, continue still in your ignorance, but yet speak plainly and out-right what you think,☞ viz. That St. Paul's counsel is not worth a Rush, and that you care not a pin for it: Plain dealing's a Jewel you know; and this would be far better so to say, and make an end of the business and trouble, than to guggle [Page] and gull, or sooth up your selves in a false shew, Hypocritically seeming to approve of his counsel, in doing of some slight things scurvily, which please your own lazie humours, and are things of little labour and small cost: But where you can swallow such goblets, (I mean, as to save both your pains, and your purse) let St. Paul go whistle with his Psalms, and give his counsel to those who have nothing else to do.

These, or such like close-lurking-sayings, Arguments or Thinkings must needs be supposed to be the result of such strange and gross negligence, which is generally found, and too apparent in most Parish Congregations.

But now methinks I hear some of the most ingenuous and pious of you say, Alas, how is it possible that we should teach and admonish one another according to St. Paul's directions and advice? since none of us have any (the least) skill in the Art of Singing, nor was it ever put to us; and so are utterly destitute of all hopes of ever attaining to that ability.

Truly this is a very sad complaint, and much to be lamented. And the first thing I shall say unto it is this, viz. The more shame be upon your Parents and your selves for it.

But here secondly I would ask this one Question, A very pertinent Question. viz. Whether you think that St. Paul was such an impertinent Fellow (as by your neglect he seems to be made) to counsel and advise the Colossians to a thing with such Emphasis, as here in this place he doth, where he saith, Let the word of Christ dwell in you plenteously in all wisedom, teaching and admonishing one another in Psalms and Hymns, and spiritual Songs; Singing with a Grace in your Hearts unto the Lord: if it were not a matter of more then ordinary concern? Sure, sure, sure, Singing of Psalms and spiritual Hymns by Art and skill (though it be much out of fashion, and slightly regarded, or ill-favourdly performed by most, or very many) is a thing of so much wisedom, whereby good Christians might shew the plenteousness of Christs word dwelling in them, that it would undoubtedly most gloriously become the gravity, splendour, or function of the most illustrious, even Princes themselves; and if so, then questionless All others.

CHAP. IV.

DAvid the King, and the beloved Prophet of God, was called the sweet Singer of Israel, 2 Sam. 23.1. which denotes to us, that he did not only satisfie himself with that most eminent Quire that ever mention was made of in the whole World, The most magnificent Quire that ever was in the world. viz. 4000 persons, of Princes, Priests and Levites, and the very best of the People, who praised the Lord with Instruments, which he (David the King) himself had made, 1 Chron. 23.5. But without all question he himself was a performer amongst them, yea and a very [Page] skilfull one too: otherwise he would never have made, or given directions for those Instruments, much less have assumed that Name of the sweet Singer of Israel.

Now upon a solemn consideration of these things, how really true they were, how wonderfully Glorious they must needs be, considering that choice and curious care which was taken in the preparation for that Service, and how exceedingly acceptable they were unto God Almighty; for 'tis doubly worth my writing and your reading to take notice of that place of Scripture which here I will set down, viz. 2 Chron. 5.12, 13, 14. the words are these: ‘And when the Priests were come out of the Sanctuary, Note carefully. (for they were all sanctified) and the Levites the singers of all sorts being clad in fine linen, stood with Cymbals, and with Viols, and Harps, at the East-end of the Altar, and with them an hundred and twenty Priests, blowing with Trumpets; And they were all as one, blowing Trumpets and singing, and made one sound to be heard in praising and thanking the Lord;☞ And when they lifted up their voice, with Trumpets, and Cymbals, and with Instruments of Musick, The wonderfull effects of Musick and that Quire. and when they praised the Lord, singing, For he is good, because his mercy lasteth for ever: Then the house was filled with the Glory of the Lord, so that the Priest could not stand to minister.’

These things, I say, upon a solemn consideration how exceeding acceptable this Service (thus unanimously and univocally offer'd) was unto the Almighty, should stir us up, and rouze us from that drowsiness, or lethargie of stupidity, which has well-nigh benum'd us into an insensibility, and an uncapableness of understanding any thing in these Divine Mysteries.

How Musick has come to be undervalued.And certainly Musick, (especially such Singing, I mean, with the skill and Art thereof) for want of a true rational and pious consideration of its unexpressible excellency and Divine worth and use, has come to fall into the conceits of most men, (and which is most to be lamented, of some who pass for learned and pious Divines) an inferiour-low-slighted-undervalu'd-regardless-despicable-needless Thing, and not at all thought fit to be brought into the House and Service of God.

And others again there are who can just endure it there, but take no care to understand any thing in it, letting it pass for an Airy-vapour, a pretty Toy to keep them from sleeping, and so forth.

Yet (thanks be to God) some there are who on the contrary are more considerative, pious and worthy, who esteem it (as indeed it is most fit to be esteem'd) an Ordinance of God, otherwise why should the Apostle Paul so pressingly call upon the Colossians to let Christs words dwell with them plenteously in reference to it, as hath been before declared sufficiently.

I will now proceed and make good my Promise; and propose an undoubted way how the Psalms may be exactly performed, to the great illustration of the Service of the Church, your own comforts, and the Glory of God; infinitely beyond whatever has been, or can be by the contrary.

[Page]And because I have made it manifest how difficult a thing it is for any person to Sing in Tune alone; but ten times more difficult when he is within hearing of any who sings out of Tune; (nor is it possible for any to do it) It is to be noted,Note when 'tis impossible to sing in Tune. that where Nature is deficient, or obstructed, God Almighty has infus'd into the Vnderstandings of men wit and ingenuity, by Art to be assisting unto it.

And it is known by all experience, that there are certain ways found out in this Art to cause men and women, who are but of indifferent capacities, (as to Musick) so to Sing in Tune that (at the worst) they shall not interrupt or disturb any who are within hearing of them, but (with a very little use and practice) they shall assist and augment the Chorus to very good purpose.

CHAP. V.

NOw as to this,The best assistance for Voices in singing Psalms. there is no better way than to Sing to some certain Instrument, nor is there any Instrument so proper for a Church as an Organ; so that it will follow by right reason in consequence, that if you will Sing Psalms in Churches well, and in Tune, you must needs have an Organ to Sing unto; by which means the whole Congregation will be drawn (or as it were compell'd) into Harmonical unity; even so, that 'tis impossible for any person,When impossible to sing out of Tune. who has but a common or indifferent Ear, (as most people have) to Sing out of Tune.

This is the way, and None in compare unto it; nor can the performance be excellent without it, or as it ought to be.

For when we Sing unto God, we ought to Sing chearfully, and with a loud voice, and heartily to rejoyce: The Scriptures make mention of all this, and much more, as I have quoted elsewhere sufficiently in this Book.

'Tis sad to hear what whining, toting, yelling, The sad Singing in most Country Churches. or screeking there is in many Country Congregations, as if the people were affrighted, or distracted. And all is for want of such a way and remedy as This is.

Now if (by what I have hitherto said) I may (happily) have gained so much credit as thus far to be believed by any, as I doubt not but I have with the rational and ingenuous-well-composed-willing-good-Christians, who would gladly serve God aright, if possibly they knew but how; yet methinks I hear them make this scruple, and doubt whether or no this thing be possible ever to be attain'd unto, saying, What! An Organ in our poor Parish Church? and An Organist too? (for if we have the one, we must have the other) This sure can never be; which way can we compass two such difficult things as These? Answer. Most easily.

But before I shew you the way, I would propose unto your consideration only these two things, which will be a right preparative to the business.

[Page] Two needfull things by way of preparation towards a right singing the Psalms, easily attainable.The first is, I would have you seriously to consider what it is you are about, when you pretend to offer this Sacrifice of praise and thanksgiving to the Great God, Creator of Heaven and Earth; and likewise consider and ask your self this Question, viz. If you ought not to perform that Service in the most exact, sincere, and excellent manner that possibly you can imagine lies in you, both as to Body, Soul, Spirit, and Estate. This you must needs grant is your Duty, and that you cannot think any thing too good, too precious, or too dear unto you to part withall for his Service. All this I am confident you will say is true.

Now take heed you lye not to God: For if you say it, and are unwilling to doe it, you do worse than lye, for you know your Masters will, but do it not.

The second thing I would have you consider is, only to examine well where the main impediment, stop, or hindrance lies, and if you can once find it out, remove it.

This with the former will certainly put you upon doing the business.

And now methinks I hear you cry out aloud and say, that truly if we knew how to raise an Organ, we would have it very suddenly.

An easie way how to procure an Organ in every Parish Church.If therefore ye be brought but to this place, doubt it not; for I make no question but to put you into a ready way, which is this: viz. First I would have you propose to your selves some very great and urgent occasion, or necessity for a speedy raising of a sum of Money, supposing such an one as this; viz. the Parliament has made a great Tax to run quite through the Nation, such an one as the last 18 months Tax, or rather the Chimney-money; and it must be paid in presently, without any contradiction or delay.

This I know you would most certainly prepare to do, without accounting it impossible.

Now I say, do but suppose this, or some such like thing, and presently go about getting up the money, every man his share, and lay it by for that use, till your Organ be ready, and you will soon see it set up in your Parish Church, to your great content and commendations.

The Charge of procuring an Organ in every Parish Church.The matter of 30, 40, 50, or 60 pounds will procure a very good Instrument, fit for most little Churches, and so accordingly in proportion for greater.

Therefore now chear up, the way is plain and easie, if you be willing, and dare but venture thus much upon the account of Gods Service, (supposing he has commanded you to this small, or great Tax.) Thus much for an Organ.

But now as to an Organist; That is such a difficult business, as I I believe you'l think absolutely impossible ever to be obtained; a constant Charge! a Terrible business!

For how many hundred Parish Churches are there in England? and there must be so many Organists at a yearly charge, whereas when our Organ is once set up, a small matter will maintain it for ever; But as to the charge of an Organist, this is sad.

[Page]Now for your comfort know, that this is ten times more easie and feasible than that other of the Organ; and that after ye are once gotten into the way, you will have Organists grow up amongst you as your Corn grows in your Fields, without much of your Cost, and less of your Care.

CHAP. VI. How to procure an Organist.

THe certain way I will propose shall be This: viz. First,A far easier way how to procure an Organist. I will suppose you have a Parish Clark, and such an one as is able to set and lead a Psalm, although it be never so indifferently.

Now This being granted, I may say, that I will, or any Musick Master will, or many more Inferiours, (as Virginal-Players, or many Organ-makers, or the like) I say, any of those will teach such a Parish Clark how to pulse or strike most of our common Psalm-Tunes, usually Sung in our Churches, for a trifle, (viz. 20, 30, or 40 shillings;) and so well, Note, Note. that he need never bestow more cost to perform that Duty sufficiently during his life.

This I believe no judicious person in the Art will doubt of. And then, when this Clark is thus well accomplish'd, he will be so doated upon by all the pretty ingenuous Children, and Young men in the Parish, that scarcely any of them, but will be begging now and then a shilling or two of their Parents to give the Clark, that he may teach them to pulse a Psalm-Tune; the which any such Child or Youth will be able to do in a week or fortnights time very well.

And then again each Youth will be as ambitious to pulse that Psalm-Tune in publick to the Congregation, and no doubt but shall do it sufficiently well.

And thus by little and little, the Parish in a short time will swarm, or abound with Organists, and sufficient enough for that Service.

For you must know,What is one of the most easie performances in Musicks Art. (and I intreat you to believe me) that (seriously) it is one of the most easie pieces of performance in all Instrumental Musick, to pulse one of our Psalm-Tunes truly and well, after a very little shewing upon an Organ.

The Clark likewise will quickly get in his Money, by this means.

And I suppose no Parent will grutch it him, but rather rejoyce in it.

‘Thus may you perceive how very easily, and certainly these two Great difficulties may be overcome, and with nothing so much as with a willing mind.’

‘Therefore, be but willingly resolv'd, and the work will soon be done.’

[Page] ‘And now again methinks I see some of you tossing up your Caps, and crying aloud, We will have an Organ, and an Organist too; for 'tis but laying out a little dirty money: and how can we lay it out better, than in that Service we offer up unto God? and who should we bestow it upon, if not upon Him, and His Service.’

This is a very right and an absolute good Resolve; persist in it, and you will do well, and doubtless find much content and satisfaction in your so doing.

A most excellent Benefit arising to all young Children.For there lies link'd to This an unknown, and unapprehended Great good Benefit, which would redound certainly to All, or most young Children, who by this means would in their minorities be so sweetly tinctur'd, or seasoned, (as I may say) or brought into a kind of familiarity or acquaintance with the harmless-innocent-delights of such pure and undefilable practices, as that it would be a great means to win them to the love of Virtue, and to disdain, contemn and slight those common gross ill practices, which most Children are incident to fall into in their ordinary and accustomed pursuits.

For if they be once truly principled in the Grounds of Piety and Musick when they are young, they will be like well-season'd Vessels, fit to receive all other good things to be put into them: And I am not only subject to believe, but am very confident, that the vast Jarrings, and Dischording-untunablenesses, over-spreading the face of the whole Earth, might be much rectified, and put into Tune sooner this way, than by any other way (without a miracle) that can be thought upon.

This I speak from an experience in my own Soul, who am a man subject to the passions and imperfections of the worst of men: Yet by This virtue, This sublime Elixir of Musical and Harmonical Divinity, have found as much (in a comparative way) as this comes to, upon my own Soul and violent passions.

It cannot be too often repeated, how the Evil Spirit departed from Saul, when David played upon his Harp: True Musick being a certain Divine-Magical-Spell, Musick is a Divine-Magical-Spell against the Devil. against all Diabolical operations in the Souls of Men. But how little This is taken notice of, believed, or regarded by most, is grievous and lamentable to be thought upon.

Well; Let thus much suffice as to an encouragement towards an Organ, and an endeavour to have good Church-Musick after this manner, which is the most easie and sure way I can think upon: ‘An Organ being such a prevailing, or commanding Instrument, and so naturally-suitable to our humane Organs, viz. our Voices, that after a little time of use and custom to it, there will scarce be one Voice in an hundred, but will be drawn in, and be able to uni [...] Harmonically, and to very-very good purpose, although he or she ☞should have no skill at all in Song, but by a meer natural aptitude they shall do it well.’

CHAP. VII. How Psalms may be well performed in Churches without an Organ.

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HAving laid you down the most certain, easie, The best way for a certain and continual Quire in every Parish, or a National Quire. and excellent way of Singing Psalms to an Organ, which (whatever else can be said or contriv'd) shall (still) be the most glorious, magnificent, and a stately-steady way. Yet because I know there are many who take Boggle at the very Name of an Organ, and yet otherwise (perhaps) would be content to Sing Psalms well if they knew how.

I will therefore (according to my best Ability) put them into a most substantial and infallible way, whereby the Psalms shall not only be well Sung, and gracefully; but that there shall also be an ability of teaching and admonishing one another perpetually: (But it is suppos'd they must follow my counsel.)

And as to This, it must be consider'd, that nothing of Excellency or of High-worth can be done without Forecast, Care, and Industry.

Therefore if we think this Thing we are talking about be such a Thing, viz. of Excellency, or High-worth, and worthy of our Forecast, Care, and Industry: Then I say there is no way but one to compass or effect it. That is,

We must once more Face about, and back again to Good old St. Paul, (one of Christs Deputies) and try if his counsel be like yet to do us any good, who says still, Teach and admonish one another in Psalms, &c. (These words must not be raz'd out of the Gospel.)

But as to This, 'tis already confess'd, that none of you are able to teach or admonish in That Faculty; and it may be some of you are grown so old, and others too full of more necessary Business in your Worldly Affairs, than to look after such needless things of this nature, due to God and his Service, (for so it must needs be judg'd of all, who do so shamefully neglect it.)

But although you will not trouble your selves in This matter, yet it cannot be thought, but that you'l find some little scruples, or motions of Conscience, secretly whispering and telling you, (as it doth all sorts of Sinners) That you ought to do it, and that it is your Duty so to do it. For 'tis Christs own Order to St. Paul to put you in mind of it, (as hath been already prov'd) and no humour or conceit of mine, but Christ's and St. Paul's, (if you dare, and will call it so:) Therefore look to it, as you intend to answer for the contrary.

But now (to ease you a little of that burthen of Conscience) I'le tell you how you may in some measure make amends for your former neglect, if first (after your true Repentance) you'l strive but to bring up your Children so, as (in time to come) they may [Page] be enabled to understand, and capable to perform in this so Christian a Duty.

And This must be done by putting them to learn the Art and skill of Song, or Singing.

Now this again will seem a hard task for those who love their Money better than the Service of God. Pretend not to serve God at all except, &c. And to such I say, Pretend not to serve God at all, or else serve him as he hath commanded you; You must bestow something upon Him and his Service.

Imitate that most eminent pattern and example, which you will find in the 2 Sam. 24. & 24. no worse Person then a Prophet and a King, who would not offer up That unto God which cost him nought; yea although he might have had it freely given him, as there you may read he might.

Consider, I say, and bestow something upon God; or if not upon Him, bestow it upon your Children for shame.

The many Benefits attending those who attain to skill in Musick.For this Quality of Musick is a Gentile Quality at the very worst: And it will adorn your Children much more than ten times the cost can be worth, which you shall bestow upon them in the gaining of it.

Besides, it will make them acceptable to all ingenuous people, and valued amongst the best.

They will be more capable of Preferment in the world, in case of any necessity.

Moreover, the great content and delight your selves will daily take in them, and they in themselves, in that they are made fit Instruments to serve God in the best of his daily Services, which is to Sing, and set forth his praises, in imitation of the glorious Saints and Angels, in his Heavenly Quire, where they eternally sing and rejoyce before God.

And now methinks I hear some of you say, that you would gladly have your Children learn this so excellent a Quality, if you knew how to have them taught.

To this I must confess I know not readily how to assist you, (the Harvest is great, and the Labourers but few) yet I doubt not but to find out a way how to advise you.

The truth is, there is so great a barrenness of Musical Assistants in most Country Towns, caused through the neglect, disesteem, or the undervaluing of this Divine Quality in some, and also through the ill use, and abuse of it in others, that at the present it will be something difficult to have all Children taught who live remote from great Towns.

But if I could be assured that you all would be as willing to promote the business, as I am willing and ready to advise you, I question not but that I have already found out the way for it: As thus.

CHAP. VIII.

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WHeresoever you send your Children to School, How all Children may be so brought up as they may be usefull in the Church and Service ever after. (I mean to the Grammar-School) indent so with the Master, that your Children shall be taught one hour every day to Sing, or one half day in every week at least, either by himself, or by some Musick-Master whom he should procure: And no doubt but (if you will pay for it) the business may be effected.

For there are divers who are able to teach to Sing, and many more would quickly be, if such a general course were determin'd upon throughout the Nation.

There would scarcely be a Schoolmaster, but would, or might be easily able himself to do the business, once in a quarter or half a year; and in a short time every senior Boy in the School will be able to do it sufficiently well.

And this is the most certain, easie, and substantial way, that can possibly be advis'd unto.

And thus, as before I told you, how that your Organists would grow up amongst you, as your Corn grew in the Fields, so now (if such a course as This would be taken) will your Quiresters increase even into swarms like your Bees in your Gardens, by which means the next Generation will be plentifully able to follow St. Paul's Counsel, namely,A perpetual ability to follow St. Paul's counsel. to teach and admonish one another in Psalms and Hymns, and spiritual Songs, and to Sing with a Grace in their hearts and voices unto the Lord, and to the setting forth of his glorious praise.

Which that they may do, I pray God to give all Parents of ingenuous Children so much Grace, as to bestow this little-poor-trifle upon them, (I mean, that pitifull-inconsiderable-cost) in their Educations extraordinary, the which will extraordinarily much conduce to their Advantages, your own Comforts, the Churches Service, and the Glory of God.

Thus have I with much ardency and zeal for God, and with no less love and affection unto his true Service, and unto all Christian people, laid down two undoubted certain-good wayes of Singing Psalms well; and either of which will serve very well, but both together much-much better.

And if neither of These two ways shall be thought fit to be followed, nor some other way, that may be equivalent (at least) thereunto; whereby the Common way of Singing may be amended, so as the Service may not become injured or blemished thereby; it were far better sure only to have the Psalms Read, and never more pretend, or offer at the Singing of them.

CHAP. IX.

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I Will now conclude all with this general and very needfull Caution to all Christians, of what Ranks or Qualities soever, (for it highly concerns every one to take especial notice of it:) And it is this, viz.

A very needfull Caution for every Christian to take notice of.That every Person (who at any time shall attempt to Sing a Psalm in the Church) do well consider what it is he is about, or in doing at that time; and whether or no that performance be not, or ought not to be esteemed as a Sacrifice which he is then offering up unto God? The which surely cannot be denied.

And if so, then to consider farther the Nature of a Sacrifice, and how it ought to be prepar'd and offer'd.

Now to know all this, and clearly to understand it, there is no readier way than to turn to the 22d. Chapter of Leviticus, and read from the 17th. verse to the end of that Chapter.

But more especially take notice of verse the 19th. where 'tis said thus, (by Gods own Commandment unto Moses.)

Concerning the Sacrifices offered unto God, and the Purity of them. Ye shall offer of a free mind a Male without a blemish, &c.

Where note, first, that the Sacrifices offer'd unto God, should be done willingly and freely, and not by compulsion or force.

Again, in the 20th. verse, Ye shall not offer any thing that hath a blemish, for that shall not be acceptable.

Again, verse 21. His offering shall be perfect, no blemish in it.

And in verse the 22d. (mark well) Blind, or Broken, or Maimed, or having a Wen, or Scurvy, or Scabby, or Ill-favour'd, &c. these shall ye not offer unto the Lord.

Note here how often 'tis press'd verse after verse, [not having blemish.]

[...]. 1.1 [...]. [...]um. 28 [...]1. Deut. [...]5 21.1 [...].1. Ezek. 4 [...].22. Eccl 35.12. &c.Sure 'tis of very great concern. And to this very purpose I could quote you many more places quite through the whole Levitical Law, as in the margent here I have set some down; whereby you may plainly see your own Duty, and the great Care you ought to take therein.

An Object or against Sacrifices.But here an Objector tells me, that then, under the Law, such Sacrifices were indeed so and so performed; but now, under the Gospel, there are no such things to be done.

Answered.To the which I first answer thus, That herein we may be said to be the more beholding unto God Almighty, who has disburthen'd us of such grievous burthens.

And I cannot but so call them grievous, because when I reflect upon the great charge, constant trouble and attendance belonging unto them, ☞ and also upon the general covetousness, and griping humours of too too many in these our dayes, and how loath they are to bestow any thing either upon the Church, or its Services, or upon God himself.

And that if now they were called so constantly to bring in of the best and fattest of their Herds and Flocks, as then they were; [Page] how loath, I say, and grudgingly surely would they do it? and not at all freely, and of a willing mind, as God requires it.

I say, when I consider upon these things, I cannot but still say we are much beholding unto God, for so great an ease and freedom, both to our Purses and Persons in that particular.

But now secondly,What are the Christians Sacrifices. although we are not commanded any of these things under the Gospel, yet we cannot deny but that we are to do some Duties to God, which stand in the room of those Legal Sacrifices;☜ the which can be none other than the Sacrifices of Praise, Thanksgiving, Adoration, and sincere Devotion, &c.

These certainly every good Christian will affirm to be still due unto God; nor can it be deny'd, but that these ought to be done without blemish; that is, not Blindly, Maimedly, Scurvily, Scabbily, or Ill-favour'dly, according to the words before recited.

Now I say, how these Sacrifices in our time are generally performed, is the thing chiefly to be noted and regarded.

Nor is there any better way to examine them, The Best way to Examine them. than according to the last repeated words which God spake unto Moses his Servant, saying,

Speak unto Aaron and his Sons, and to all the Children of Israel, &c.

‘Ye shall offer of a free mind, a Male without a blemish unto the Lord; not Blind, nor Broken, or Maimed, or having a Wen, or Scurvy, or Scabby, or Ill-favour'd, &c.’

‘Which to me seems as if Christ Jesus, or any of his Deputies, (viz. St. Paul, &c.) should say now unto Aaron, viz. the Archbishop; and to his Sons, viz. the whole Clergie; and unto the people of Israel, viz. the whole Christian Congregational Churches, (none excepted,)’

‘Ye shall offer these Sacrifices of Praise and Thanksgiving, How they are to be performed. viz. Psalms, and Hymns, and spiritual Songs, of a free mind, viz. liberally, willingly, chearfully, and without constraint or grudging.’

‘A Male without a blemish, viz. the most principal piece of Industry, which Art or Nature has furnish'd you with ability to perform with.’

‘Not Blind, viz. not ignorantly, but skilfully, (for we ought to be skilfull in the Service of God.)’

‘Nor Broken, viz. not divided, but united.’

‘Nor Maimed, viz. not out of Tune, but in Conchord.’

‘Nor having a Wen, viz. not having any superfluous vain actions either of Ostentation, or seeming Holiness; but in all humility, and simplicity of heart.’

‘Nor Scurvy, viz. not envious at another who has a better faculty then your self; but rather rejoyce in him, and applaud him.’

‘Nor Scabby, viz. not giving any infectious ill examples, in superfluity of gorgeous Attire, (beyond your Degree, Rank, or Quality) by Pride, or other impurity, but in all purity and humility both of body and mind,’

‘Nor Ill favour'dly, viz. no conceited humorous behaviours or affected gestures, [Page] unbecoming the Service of God, but in all comliness, sincere-pious-gravity and sobriety.’

‘Thus may the Sacrifices of Praise and Thanksgiving be offered up unto God, ☞ and accepted of Him; but otherwise not.’

The Chief Note.Therefore it behoves every Christian to examine himself, how he is affected when he is in these Performances, and above all whether his Heart go along with his Voice or not; without the which all will be but as vain babling, sounding Brass or Tinckling Cymbals.

And thus have I according to my small Talent, cast into Gods Treasury my little Mite, sincerely praying Him so to bless it, as it may become of some good use to my Fellow-Christians, to the Praise and Glory of His Eternal Name. Amen.

The end of the Directions for Parochial Musick.

CHAP. X. Concerning the great Excellency and Eminency of a Psalm well Sung.

I Will now in the Conclusion of this Discourse, adde only one Chapter more, in making mention, both of the Time and Place, when and where was heard (I believe) the most remarkable, Where and when has been the Best singing of Psalms that ever the Author heard. and most excellent Singing of Psalms, that has been known or remembred any where in These our latter Ages.

But most certain I am, that to my self, it was the very best Harmonical-Musick that ever I heard; yea far excelling all other either private, or publick Cathedral-Musick; and infinitely beyond all verbal expression or conceiving.

The Time when, was in the year 1644. the Place where, was in the stately Cathedral Church of the Loyal City York.

And because by the occasion of it, you may the better apprehend, and the more easily be brought to believe the gloriousness and illustriousness of that Performance; I will here (in a Short seeming-Digression) declare it unto you: As also something of more then ordinary remark, relating to that Time and Place.

The occasion of that Singing.The occasion of it was, the great and close Siege which was then laid to that City, and strictly maintain'd for eleven weeks space, by three very notable and considerable great Armies, viz. the Scotch, the Northern, and the Southern; whose three Generals were these, for the Scotch, the old Earl of Leven, viz. David Lessley, (alias Lashley;) for the Northern, the old Ferdinando Lord Fairfax; for the Southern, the Earl of Manchester: And whose three Chief Commanders next themselves, were, for the Scotch, Lieutenant-General —; for the Northern, Sir Thomas (now Lord) Fairfax; and for the Southern, Oliver Cromwell, (afterwards Lord Protector.)

[Page]By This occasion, there were shut up within that City, abundance of People of the best Rank and Quality, viz. Lords, Knights, and Gentlemen of the Countries round about, besides the Souldiers and Citizens, who all or most of them came constantly every Sunday, to hear Publick Prayers and Sermon in that spacious Church.

And indeed their Number was so exceeding great, that the Church was (as I may say) even cramming or squeezing full.

Now here you must take notice,A Good Custom▪ not commonly used in Cathedrals. that they had then a Custom in that Church, (which I hear not of in any other Cathedral, which was) that always before the Sermon, the whole Congregation sang a Psalm, together with the Quire and the Organ; And you must also know, that there was then a most Excellent-large-plump-lusty-full-speaking-Organ, which cost (as I am credibly informed) a thousand pounds.

This Organ, I say, (when the Psalm was set before the Sermon) being let out, into all its Fulness of Stops, together with the Quire, began the Psalm.

But when That Vast-Conchording-Vnity of the whole Congregational-Chorus, came (as I may say) Thundering in, even so, as it made the very Ground shake under us;The unutterable Excellency and Benefit of a Psalm Rightly sung. (Oh the unutterable ravishing Soul's delight!) In the which I was so transported, and wrapt up into High Contemplations, that there was no room left in my whole Man, viz. Body, Soul and Spirit, for any thing below Divine and Heavenly Raptures; Nor could there possibly be any Thing in Earth, to which That very Singing might be truly compar'd, except the Right apprehensions or conceivings of That glorious and miraculous Quire, recorded in the Scriptures, at the Dedication of the Temple, of which you may read in the 2 Chron. ch. 5. to the end; but more particularly eminent in the two last verses of that Chapter, where King Solomon (the wisest of men) had congregated the most Glorious Quire that ever was known of in all the world: And at their Singing of Psalms, Praises, or Thanksgivings, the Glory of the Lord came down amongst them, as there you may read.

I say, the true apprehensions of This Quire, comes nearest of any thing to be admitted as a Comparison.

But yet still beyond This, I can truly say, it was usefull to me in a much higher manner, viz. even as a most lively Similitude, ☜ idem. or Representation of the Beatifical, Coelestial, or Angelical Quires above, which continually Rejoyce before God, Adoring and singing Praises to Him and of Him in all Eternity.

But still further, that I may endeavour to make this something more livelily apprehended, or understood to be a real true Thing;

It would be considered, that if at any Time, or Place, such a congregated Number could perform such an outward Service to the Almighty, with True-ardent-inward-Devotion, Fervency and Affectionate-zeal, in expectation to have it accepted by Him; Doubtless it ought to be believ'd, that it might be and was done There, and Then.

[Page]Because that at That Time, the desperateness and dismaidness of their Danger could not but draw them unto it, in regard the Enemy was so very near, and Fierce upon them, especially on That side the City where the Church stood; who had planted their Great Guns so mischievously against the Church, and with which constantly in Prayers time they would not fail to make their Hellish disturbance, A strange piece of Heathenish Incivility of the Enemy in time of Divine Service. by shooting against and battering the Church, in so much that sometimes a Canon Bullet has come in at the windows, and bounc'd about from Pillar to Pillar, (even like some Furious Fiend, or Evil Spirit) backwards and forwards, and all manner of side-ways, as it has happened to meet with square or round Opposition amongst the Pillars, in its Returns or Rebounds, untill its Force has been quite spent.

And here there is one thing most eminently remarkable, and well worth noting, which was, That in all the whole time of the Siege, there was not any one Person (that I could hear of) did (in the Church) receive the least Harm by any of their Devillish Canon Shot: And I verily believe, there were constantly many more then a thousand Persons at That Service every Sunday, during the whole Time of that Siege.

Thus much shall suffice to notifie the (General-unknown or unconceiv'd) Excellency and Divine worth of Singing Psalms well.

I will now proceed to Cathedral Musick.

CHAP. XI. Concerning Cathedrall Musick.

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HAving said so much concerning Parochial Musick in the preceding Part, there is but little left for me now to say as to This, because the Fundamental Supports of Both being the very same, the very same Fundamental Rules ought to be observed in Both.

That is,The best way to Refine and Illustrate Cathedral Musick. that All who have any Relation to the Service of the Church, to be able to teach and admonish one another in Psalms and Hymns and spiritual Songs; And to Sing with a Grace in their Hearts unto the Lord: For there is nothing wanting in the Cathedral Musick of our Nation, so much as This.

And if This One Thing were but done, This Alone would do The Work; viz. Refine, Illustrate, and make a Glorious Quire, in imitation of That in King Solomon's time, mentioned before in the 2 Chron. ch. 5. which undoubtedly was The Pattern or Original from whence All Cathedral Musick was first deriv'd; and in Allusion to which it is still (even) kept Alive, or used to this day in All Cathedrals: Yet Infinitely short of what was Then.

But why we in These our Dayes should come so short of Them, I can see no reasonable cause for in Nature or Art; because we are without doubt in all outward Respects, in as good a capacity as They then were, if not in a far better.

For we have in This our Nation a large Collection, Our Cathedral Store, of the best Pieces of Art in the world. Store or Provision of the very Best Pieces of Art (properly fit for That Service) that can be produced in the whole World.

Made by the most Principal and Choice Masters in That Art; so magnificently lofty and sublime, that (truly I believe) it is impossible they should ever be Excelled by Art or Industry.

For certainly we (in these our latter Ages) are arrived to that Eminent height of Knowledge, Skill and Excellent Proficiency, both as to Composition and Expression, Vocal and Instrumental, which never was before attained unto in This Art.

Except it might possibly be by Those most Excellent and Choice Musicians which the Holy Scriptures make mention of in King David and King Solomon's time, those Prophetical Singers, Asaph, Haman, Jeduthun, together with their Sons, Priests and Levites, and the rest of that Vast Quire, the like to which was never any known to be in the world.

And therefore we may probably be thought to have the very Best, Vtmost and Principal Part of That Knowledge and Skill, Never to be Exceeded or Excelled. which the Almighty has permitted and thought sufficient for the Sons of men to enjoy Here, till transplanted Hence.

And also in regard there is Nothing remaining of their Art, Skill, or Labours in this kind; And likewise in that the World has labour'd ever since in this most worthy and profound Art, and nothing [Page] is produceable which may be compared to what at This Day we do most happily enjoy; yet too much unhappy in that so few know, or endeavour to understand the Thing, much less the unexpressible Good of it; and therefore make not the Right use thereof, (nor can,) but rather (on the contrary) slight, disregard, contemn, or prophane it.

Therefore I say, we may with much Reason conclude, that we are arrived to the utmost height that is permitted the Sons of men to reach unto.

And the rather we may so conclude, in that if it be considered how in This present Age, (if we seem not to decline, or go backwards, The most Excellent Works of best Authors. yet) we nothing at all Excell or Exceed those Divine Works of the foregoing, and never to be forgotten admired rare Authors of the last Century of Years, whose Names are recorded in our Church-Books, and (doubtless) will be preserved, as precious Monuments and Examples to all after Generations, so long as the World and the Church endure.

The consideration of these things should excite and stir us up to endeavour more after the Knowledge, Skill, and true Vnderstanding of it, and its Divine Vse, than is generally known or done.

The most Excellent Singers of this our Age.2dly. We have likewise in This our Nation, Men most Excellently skilfull and Expert, as to the Art of Singing; sufficiently able to perform Those so Eminent and Artificial Composures and Services, far beyond whatever History or Record makes mention of, since those Prophetical Singers.

The perpetual Allowances given to the Church.3dly. We have also Pious and very worthy Donations, Stipends or Allowances left us, by the Devout Zeal of many our Godly and very Exemplary Predecessors, towards a perpetual maintaining of That so Glorious and Illustrious Service.

Stately Churches built us.4thly. We have moreover many stately and magnificent Structures, ready built us, by the Care, Industry and Cost of Those our Benefactors, fit for such Services.

Now all These Things considered, and Thus concurring, how should it be doubted, but that we must necessarily have Excellent, and most Exquisite Church-Musick?

The truth is, I do not doubt it, but can say, I Know, and am Assured that we have, in some Places.

But this also I must needs say, that in many, or most Places, it is Deficient, Low, Thin and Poor; and the Great Grief is, in that it cannot possibly be Better'd or Amended, (Rebus sic stantibus) as the Constitution of things stand at present, except there be some other way found out for its Assistance, then now is.

Now here it may be demanded, what way that should, or might be?

The best way to discover the defects in our Church-Musick.The which to answer Rightly, can be done no better way then first to consider well, what may be the Defect; which still can be no better way done, or discerned, then by making a Comparison, betwixt the Original Sampler, and the Sample, and by observing how They agree, or differ, or what likeness or unlikeness there may be between Them.

[Page]The Sampler or Pattern is express'd before, viz. the Cathedral Musick of King Solomon's Temple.

And here I confess I could make a Long-comparative-Recital, between what was Then, and what is Now; but I shall forbear That (in This Place) and leave it to the Considerations and Apprehensions of the Learned and Skilfull in the Art, and shall only speak something to the Defect.

And as to That, it is most apparently to be seen, and in these two Respects.

First, By the General Thinness of most Quires, Two Defects generally in Cathedral Musick. viz. the Paucity or small number of Clarks belonging to each Quire.

Secondly, By the Disability or Insufficiency of most of Those Clarks.

Now the Thinness of our Quires will appear by This, viz. that in most Quires there is but allotted One Man to a Part; and by reason of which it is impossible to have That Service constantly performed, although but in a very ordinary manner, (Thinly, yea very Thinly) because that often by reason of Sickness, Indispositions, Hoarceness, Colds, Business, and many other Accidents and necessary Occasions, Men must be Absent, Disabled, or Impedited from doing Their Duties; so that at such Times, the Service must suffer: And such like Accidents happen too often.

Then again, 2dly. As to the Insufficiency of many of Those (Few) elected Clerks; it is likewise apparent, that very Few of Them are (or can possibly be) Masters in the Art of Song, or Singing; much less in the Art of Musick in general.

And except they be Masters in the Art of Singing, (which is no such easie Task as is vulgarly thought to be) They are not to be accounted Fit for the Performance of That Choice Duty, which is the most Eminent Piece of Our Church Service.

If therefore These two Defects were Well Weighed, and considered upon, So, as they might possibly be Remedied; doubtless our Church-Musick would be Exceedingly much Refin'd, and Improved; otherwise Not.

And now because it must needs seem a Hard matter to Rectifie These two so very Great Difficulties, in regard they proceed from an Occult, Remote, or seeming undiscernable Cause; I will first lay open That unperceivable Cause, and then shew how both Those former Difficulties may (very probably) be Overcome, or Rectified.

And as to this Cause of the Thinness and mean performance of our Cathedral Musick in the general;The undiscernable but true Cause of the Defects in our Church-Musick laid open.

I conceive it proceeds from nothing so much as from the low Esteem, and great Disregard, which most People have, and all along have had of it, in These latter Ages, since the first Institution Thereof.

The which may be well perceived, in that there is Nothing, or very Little (to be seen or heard of) Given from any late Benefactors, towards the Augmenting or Maintaining of it, since the first very liberal and well-meaning Founders large Bounties and [Page] Donations; which although They were very large, liberal, and sufficient Then, yet They are Now in a manner as it were shrunk to Nothing.

This very Thing, I say, must needs argue a general Low, Slight, and Disregardless value or Esteem had unto This Service.

Whereas (on the contrary) if we cast our Eyes about, into any County, City, Town-Corporate, or Vniversity, &c. we may soon find out Numbers of late Benefactors or Donors, to sundry and various intended Good Ends and Purposes.

As, viz. so much given for Ever (in Good Lands) towards the maintaining of a Lecture, a Free-School, an Almes-house, a Fellowship, a Scholarship, Building of Churches, Chappels, Monuments, or such like.

But still we see This very Excellent, and most Glorious piece of the Church-Service, to stand Forlornly Thin, and very meanly accommodated or Provided for.

No late Benefactors towards that Service of the Church.No Great-Rich-Men (Living or Dying) in These our latter Ages, so much as Thinking, or taking the Least Notice of its Absolute and very Great Necessities, so as to bequeath some small matter towards its Needfull Augmentation and Illustration.

And that there is such an absolute Necessity, must needs appear, if it shall be consider'd, what manner of pittifull-low and mean Allowances the Poor Servants of the Church (in such Places) are Generally forc'd to Live upon;The Clerks Statutable Wages. where Their Yearly Wages are in some Quires not exceeding eight, ten, or twelve pounds a year; but none amounting to One quarter so much as may sufficiently, or comfortably maintain such Officers, according to the Nature or Dignity of Their Places, in These our Excessively-heightned and Dear Times.

Large, liberal and sufficient when.Yet I do verily believe, that such Stipends or Wages might plentifully suffice Them, in Those former Cheap Times, when (as I have heard) Good Wheat was bought for 4 d. the Bushel; and so in proportion (doubtless) all other Commodities answerably low-priz'd and Cheap: And Money Then (on the contrary) at a High value.

So that (without all Question) such a Provision of eight, ten, or twelve pounds a year, was Then a very Considerable, Ample and sufficient Provision; [...] insufficient, and the Reason why. whereas Now, All things being so mightily alter'd from Cheapness to Dearness, it must needs be judg'd a very Low, Inconsiderable, Insufficient, Vnbecoming and Vncomfortable Livelihood, for such an Officer of the Church, who (according to the Exhortation of the Prophet King David) should Sing chearfully unto God, and Heartily Rejoyce.

But Alas! Alas! He or They have little Heart or Courage, in These our Griping Dayes, So to Do; but rather on the contrary, to make Sowr Faces, and Cry, or Roar out aloud, and say, Who will do us any Good? &c. For We and our Families are almost starv'd.

And how should they be thought otherwise then well-nigh starv'd; were it not for that Notable piece of Connivance, or Contrivance [Page] of the worthy Prelates and Masters of our Churches, who suffer Them to Work and Labour (otherwise) for Their necessary Livelihoods; some in one Calling, and some in another, viz. in the Barbers Trade, the Shoe-makers Trade, the Taylors Trade, the Smiths Trade, and divers other (some) more Inferiour Trades or Professions, (God knows.)

These Things, although they seem to the Eyes of some very commendable and plausible; yet to others Not; who say, 'tis rather a kind of Dishonour to the Function of a Church-man, and his Office, &c.

Yet I confess, considering the urgent Necessity; as First, That no more then Statutable-denominated-Wages can be had;

Then 2dly. That Meat, Drink, Cloaths, and House-Rent must be had for Themselves, Wives and Children:

Therefore of Two Evils the Less is always to be chosen.

So that in This Hard Case, there is a seeming kind of Necessity (pleaded for) to make Choice of such Men into Those Places, as will Sing so well as They Can, for so much Money, although they be of other Trades and Professions.

And indeed This is the Real, True, and Miserable Condition of the Church-Service, (in That kind) and of Those Poor-drudging-Clarks of Quires generally at This Day, The great need of some new Benefactors. for want of some Open-hearted-Good-willing-Benefactors, to This Choice Piece of the Service.

So that considering the Old-nominated-Statutable-Wages, being (as I have said) but So or So; and those who list not to Sing (as generally most of them do) So or So, for So Much, may go Whistle if they will; for they are like to get No More; there being No other Provision (as 'tis said) left, by the Precise Words of the Statutes. (A sad Case indeed, in These Miserable-hard-dear-Griping-Times!)

Now I say, These Things considered how certainly True they are, first in reference to the Clarks Pitifull-poor-Wages, and likewise to the general Dead-heartedness, or Zeal-benumb'd-Frozen-Affections in These our Times, towards the Incouragement of Such Things; how can it be imagined, that such Clarks should be Fit and Able Performers in That Duty, which necessarily depends upon Education, Breeding, and Skill in That Quality of Musick, which is both a Costly, Carefull, and a Laborious-Attainment, not at all acquirable (in its Excellency) by any Inferiour-low-capacitated Men.

Nor can Such Men be any way Capable of getting It, in That Condition They Now are in; and very few of Them brings it with Them into Those Places, (as is too generally seen.)

And here to say what I my self have been an Experimental Witness of, for more then these 50 years, (in which I have been all along a Member of the Church, and in That particular Service) would be too tedious and uncomely a Recital in This Place.

Therefore out of a very Real and True Respect, which I bear to the Honour of our Church and its Service, I shall forbear.

[Page] The Author's Good Hopes.Yet hoping, that This Little which I have here said, may (one time or other) happily appear unto the Eyes, and enter into the Hearts of some Considerative, worthy, Able, and Willing-Good-Christians, who may possibly think it (as indeed it is) a Most Necessary piece of Renowned and Christian Benefactorship, to Assist (by Augmentation) our Cathedral Musick in These Two former recited needfull Respects.

And in the mean time, till This shall happen to be done, by the Large-heartedness, Freeness and Zealousness of some such Nobly-minded Benefactors, (Lovers of That Art and Service;) There can doubtless be found out no better present Remedy, then has been already (above) mentioned; which is, by adhering to, and putting into Practice, the Counsel and Advice of Good St. Paul; which as it has been the Alpha of This my Discourse, so likewise must it be the Omega; The Alpha and Omega of this Discourse. viz. that every one who is Related to, and receives Benefit of the Church, (being in a Fit Capacity thereunto) endeavour to have so much Skill, as to be Able to Teach and Admonish one another in Psalms and Hymns and spiritual Songs, &c.

For doubtless there cannot possibly be found out or thought upon a Better or more Certain way than That, especially in This so Difficult a Case.

CHAP. XII.

Many of the Masters of our Church very Skilfull at this Day, to the great advantage of the Service.AND that there are many such Able, and very Skilfull-worthy Persons, Masters of Our Church at This Day, who are Thus Extraordinarily Qualified, is sufficiently known, to Their own deserved Great Commendations, and the Churches most happy and necessary Support.

Who so often as They can be Resident; Themselves not only help to bear up the Burthen of That most Excellent Service, by uniting their Voices (in Skill) together with the Quire; But also by reason of Their so Great Knowledge and Vnderstanding in the Art, are able to discover any the least Fault or Blemish in the Service, committed by others who are less Skilfull: And Thereby become much more Vsefull and Helpfull in that particular Service, in many Respects, than otherwise They could possibly be, (had they but little or No skill in the Art.)

For They give Example to others Profitably; Rectifie Errours Effectually; and Reprove Ignorance or Insufficiency Knowingly and Confidently.

Whereas on the contrary, I have known a Reverend Dean of a Quire (a very notable, A notable Story of a confident ignorant Clark. smart-spirited Gentleman) Egregiously Baffled by one of the present Clarks; who to my knowledge was more Ignorant in the Art of Song, then a Boy might be thought to be, who had Learn'd to Sing but only One month; yet could make a shift [Page] to Sing most of the Common Services and Anthems, by long use and habit, (with the Rest) pritty well, (as Birds in Cages use to whistle their Old Notes.)

Yet I say, This Dean being known by This Bold-Confident-Dunce-Clark (who you must know took himself to be a kind of Pot-Wit) to have No Skill at all in the Art of Musick; The Dean, I say, upon a Time (after Prayers) coming out and following This Great-Jolly-Boon-Fellow, and as he was pulling off his Surplice, began to Rebuke him sharply, (and indeed very justly) for a Gross Absurdity committed by Him in That very Service Time, by reason of his Great-Dunstical-Insufficiency in Singing of an Anthem alone; in which he was so Notoriously and Ridiculously Out, as caused All, or most of the Young People then present, to burst out into Laughter, to the Great Blemish of the Church-Service, and the Dishonour of God, (at That Time, and in That Place.)

But Thus it fell out, (in short) viz. that after the Angry Dean had Ruffled him soundly in very smart Language, so that he thought he had given him Shame enough for his Insufficiency and Duncery;

How think ye This Blade came off?

Why, most Notably, The strange Confidence and shrewd Wit of an ignorant Clark of a Quire. and in such a manner as made all the standers by Wonder and Admire Him; venting himself in These very Words, (for I my self was both an Eye and Ear witness) with a most stern Angry Countenance, and a vehement Rattling Voice, even so as he made the Church Ring withall, saying, Sir-r-r-r (shaking his head) I'd ha' you know I Sing after the Rate of so much a Year, (naming his Wages) and except ye Mend my Wages, I am resolv'd Never to sing Better whilst I live.

Hark ye Here, Gentlemen! was there ever a more Nicking piece of shrewd Wit, so suddenly shew'd upon the Occasion, than This was? Yea, or more Notable and Effectual to the Purpose? as you shall hear, by the Sequel.

For the Cholerick Dean was so fully and sufficiently Answer'd, that turning immediately away from him, without one word more, He Hasted out of the Church, but Never after found the least Fault with This Jolly Brave Clark; who was Hugg'd more then sufficiently by all the Rest of the Puny-Poor-Fellow-Clarks, for This his Heroick Vindication and Wit.

I have here set down This Story out of no Jocundity, or Jolly-Light-Humour, (God knows) but only to shew what Confidence many such Ignorant Clarks have grown up unto, meerly as it were to shrowd themselves in their Insufficiency; and seemingly likewise to Justifie the same, only for want of Better or more sufficient Allowances.

Therefore that they might be void of All Excuse, An assured way to take off all Excuse for Faults committed by the Clarks. and also be in a Capacity to be Able Performers, there can be but One way to Effect it; which is, that if it were possible, Their Wages might be Enlarg'd, so that They might be taken off, from all other Imployments whatever, and wholly attend and wait upon the Church, and Its Service; by which means they would not only have All the opportunities [Page] imaginable for their Improvements in the Art, whereby to gain perfect Skill, &c. but also it would be no small Inducement (but a main Motive) to Encourage, or win Them to Sanctified and Pious Lives and Conversations;An assured way to stop all the mouths of the Adversaries of This Service. the which questionless would so Amplifie and Adorn (yea make Amiable) the whole Service, that the very worst of its Enemies, must necessarily (at least) stop their mouths from speaking Evil either against It or Them, (which too many do;) if not also be a means whereby to draw Them into a Love and Delight of That Service.

This I humbly conceive may be a Business worthy Consideration; But which way to bring it to pass is the Great Difficulty, for want of Open-hearted New Benefactors, which we are utterly destitute of in These our Days.

However, I am not doubtfull but I shall here propose a Way, both very Natural and suitable, if it may only find Favour in the Eyes of our Reverend and worthy Masters and Rulers of our Church, (for it solely depends upon their Goodness, Good-wills and Kindness.)

A way proposed for a present Help.The way is This, viz. That considering there is Much given by the Old Founders and Benefactors in Good Lands for Ever, toward the maintaining of the Church, its Officers and Services; And all which Lands, have undoubtedly been mightily Improved, as to the Increase of Rents, for Stipends, Wages or Dividends, &c.

If therefore, in regard of This; and also, that the Poor Clarks Proportion of Lands (if any such may be thought to be, which in Reason might well be conceived to be) yet stands at a stay, and nothing at all Improved since the first beginning, by any sign's of Increase coming to Them, (Poor men.)

And that the seeming present urgent necessity of Augmentation in That kind does so plainly appear, and as it were Cry out aloud for some Relief or Assistance, and no other Hopes or Expectation in any kind (effectual) can Probably be Thought upon, Hoped for, or Expected.

How the Business might be much assisted, in case of no more Benefactors.I say, if therefore (in This sad Case) They Themselves would please to be so kind, as to Condescend a little, and allow Them something (if not the whole) of such Improvements, Proportionable to Those Ancient (former denominated) Statutable Wages of 8, 10, or 12 l. a year, &c. to the present very needfull support of Them and the Service; the Business (no question) might (in This respect) be Effectually done.

And This I presume cannot be thought an Vnsuitable, Vnnatural, or Vnreasonable Remedy or way, and therefore may as Reasonable be allow'd an Humble Desire, or a Longing Expectation.

But if This cannot be Had, Things are like to stand as They do, without any Hopes of Refinement or Improvement.

And thus I humbly leave them to the Wise, Just, and Pious Considerations of All Those who have to do, and are chiefly concern'd in This Great and most Eminent Affair of our Church-Musick.

[Page]Very much more might be said (in divers and sundry Particulars) concerning This Business of Cathedral Musick; But These Two chiefly being the Principal and Main Considerable Things, whereby our Service can possibly be thought any way to be Illustrated, (and by No other way Imaginable) for if They were once perfectly and sufficiently Effected, These two main things provided for, would draw All whatever else is needful. they would consequently draw after them, or to them, whatever else might be thought needfull; Therefore I say, These Two Things, viz. the Thinness or Weakness of most of Our Quires, and the too low Wages or Allowance of the present few Clarks, would necessarily be provided for, or else it is in vain to think of, or expect any Illustration of That Service, otherwise then what at the present we now enjoy.

Therefore I shall here conclude All, with my very Hearty Prayers, and Fervent Desire, that (as This most Illustrious and Best Piece of our Publick Church-Service to the Almighty, has in All Ages been had in high veneration and esteem amongst the Saints and Servants of God, even from the first Institution of it,The high Veneration in all Ages had unto This Service. all along down through the Law and the Gospel, until This day) it might still Flourish; and more and more appear to be (what indeed it is, if Rightly performed) THE MOST EXCELLENT AND MOST GLORIOUS THING IN THE WHOLE WORLD.

Which that it may,

The God of all Harmony, No Illustration conceivable like This, and which must needs be Acceptable unto the Almighty. bring into Concord and Perfect Vnity All Dissenting, Jarring, and Discording Christians, so that they may have a Right Discerning of the True Worship and Service of Him; And if it be possible, that they might Joyn Hearts, Affections, and Voices in the Publick Assemblies; in Zeal to God, and Love to one another.

By which means only, might our Christian Oblations, and Sacrifices of Praise, Thanksgiving and Adoration, be both Augmented, Refined and Illustrated, and also assuredly Acceptable unto Him; As are Those of the Coelestial Quires Above, whose Eternal Work and Recreation is, Only Singing, and Rejoycing before Him the Eternal Being, in Vnutterable and Vnconceivable Allelujahs.

Glory be to God.

The end of Cathedrall Musick.

An EPISTLE To all Ignorant Despisers OF THIS Divine Part of MUSICK.

[Page]

KInd Ignoramus, whosoe're Thou art,

Not having Skill in This most Glorious Art;

Nor knowing Note, and Careless e're to Learn,

I prithee Read This Book: Thou'lt then Discern

Thy Gross Defect; and th' great Necessity

Of Learning something in This Mystery.

But now I think on't, lest Thou shouldest Grutch

So Hard a Task, and think such Pains too much,

I'le for Thy sake a shorter way contrive,

And Here in These few Lines my Counsel give:

But first I'le ask Thee This one Question,

Which is a Question worthy Thinking on.

And This it is,

'What think'st Thou Musick was ordained for?

'That Thing which Angels Love, and Devils Abhor;

'That Thing which Evil Spirits doth Expell;

'That Thing which clearly differs Heav'n from Hell;

'That Thing which Best of Men do chiefly Use;

'That Thing which Worst of Men most what Refuse;

'That Thing which sure's of Chiefest Excellence,

'Next to Divinity's Preheminence;

'That Thing which in High Heav'ns Angelick Quire,

'Both Cherubins, and Seraphins Admire;

'That Thing in which th' Enthroned Hosts do Praise

'The Lord of Life, in Everlasting Layes;

'That Thing which all along in Churches Story,

'Both Jews and Christians us'd for God's (true) Glory:

'They knew 'mongst Arts no Better Art than This;

'No, none so Good to suit Heav'ns Mysteries.

[Page]This Art Excelleth All without Controul;

The Faculties it moveth of the Soul:

It stifles Wrath, it causeth Griefs to cease;

It doth excite the Furious Mind to Peace:

It stirs up Love, Increaseth Good Desires;

To Heav'n alone, its Center, it Aspires.

It kindles Heav'nly Raptures, and doth make

That Soul that's thus enflam'd for to partake

Of Heav'nly Joys. —

And canst Thou think that God made This for nought?

Or that Its Mysteries should not be sought,

But be neglected by His Chiefest Creature

Man?

Oh fie! Oh fie! Sure, sure The Wise Creator

Did not intend It so to be Neglected;

But by Thy wise Regard to be Respected;

And sought into; and Labour'd for; and Us'd;

But Great Care taken, Not to be Abus'd,

As 'tis too much by most: But Musick Right,

And Rightly Us'd, No better Soul's Delight.

These are such Certain Truths, none can deny;

The Scripture speaks them plain, much more then I.

Read, Read Those Sacred Texts ith' Margent Quoted,

1 Chron. 23.5, ch 25.7. Eph. 5.18, 19. Col. 3.16. Psa. 33. Psa. 45. Psa. 47. Psa. 81. Psa. 92. Psa. 95. Psa 96. Psa. 98. 1 Chron. 13.6, 7, 8. ch. 15-16, 28. 2 Chr. 29.25, 26▪27, 28. ch. 30▪ 21. Judg. 5. Ex. 15. Ezra 3.10▪11. 2 Sam. 6.5. 2 Chron. 5.12, 13, 14.

Then sure Thou'lt think Them worthy to be Noted;

If any Spark of Love-Divine be in Thee

Vnto God's Glory, doubtless then they'l win Thee

Not only to the Love of This High Art,

But also move Thee 'strive to bear Thy Part

In This so Heav'nly and sublime a Thing,

In which the Angels, and Archangels Sing

Eternal Allelujahs to Heav'ns King.

This out of Great-good-will to Thee I write,

Hoping it may help Tune thy Soul aright.

Read, Read Those Quoted Places; Read but Four,

And if Thou like them not, then Read no more.

The English & ye French Lute Joyned are Both wch haue made a Lute beyond Compare. The Lute Dyphone or Two Lutes in One.

Concerning this Instrument Reade Pag: 203.

[Page]The Second, and CIVIL Part: OR, The LUTE made Easie.
A Recreative Praeludium to This Work of the LVTE-PART. BEING A Dialogue between the AVTHOR and His LVTE: The Lute complaining sadly of Its Great Wrongs and Injuries. With something Remarkable adjoyning, in Reference to the Language of MVSICK.

[Page]

Author.

WHat makes Thee sit so Sad, my

Noble Friend,

As if Thou wert (with Sorrows) near Thy End?

What is the Cause, my Dear-Renowned-Lute,

Thou art of late so Silent, and so Mute▪

Thou seldom dost in Publick now appear;

Thou art too Melancholly grown I fear.

Lute.

What need you ask These Questions why 'tis so?

Since 'tis too obvious for All men to know.

The World is grown so Slight; full of New Fangles,

And takes their Chief Delight in Jingle-Jangles:

With Fiddle-Noises; Pipes of Bartholmew,

Like those which Country-Wives buy, Gay and New,

To please their Little Children when they Cry:

This makes me sit and Sigh thus Mournfully.

Author.

Alas my Dear▪ too sensible I am

Of thy Just Grief; Therefore I hither came

[Page]To Comfort Thee, if possibly I might,

And let Thee know, I mean to do thee Right.

Lute.

How can that be, since Fame has Cry'd me down

With That Fools-Bolt, I'm out of Fashion grown?

Author.

Fear Thou it not▪ for such a Course I'le take,

I do not doubt, Thee many Friends to make.

Lute.

I doubt it much, for several Reasons why;

I'm Injur'd not with One, but, Many a Lye:

Besides, I'm Tortur'd much with Fumbling-Fools,

And oft Abus'd by Bunglers, and Their Tools.

Author.

This is confess'd; All which I know, and more

Than Thou canst say, with what Thou'st said before.

There's nought of thy Concern but I it know,

And soon can 'spie Thy Friend out from Thy Foe:

Thou mayst not Thus Despair.

Lute.

Despair I do:

Old Dowland he is Dead; R. Johnson too;

Two Famous Men; Great Masters in My Art;

In each of Them I had more than One Part,

Or Two, or Three; They were not Single-Soul'd,

As most our

Some Pitifull thin Composers of This Age.

Upstarts are, and too too Bold.

Soon after Them, that Famous man Gotiere

Did make me Gratefull in each Noble Ear;

He's likewise gone: I fear me much that I

Am not Long-liv'd, but shortly too shall Dye.

Author.

Chear up, Brave Soul! And know that some there are

Yet Living, who for Thee will take such Care,

That Thou shalt be Restor'd Thy former Glory,

And be Eterniz'd to Eternal Story.

Lute.

I know I have some Friends which yet do Live,

But are so Few, can scarcely make me Thrive:

My Friend Jo. Rogers, He's The only Man

Of Fame; He'l do me All the Good he can:

But He grows Old now; has not long to stay;

And when He's gone, go Hang my self I may

Vpon the Willows, or where else I list,

And there may long enough so Hang, I wist,

Ere any Take me down.

Author.

Come, come forbear

Such Pensive Thoughts as These; Cast off Thy Fear,

And know, 'All Things their Revolution have;

'The Great Creator, He This Order gave

[Page]'To his Chief Workman Nature, that he should

'All Things in This same manner Turn and Fold

'Vpon that Wheel which ever turns them Rown,

'One while they're Up, another while they're Down:

'Tis now your Lot to be Below you see,

'But Up you shall again as Certainly.

Lute.

You speak some Comfort.

Au.

Doubt it not, I say,

It is so sure, as Night is to the Day;

True worth can ne're decay.

Lu.

I'm much Refresh'd; my Heart you hugely Chear:

But yet methinks I have some little Fear,

Because 'mongst all the Books of sundry Arts,

There's not One Book yet writ of my Deserts,

Which gives both Full and Certain Rules whereby

To be Assisting to Posterity

In my Beloved Art.

Auth.

'Tis true, 'tis so:

Now for Your better Comfort, you shall know,

There is a Friend of Yours, I'le not yet Name,

Is very Ready for to do The same;

And fully hath intended It shall be

Put into Print; the which e're long you'l see:

This for your Comfort take.

Lu.

I'm much Reviv'd:

But is It made, or yet to be Contriv'd?

Auth.

'Tis almost wholly made, and so near done,

As is the Day, near setting of the Sun.

Lute.

I joy, I joy; Chear up my Grieved Heart,

And all my Drooping Spirits, come bear a Part;

Vnite your selves in Chearfulness and Mirth,

Yet longing for That Day of our New-Birth.

Chorus.

We All Unite and Joyn in Joyfull Mirth,

And Long for That Good Day of our New-Birth;

In which we'l Triumph, in Harmonious Chear,

And keep That JUBILE-DAY Year after Year.

The Language of Musick confirmed.

BEloved Reader, you must know,

The Lutes Language.

That LUTES could Speak e're you could so;

There has been Times when They have been

DISCOURSERS unto King and Queen:

[Page]To Nobles, and the Highest Peers;

And Free Access had to Their Ears

Familiarly; scarce pass'd a Day

They would not Hear what Lute would say:

But sure at Night, though in Their Bed,

They'd Listen well what then She said.

She has Discourses so sublime,

No Language yet in Any Time

Had Words sufficient to define

Her Choice Expressions so Divine.

Her Matter's of such High Concern,

No Common Folks can It discern;

'Twas ne'er intended for the Rude

And Boisterous-Churlish-Multitude;

But for Those Choice-Refined-Spirits

Which Heav'nly-Raptures oft Inherits.

''Tis fittest sure for such as They

'Who Contemplate and Daily Pray;

'Who have their Souls Divinely Bent

'To Serve their God, with Hearts Intent:

'Such Students as These be can Spell

'Her meaning out; and oft can tell,

'By Her Inspiring-Influence,

'What is Her Choice Intelligence:

'Yet want they Words for to express

'Such Raptures as she doth possess

'Their Minds withall; and makes Them be

'Like Men Inspir'd, through Harmonie;

'This is no Fiction, but well known

'To Some, though not to Every one.

The various Capacities of Men.

But if you doubt of This, you may

Consider well All men how They

Are several ways Endow'd; some be

As 'twere Cut out for Mysterie:

Others again, so Hugely Dull,

That nought of Art comes near their Skull;

Yet He who e're had Ripest Wit,

And made the Highest Use of It

In Arts that e're was known; ev'n He

Came short of knowing Mysterie

[Page]In General: He had his Bound,

His Limitation sure He found:

And though the most He did Excell

In Chiefest Knowledge; yet to Spell

He must again; and shew that He

Is Ign'rant in most Things that be:

And very few attain so High,

To understand This Mysterie.

Yet that It may appear more plain,

I'le instance to you once again

In one Comparison, which You

Will not deny, but say 'tis True.

He who considers Right and well

The Language of Birds and Beasts.

How Beasts and Birds their Stories tell

To One another Certainly,

And yet no Words they speak Plainly;

But by That Language which is giv'n

The Language of Nature.

In Nature, (by Decree from Heav'n)

They Understand undoubtedly

Each others Speech, as well as we

Do our own Words, which we do say,

As by Experience see you may:

If you'l regard with stedfast Eyes,

And dive into such Mysteries,

You'l find that Nothing's Plainer then

That BRUTES have Speech as well as MEN.

A little further still I'le go,

And speak of what I cannot know;

Yet do believe it to be so,

And doubt not but you'l do so too.

Consider how that Spirits use

The Language of Spirits.

(Though not by Words) for to infuse

Their Meanings to each other so,

That Each, Each others Meanings know.

Though Words to Men a Language be,

Yet something else we may well see

Does do the Office of the same,

But not a Word, or Letter Name.

Why may not Lute then Tell to me,

The Consequence.

(Who know Her Hidden Mysterie)

[Page]Such Stories as I Understand,

Though some in Them are at a stand,

As to the Couchant Sence therein,

Being chiefly pleas'd with That sweet Din

Which Gratefull is to th' Outward Sence,

But wants th' Inward Intelligence.

To clear this by Comparison,

In Aptness here I'le give you One.

The Comparison made good from Divinity.

'Tis known even in Divinity,

There lies the self-same Mystery;

The outward Meanings many know

Oth' Texts oth' Scripture, and can shew

By words significantly good,

The proper Meaning understood

Of This or That Discourse; they'l tell

According to Right Reason well.

'Yet beyond This a Secret lyes,

'Hid from all outward Ears and Eyes;

'And's only to the Inward Sence

'Perceiv'd, by Divine Influence.

'This, True Divines can surely tell,

'Who by Experience know it well;

'There is an Inward Ear and Sence,

'Which is the very Quintessence

'Of Mans true Understanding Part,

'Not to be attain'd by Humane Art;

(Much less to be express'd,)

'But 'tis

Infus'd, or Inspir'd.

Innate, and to Him giv'n

'By God alone; (a Gift from Heav'n.)

I might from hence Long Stories tell,

But I will here no longer dwell;

I'le hasten to my Work away,

Only This One Thing I will say;

No LANGUAGE is of greater Force to me,

Than is the Language of LUTE'S Mysterie.

The Second Part. The LUTE made Easie.
CHAP. I.

[Page]

THat the LVTE was a Hard or very Difficult Instrument to Play well upon, is confessed; And the Reasons why, shall here be given: But that it is Now Easie, and very Familiar, is as Certainly True; And the Reasons shall likewise be given.

The First and Chief Reason that it was Hard in former Times, The first and Chief Reason why the Lute was Hard, by fewness of Strings▪ was, Because they had to their Lutes but Few Strings; viz. to some 10, some 12, and some 14 Strings, which in the beginning of my Time were almost altogether in Vse; (and is this present Year 1675. Fifty four years since I first began to undertake That Instrument.)

But soon after, they began to adde more Strings unto Their Lutes, so that we had Lutes of 16, 18, and 20 Strings; which they finding to be so Great a Convenience, stayed not long till they added more, to the Number of 24, where we now rest satisfied; only upon my Theorboes I put 26 Strings, for some Good Reasons I shall be able to give in due Time and Place.

Now (having but yet said so) I will Prove it very manifestly:Proved by Good Reason. Thus therefore;

To be expected to Perform much, and to be Confin'd and Limited to Straitness, or Narrow Bounds, certainly must needs be concluded more Difficult, than where there is Liberty, Scope, and Freedom.

This is the very Case between the Lutes of Former Times, and the Lutes of This present Age.

Yet a little more fully, especially to Those who are Vnexperienc'd in the Art or Instrument.

You must know, that he who undertakes the Lute, will meet with things becoming the Lute, viz. Composures of Parts, with much variety of Trebles, Basses, and Inner Parts.

All which upon the Old Lutes, by reason of the Fewness of Strings, was (really) extreme Hard to perform.

And from Thence chiefly did it derive the name of Hardness, Vulgar Errours continue long. or a Hard Instrument; which ever since (through the Ignorance of People) hath continued upon It.

Whereas Now, (on the contrary) as Really as it was Then Hard, so Truly is it become Easie, and very Familiarly Pleasant to the Learner, by reason of the Increase of Strings.

[Page] A Second Reason is, from the Workmen in those days.Secondly, The Work-men of Those Times did not Lay their Lutes so well, fine, and easie for the Fingers, as now by experience our late Work-men have been inform'd to Rectifie; which is a very great, yea a main matter in the Vse of the Lute. (A more particular explanation of This, shall be when I come to shew the whole Order of the Instrument.)

A Third Reason, from the Closeness of Masters.A Third and very Considerable Reason is, From the Closeness of Masters in the Art, who (all along) have been extreme Shie in revealing the Occult and Hidden Secrets of the Lute.

The French (who were generally accounted Great Masters) seldom or never would prick their Lessons as They Play'd them, much less Reveal any thing (further than of necessity they must) to the thorough understanding of the Art, or Instrument, which I shall make manifest and very plain.

Nor was there, nor yet is there Any Thing more constantly to be observed among Masters, than to be Very Sparing in their Communications concerning Openness, Plainness, and Freeness; either with Parting with their Lessons, or Imparting much of Their Skill to their Scholars; more than to shew them the Ordinary way how to play such and such Lessons.

This hath been, and still is the Common Humour, ever since my Time.

‘So that it is no marvel, that it continues Dark and Hidden to All, excepting some Few, who make it their Chief Work to Practise, and Search into its Secrets.’

‘Which when they have done, and with Long Pains, and much Labour obtained, THEY DYE, AND ALL THEIR SKILL AND EXPERIENCE DYES WITH THEM.☞’

‘So that the next Generation is still to seek, and begin again a-New, for such Attainments.’

‘Note, that rarely not above one or two Eminent Lute-Masters in an Age.And it may be noted, That seldome in an Age appears above One or Two who are Excellent or Rare Artists in This kind.’

‘So that (to Magnifie, and make Themselves more Illustrious) they keep All close to Themselves, communicating Nothing but upon a Pecuniary Account.’

‘This must needs make Easie Things Hard, and Long before they be known in a General way, so as they may become Easie.’

‘Whereas, if such knowing Masters, would be so kind to their Fellow-Creatures, as to Reveal and Discover their Knowledge and Experience (whilst They Liv'd) more freely, or at least leave it behind them to be published to the world for a Common Good after their Decease, it would much redound to the facilitating of the Art, and Gratifying of Posterity.’

‘Which by the Grace of God I will make my Business to do, according to my Best Abilities, and Vnderstanding in the Art.’

And if to th' Purpose it I shall not doe,

Say, Good-will was not wanting thereunto.

[Page]Thus much I think may be sufficient to gain Belief, that the Lute must needs have had such Impediments, by reason of which, it might well be accounted a Hard Instrument.

The which being taken away, I doubt not but it will appear both Easie, and very Delightfull.

Now I will give you some Reasons why it is become Easie;The first Reason why the Lute is become Easie, yet a seeming Riddle. and is, by the Increase of Strings; which (although it may seem a Riddle to some) is most True.

And here you must take notice, that when we say a Lute of 12 Strings, there are but 6; and likewise a Lute of 24 Strings, there are but 12▪ (as to substantial Vse.)

For we always Tune and strike two Strings together as one.

So that in the Old Time upon their Lutes of 12 Strings (as to use) they had but 6: Therefore were they constrain'd to extreme hard, cross, and wringing Stops, both above and below upon the Finger-board.

Yea, such Stops have I seen, that I do still wonder how a Mans Hand could stretch to perform some of them, and with such swiftness of Time as has been set down.

Whereas Now, by the Addition of six Ranks of Strings, All those hard cross-grain'd Stops are undone, and brought to a Natural Form, and Aptitude for the Hand; And are so very Easie, A Child in half an hour able to perform the hardest stops upon the Lute. that an Ingenious Child in half an hours time, may readily Form its Hand to the whole Number of Hard Stops, ordinarily in use, and generally Requirable for the necessary scope of Lute-play.

The which I shall most plainly Demonstrate, when I come to inform the Learner and set down the Rudiments thereof.

Again,A second Reason why easier, in 3 Respects. There is found by Experience a Better manner of Laying our Lutes, (as we term it) which is done, by causing the Finger-board, 1. to lye a little Round, or Vp in the middle; as also that the Bridge (answerably) rise a little Round to it.

Then 2dly. to lay the Strings so close to the Finger-board, that the Strings may almost seem to touch the first Fret. This is call'd Laying of a Lute Fine, when all the Strings lye near the Frets.

3dly. Laying the Ranks of Strings so carefully, that the Pairs may be conveniently Near, and the Ranks pritty wide.

By which means we have a more ready and certain Command over them, for neat and clean Play.

These things were not in the Old Lutes so regarded, as may still appear by many of Them, yet to be met withall.

‘The Instrument-makers were not Then acquainted with That Secret, which assuredly is such an extraordinary Great Advantage to the Hand; That if Two Equal Players of a years standing,Note. should either of them take up a several Lute, the one well Lay'd, and order'd as I have described; and the other Ill Lay'd, (as were generally the Old Lutes) it would be judg'd by their difference in Play, that the One having learn'd a Year, the Other had not learn'd above a Quarter.’

‘This I do assure you is a most Certain Truth.’

‘Therefore you may very well conclude from these Reasons [Page] only, there must needs be a Great Facility in Playing upon These Lutes of Our Time, Whence the name of Hardness is deriv'd. more than upon Those of the Old Time: From whence hath come, and still remains most Falsly, the name of Hardness.’

Now besides all These Reasons for Advantage and Easiness, (which I doubt not but do seem apparent to the Reader) being only in the Instrument, which Time and Experience hath reformed; It will not be unreasonable to conclude,Advantages from the Artist included. but that there are, or may be likewise several other Advantages from the Artist, whereby the Work may be made more Easie.

Otherwise we have laboured many years in Vain, which would be too great a Disparagement unto us of This present Age to be Guilty of; since it is generally seen and known, that in All Arts, Time and Experience finds out more Compendious and Ready ways to perfect and accomplish their Works in, than was known in the Beginning and Infancy of Arts.

Some of them named.I will nominate some Particulars here in reference to the Great Benefit of the Scholar, and towards the facilitating of the Work.

The First shall be, I would (by all means) that the Scholar be taught to String his Instrument, with Good and True Strings; also to Fret it, and to know when the Frets stand Right or Wrong, which may be easily and quickly done.

Secondly, That the Scholar be taught (so soon as possibly may be) to Tune the Lute, which likewise may in a reasonable Time be done.

A wofull mischief to Learners.For, the want of such Skill, is not only a great Discouragement to the Learners, and also a great Hindrance to their Proficiency; but is a Grand Cause of much Corruption of the True Distinguishing-Musical-Faculty of their Ear.

For, long and much use of Playing with an Instrument out of Tune, does habituate and wont them so to False Sounds, that at last they grow Careless, ☞ and scarcely ever after become Good and Accurate Tuners.

This I have prov'd by Experience.

The Helps to All This I shall set down in its proper place, when I come to Instruct my Scholar in the Documents of Lute-play.

CHAP. II.

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NOw after all this that hath been said, I cannot but hope that Those many False and Ignorant Out-cries against the Lute will be laid aside, and deem'd (as indeed they are) False.

I will here Name some of Them;

First, That it is the Hardest Instrument in the World. Common Aspersions upon the Lute.

Secondly, That it will take up the Time of an Apprenticeship to play well upon It.

Thirdly, That it makes Young People grow awry.

Fourthly, That it is a very Chargeable Instrument to keep; so that one had as good keep a Horse as a Lute, for Cost.

Fifthly, That it is a Womans Instrument.

Sixthly, and Lastly, (which is the most Childish of all the rest) It is out of Fashion.

I will here give a short (but True) Answer to each of These Aspersions.

And as to the First, viz. that it is the Hardest Instrument, &c. The first Aspersion answered. I suppose my former Reasons may sufficiently convince any Reasonable Person of the contrary; However (in that This is the main Objection) I will spend a little more labour against it, than against any of the Rest; And doubt not but so clearly to Rectifie that Errour, that whosoever will rightly consider what I shall here write concerning it, will never more give Credit to that Flim-Flam-Ignorant saying of the Vulgar.

To which purpose I will make a Comparison betwixt the Lute and the Viol.

The Viol is confess'd to be a Plausible Instrument;The Lute is prov'd as Easie, as is the Viol, by Reason. and no Affrightment to any Person to undertake it; and in a short time they do much upon it.

Now that the Lute must needs be so Easie as the Viol, examine them Both after This Right manner, by way of Comparison; not comparing the Musick of the one with the Musick of the other, for that is confess'd by All in General, that the LUTE IS THE RAREST AND MOST EXCELLENT PORTABLE INSTRUMENT IN THE WORLD, but barely as they are Instruments, and as to the performance upon either.

And in such a Comparison we must consider,What makes an Instrument of Strings hard or easie. what it is that makes an Instrument of Strings Hard or Easie.

The Answer to which must be, The Number of Strings, and the Grasping, or Stopping of That Number. Well then;

The Viol hath six Strings, The Comparison between the Lute and the Viol. which are all used in Grasping or Stopping.

The Lute likewise hath but six Strings, which are used in Grasping or Stopping; For although it have 12 Strings, all the other Ranks of Basses are not used at all in Stopping: But only struck open with the Thumb, which serve both to Amplifie the Harmony, as also very much to facilitate the Stops or Grasps of those other six Strings.

[Page]Now if This be True, (as I appeal to All the Experienc'd Men in our Quality, whether This be not Truly declared;) How then must it not needs be, but that the Lute is as Easie as the Viol?

But to This I know it will be presently objected, That Those Basses are very Hard to be Hit, so that the Lute must needs be Harder thereby.

To which I answer, No. But on the contrary, the Lute-play is made far more Easie (in its general scope) thereby, as I shall make appear.

Now therefore that you may perceive what an Easie matter it is, (viz.) to Hit those six Basses, (which Thing in all my whole Progress of Teaching (Young or Old) seldom or never was above One quarter of an Hours work;)

And to make you understand the Easiness of it, consider it thus, in a plain and homely Comparison, viz.

An apt Comparison.Suppose you had Fix'd before you upon a Table, six or seven Ranks of Strings, in that nature as Country-People (many of them) have at the end of some Cupboards, fastned on with Nails at each end; And so, lifted up a little from the Table or Cupboard with small Stones or Sticks, to cause them to rise and sound from the Wood.

How easily, I say, could not any Ingenuous Child strike Those six or seven Ranks in Order; First as resembling the Bells, and then with as little trouble strike them out of Order into Changes; And so presently be able (looking off) to do the same? I say, He or She who could not do such a thing pritty perfectly in less than a quarter of an hour, either would have a very Ill opinion of Themselves for Blockishness or Doltishness, or had cause enough so to have.

Now the Truth is, those six Ranks of the Lute Basses (which are never stopt) have no other manner of use than those upon the Country-Peoples Cupboards.

Nay it shall appear, they must needs be Easier to Hit certain than such like of the Cupboard; because the Country-People do it without a Rule (and yet by Habit) well enough; whereas we have an Infallible Rule by which we can scarcely miss, except on purpose; which is, the setting down of the Little Finger in a certain place by the Bridge, so that with opening the Hand by way of Span, we ascertain our selves (after a little use) with the Thumb to reach to what Bass we please, without the least impediment to any our other Performances.

And now methinks I hear some say, you will make the Lute too Easie, if you go on in this manner.

Half the Performance of the Right HandWhy, truly I cannot tell how to speak otherwise than True: It is even so, and no otherwise; And which to do, is Half the performance of the Right Hand; And the other Half, which is to be performed with the Two Fore-fingers, is (upon the matter) as Easie, The whole. if not Easier: So that there you have Half Lute-play already set forth.

But I shall begin my Work out of Order; therefore I will break [Page] off This Discourse, and desire your Patience till I come orderly unto it; And then if you will but give me the Attentive Reading, as also laying what you read to your Reason and Consideration, I do not doubt but I shall be the occasion of many Good Lutenists.

Now by what has been here declared,Several Aspersions against the Lute answered. how can any Rational man think the Lute the Hardest Instrument in the World? or that it is not, as I have explain'd it to be, Full as Easie as the Viol?

I wish I were to try it out with any man for a Considerable Wager, to see what we could bring a couple of Scholars unto (one upon the Lute, and the other upon the Viol) in the space but of one Quarter of a Year.

But here I desire that none will make a Bad Construction of This my seeming Challenge; For I Challenge None: neither will any, I hope, take it as an Affront, for truly I mean no such thing; But only for the Lutes sake, I say, If I were Challeng'd in such a way, to try if I would make Good what I have thus set down here concerning the Lute; I should very gladly imbrace the Challenge, (as I said) for the Lutes sake, and the Lovers thereof, that it should be seen I do affirm nothing, but what I would make Good by such an Adventure.

Thus much against the First Aspersion, viz. That the Lute is a Hard Instrument.

That the Lute will take up the Time of an Apprenticeship, The second Aspersion, and the Answer to it. before one can Play well upon it, is a very False Aspersion, and a manifest Injury done both unto It, and to all the Lovers of It: As by many years Experience I can Justifie, and by eminent Performances upon that Instrument by divers very Worthy Persons; several such at this present remaining in our University of Cambridge, who have not been at It from their first undertaking yet a full Year; and in one Quarter of a Year could play extremely well, even to Admiration.

I shall forbear here to Name Them, lest I may (in so doing without their consent) give an occasion of Offence.

However in that This may be taken as an Excuse, and in that I have undertaken to prove the Falsity of the Lutes Aspersions, I will take the liberty of naming One Person as a sufficient proof to this purpose, who is my Youngest Son, (named John Mace;A most absolute and sufficient proof of the Lutes easiness, &c.) And has very lately undertaken both the Lute and Viol, contrary to my expectation or knowledge, till of late; nor have I Assisted Him much in either, since I knew His drift.

But as to His Performance upon the Lute, I do here most solemnly and really affirm, I have not taught him, nor spent so much time with him in the way of teaching, as in the whole (since his first beginning with it) will make up the quantity of one Day; (if I should say half a Day, I am assured I Lye not.)

The Chief Advantage he has had towards it, This was writ in the year 1672. has been the Perusal of This my Work since I made it: And at Christmass last was a Twelve-month, viz. 1671. there was not one word of it writ; but since that time wholly Compos'd thus as you see.

[Page]This Young man (my Son) has been indeed very Inquisitive concerning the Nature of my Work, and has so far Div'd into It, as (to speak modestly, yet truly of him) I believe he understands it so sufficiently, and has gain'd a Hand upon the Lute so Notably, for his short time of Inspection, that let whomsoever please (to inform Themselves of the Truth of what I have here writ) Call him out for My Witness; who I hope (and doubt not but in a short time) will make as Able a Master-Teacher both upon the Lute and Viol, as need to Vndertake Them.

I must be Pardon'd for This my so strange, and seeming-Boasting way in His Commendations; yet I neither Boast, nor purposely speak in His Commendations; only for the Lutes, and Truths sake, (having, amongst many, none I may make so bold with as I may with Him) I do in this manner attest (by This Proof) the extreme Falsity of This second Aspersion upon It, viz. That One must be an Apprenticeship at It before they can Play well: which is so absolutely False, That I do still affirm, that an Ingenuous Child may be made to Play very well in one Quarter of a Year.

Let thus much suffice to Contradict so Gross a Mistake.

The third Aspersion answered.The Third Aspersion upon the Lute is, That it causeth Young Folks to grow awry.

To This I can only say, That in my whole Time I yet never knew one Person, Young or Old, that grew Awry by That Vndertaking.

Yet do believe it is possible, if (through their own Negligence, and their Teachers Disregard, and Vnskilfulness) they be suffer'd to Practise in an Ill and wrong Posture.

So may they do by several other Exercises and Imployments, (which is often seen.)

But let Them be first set Right to the Lute, according to such Directions as hereafter I shall set down, it shall be impossible for any Person to grow Awry by Lute-play.

This Aspersion I doubt not but will appear False, like All the Rest, when you shall (with your Reason) consider of the Exactness of my Rules and Order.

The fourth Aspersion answered. That one had as good keep a Horse (for Cost) as a Lute, is the Fourth Objection.

This likewise is so Gross an Errour, that I have disprov'd it all my Life long; and which All my Scholars will affirm, if need were; of whom I never took more than five shillings the Quarter to maintain each Lute with Strings; only for the first Stringing I ever took ten shillings.

I do confess Those who will be Prodigal, and Extraordinary Curious, may spend as much as may maintain two or three Horses, and Men to Ride upon them too, if they please.

But 20 s. per Ann. is an Ordinary Charge; and much more they need not spend, to practise very hard.

The fifth Aspersion answered.The Fifth Aspersion is, That it is a Womans Instrument.

If This were True, I cannot understand why It should suffer any Disparagement for That; but rather that It should have the more Reputation and Honour.

[Page]I suppose I need not make any Arguments to prove That.

But according to Their Sence of Aspersion, I deny it to be a Womans Instrument so, as by That means It shall become less Fit for the Vse of a Man.

For if by That Saying They would insinuate, That it is a Weak, Feeble, Soft Instrument, as to the sound; what can that signifie whereby to make it a Womans Instrument more than a Mans?

But whereas first they say, It is the Hardest Instrument in the World; That shews They Contradict Themselves in This particular; and conclude by That Saying, It cannot so properly be called a Womans Instrument, in regard They are the Weaker Vessels; and therefore not so Fit to set upon and attempt the Mastery of Things of such Difficulty.

Therefore if still They will needs put it upon the Woman, I say, the more shame for Them; And so much for That.

Now Lastly, whereas They most Sillily say, It is out of Fashion. The sixth Aspersion answered.

I say, the Greater Pity, and still the Greater shame for a Man to Refuse the Vse of the most Excellent Thing in Its kind; and especially, Because it is out of Fashion! which, although it be Thus Aspers'd, (as I have here mentioned) by the Ignorant and Inconsiderate, yet notwithstanding It has This General Applause and Praise, viz. THAT IT IS THE BEST MUSICK IN THE WORLD.

This is acknowledg'd by All who are men of Knowledge and Experience in the Art, (unprejudic'd;) and if together with This so High, so True, so Deserved and most Vncontroulable Commendations, it shall also appear (by This my Faithfull and Well-intended Work) Easie, yea Very-very Easie; there is no doubt but It will come into Fashion again with All wise Folks.

Thus having (I hope) to full satisfaction explained the Matter, I doubt not but the Lute henceforward will be more look'd after and esteemed than of late years it has been.

I will now draw nearer to The Work it self, and provide my Scholar with a Fit and Good Instrument.

CHAP. III.

[Page]

First provide a good and fit siz'd Lute.THe first thing to be thought upon before you begin to Learn, must be to get a Good Lute, and of a Fit Size for your Hand: In reference to which I shall give this Advice, by These Directions following.

A common Errour in Learners.It is very usual with many, at the first to make shift with almost any Instrument for a Tryal, (as they say) be it never so Bad or Vnfit.

Now I must assure Them, who do so, do themselves much Wrong, and to their great prejudice; as by Experience I have proved.

For I have known some Young Persons so Discouraged, under the Sence and Inconvenience of a Bad and Ill-contriv'd Instrument, that in short time they have grown Out of Love with their Vndertaking, and have indeed been so quite Discouraged Thereby, that they have wholly left it off, and never Return'd again; whereas others on the contrary, who have had Apt and Good Instruments, have come on exceeding Delightfully to Themselves, their Teachers, and Others.

I shall therefore advise All Learners, At First to provide them with Good Instruments; and then they will proceed Chearfully.

How to know and chuse a good Lute.Now to know a Good Instrument, is something Hard for a Young Scholar; therefore he must take the Advice of some Friend who hath Skill. Yet for his better Information, I shall give him some General Hints and Signs how he shall know a Good one.

First, know that an Old Lute is better than a New one: Then, The Venice Lutes are commonly Good; which you shall know by the writing within, right against the Knot, with the Author's Name.

There are diversities of Mens Names in Lutes; but the Chief Name we most esteem,Laux Maller Lutes the best. is Laux Maller, ever written with Text Letters: Two of which Lutes I have seen (pittifull Old, Batter'd, Crack'd Things) valued at 100 l. a piece.

Mr. Gootiere, the Famous Lutenist in His Time, shew'd me One of Them, which the King paid 100 l. for.

And Mr. Edw. Jones (one of Mr. Gootiere's Scholars) had the other,A true Story of a Lute. which He so valued; And made a Bargain with a Merchant, who desired to have It with him in His Travels, (for his Experience;) And if He lik'd It when he returned, was to give Mr. Jones 100 l. for It; But if he Refus'd it at the Price set, he was to return the Lute safe, and to pay 20 l. for His Experience and Vse of It, for that Journey.

I have often seen Lutes of three or four pounds price, far more Illustrious and Taking, to a common Eye.

Therefore I say, it is a Difficult Thing for an unexperienc'd Person to Chuse a Good Lute.

The next thing to be observed is, the Shape of the Lute.

[Page]The Shape generally esteemed, is the Pearl-Mould;The best shape of a Lute. yet I have known very excellent Good Ones of several Shapes or Moulds: But I do acknowledge for constancy, the Pearl-Mould is Best, both for Sound, and Comliness, as also for the more conveniency in holding or using.

Then again observe the Number of Ribbs.

The Compleat Number (most esteemed) is Nine;How many Ribbs best. yet there are very Good Ones of several Numbers.

Next, what Wood is Best for the Ribbs.

The Air-wood is absolutely the Best. What Wood best.

And next to that, Our English Maple.

But there are very Good Lutes of several Woods; as Plum-Tree, Pear-Tree, Yew, Rosemary-Air, Ash, Ebony, and Ivory, &c. The two last (though most Costly, and Taking to a common Eye) are the worst.

Next, observe the Colour;What Colour best. which is the Dark-black-reddish-Colour; though I believe it contributes nothing at all to the sound; only the Best Authors did use to lay on That Colour, especially Laux Maller.

Thus much for the Choice of your Lutes by the Back-sides.

Then for the Bellies, The choice of the Belly of a Lute. make choice of the finest-grain'd Wood you can, free from Knots or Obstructions, which you may easily perceive to hinder the Grain of the Belly for Running smooth to your Eye, as it were by small Strings or Threads of Wood from the Bridge upward, &c.

The Best Wood is call'd Cullin-cliff; and is no other than the finest sort of Firr, and the choicest part of That Firr.

I have seen some of Cyprus very Good, but none like the Cullin-cliff.

The Knot or Rose in the Lute Belly, would be little, The Knot or Rose. and smoothly cut.

If there be any Cracks in Back or Belly, let not them trouble you, except They be Cross-wayes; Those are to be disliked: But if Long-wayes with the Grain of the Wood, it makes no great matter, so as they be neatly and well glewed together again.

And before you part from the Belly, The Barrs. try whether the Barrs (which are within to strengthen and keep It straite and tite) be all fast; which you may do, by gently knocking the Belly all along, round about, and then in the midst, with one of your Knuckels; and if any thing be either loose in It, or about It, you may easily perceive It, by a little Fuzzing or Hizzing; but if all be sound, you shall hear nothing but a Tight-plump and Twanking-knock.

Then lastly about the Belly, see that the Bridge be close, The Bridge, and its dangers. Trimly and firmly Glew'd to the Belly, without any the least sign of parting: For if it begin never so little to part, you shall be sure (the next moist season, if you leave it abroad, especially in a damp room) to have It come off, and so endanger the Belly, in bringing some part of It along with it, which is a common decay in many a Good Lute.

[Page]After you have thus survey'd the Back and Belly, cast your Eye up towards the Neck and Heads;

The length and thickness of the Neck.And in the Neck observe the Length thereof, which you shall know to be Good or Bad, according to the Number of Frets It carries: If it carry less then Nine, it is too short; and if more, it is too long: Therefore Nine is esteemed the Best Number of a True-siz'd Neck.

Yet I had rather have a Neck too long, than too short:

For if it be too long, (in which are two Inconveniences, viz. the one will cause Strings to break too fast, the other makes the distances of the Frets too wide) I can cut that Neck shorter, without any Inconvenience at all to the Instrument; But if it be too short, there is no Handsome Remedy but to have a New Neck.

Again, the Neck would not be over Thick or Gouty, to cause too great an Extention in the opening of the Hand, in the Grasp or Vse of It; which will be unpleasant to the Practitioner.

About an Inch Thick at the first Fret, is a good scantling for an ordinary siz'd Lute, and so increasing in Thickness almost insensibly down to the last Fret.

But for my own part, I did not care how Thin it were, provided it were so strong, as (by the strength of the Strings pulling) it did not come forwards, by which means many a Lute is caused to Lye too Course.

The Finger-board to lye Round.The Finger-board is the next thing to be minded; which would be made of Hard Wood, of which Ebony is both Handsomest and the Best.

See that it be not Joynted or Pieced upon the very Edges, which if they be, (as sometimes they are) will hinder the Frets from running smoothly, when you have occasion to put them on, or move them.

Again, observe how It lyes, whether Flat, or a little Round under the Frets, from the Treble to the 5th. or 6th. Strings.

If it lye Flat, it lyes Not well; which was the General Fault of the Old Work-men a hundred years ago, and since; till of later Times we find that a Round-laid Finger-board, is a Great Advantage to the easie stopping of a String, especially in Cross-stops.

The two Heads.The next things you are to view are the Two Heads, the one Turned back, which must carry 16 Strings, (accounting the Treble Peg double) and the Vpright Head must carry 8; all which make a 24-Strung-Lute.

The more neat Those Heads are wrought, the more Commendable; Yet they adde nothing to the Sound, but it is the Back and Belly, which Principally give the Sound; and we use to say, the Belly is the Chief producer thereof.

The Pegs the greatest trouble about an Instrument.Then look well unto the Pegs, that They be Truly Fitted; for if They be not, you will find more Trouble by reason of Them, than by any other Thing about the Lute.

The first thing you must observe is, whether They be exactly Fitted at both ends, that is, that they Bite equally stiff at both Holes; for if they be slack at one Hole, and stiff at the other, they [Page] will constantly be slipping, and so the Tuner loseth much Labour and Time.

And you must know, that From the Badness of the Pegs, arise several Inconveniences;

The first I have named, viz. the Loss of Labour. 7 Inconveniences attending them.

The 2d. is, the Loss of Time; for I have known some so extreme long in Tuning their Lutes and Viols, by reason only of Bad Pegs, that They have wearied out their Auditors before they began to Play.

A 3d. Inconvenience is, that oftentimes, if a High-stretch'd small String happen to slip down, it is in great danger to break at the next winding up, especially in wet moist weather, and that It have been long slack.

The 4th. is, that when a String hath been slipt slack, it will not stand in Tune, under many Amendments; for it is continually in stretching it self, till it come to Its highest stretch.

A 5th. is, that in the midst of a Consort, All the Company must leave off, because of some Eminent String slipping.

A 6th. is, that sometimes ye shall have such a Rap upon the Knuckels, by a sharp-edg'd Peg, and a stiff strong String, that the very Skin will be taken off.

And 7thly. It is oftentimes an occasion of the Thrusting off the Treble-Peg-Nut, and sometime of the Vpper long Head;

And I have seen the Neck of an Old Viol, thrust off into two pieces, by reason of the Badness of the Pegs, meerly with the Anger and hasty Choller of Him that has been Tuning.

Now I say that These are very Great Inconveniences, and do adde much to the Trouble and Hardness of the Instrument.

I shall therefore inform you how ye may Help All These with Ease; viz. Thus.

When you perceive any Peg to be troubled with the slippery Disease, assure your self he will never grow better of Himself, without some of Your Care; therefore take Him out, and examine the Cause.

For there are Three Causes of a Pegs slipping;Three Causes of a Pegs slipping.

The One is, the not equal Fitting or Biting at both the Holes; therefore you must observe at which Hole it bites least; for if it bite hard at the wide Hole, which is the thickest part of your Peg, The first Cause. and slack at the other, then your String will constantly slip down, so soon as the Peg or Hole is worn smooth.

But if it bite hard at the small end, and slack at the great, it will not so often slip, but many times cause your Peg to twist in pieces.

Now the Remedy for all this, is only to scrape the Peg a little smaller at the end which is too Thick, so long, till upon Tryal you find that It bite at both ends a-like.

Another cause of a Pegs slipping is, when both ends are equal,The second Cause. yet both the Peg and the Holes are worn smooth, (being made of soft Wood;) wherefore so near as you can have all your Pegs of Hard Wood, (and without Sap) as of Plum-Tree, Box, or Ebony, &c.

[Page]The Remedy for This Inconvenience, is only to scrape the Peg at both ends a little, and then rub it at the two biting places with a piece of Chalk, and then▪ It will stick fast.

The third Cause.A third and very Common Cause, is from the putting on of the String, which although the Pegs be never so well Fitted and Good; yet if the String be put on so, that in the twisting about the Peg at either end, the String lye too near the Cheeks of the Pin-holes, it hinders the Peg from biting.

And I have often seen some Fumblers, Fret and Vex Themselves a quarter of an hour or more, to fasten such a Peg, and when 'twas done, by and by slip again; And so Ignorant have They been of the Cause, that they have not so much as try'd to see if it might be mended, but Cry out, Oh here's a base Peg, or something like it.

Now the Remedy for This is the Easiest of all, and lies only in the Care of the Putter on of the String, to see that it lye wholly Clear from both the sides.

And take This Rule along with you, never to twist too much String upon the Peg.

The common Destruction of a good String.This fault of the Putter on is very often the Destruction of a Good String, than which, a man had better sometimes lose a Shilling: For the Trebles, and Seconds, (which are the most Chargeable and Breaking Strings) come where you will, you shall find Them most commonly close and hard wound up to the Cheek of the Peg-holes, by which means the String is so pinch'd and squeez'd, that it is not Long-liv'd after; And then they Cry out, Oh these are base rotten Strings, &c.

I have insisted the longer upon These Inconveniences of the Pegs, because I know they are so generally Common: And indeed if regarded, they will contribute much ease and pleasure to All, but especially to Learners.

I have now run through all the particular parts of the Out-side of the Lute, excepting the Five Nutts, which the Strings lye upon; And on purpose I have let them alone till Now in the last place, because they so necessarily relate to the Stringing of the Lute, which is the next thing to be done.

The ordering of the Five Nutts.And as to Those Nutts, there is not much to be said concerning Them; yet so much, as cannot be left unsaid without a Great Defect to the Business.

First then, they are most generally made of Ivory, (which is Best) and do require a Curious Care in the accurate Laying, and Notching of Them, according to the right Distances between Ranks and Ranks, Pairs and Pairs; A Rule for which take Thus.

First you must lay your Long Nutt (which must carry seven Ranks of Strings, besides the Treble String) in a Notch cut out of the Plate of the Finger-board, fit for Its proportion, and so neatly, that the Top of the Neck of the Lute, and the Top of the Nutt, may joyn equally-even in all that same length, to the end that the Strings which must be twisted upon the Pegs, may lye smooth upon that part of the Flatness of the Neck, immediately joyning to the Nutt; [Page] which will secure the Strings from being Cut with the sharpness of the Edge of the Nutt.

Then after it is thus Truly Layd, you must cast for the True Laying and Dividing the Ranks of the Strings.

To the doing of which, you must first of all take a Treble String, The best way to Rank the Strings truly. and fasten it in the first Hole of the Bridge, (which is for the Treble String;) then bring that String up to the Treble Nutt or Peg, and there hold It in your Left hand in such a place, as It may lye all along within a little less than a quarter of an Inch of the out-side of the Finger-board; and when it so lyes, take a Knife and make a little impression upon the Nutt, just under the String, which must serve for your Mark, and must afterwards be Filed down deep enough for the String to lye in: But let that alone till you have first marked the Places, for all the Strings to lye in; which may be done with a Pencill, or a Pen and Ink.

After your Treble Notch is thus marked, then put on your eighth String (next) upon the Bridge, and draw it up to the other end of the Nutt, as you did the Treble, and so make Its mark.

Thus then having the Two Extremes of your Nutt, it will be easie to mark out the Places for all the rest proportionably.

Yet observing, that the Pairs of the 2ds, 3ds, 4ths, and 5ths, would be a very little closer together, than those of the 6ths, 7ths, and 8ths. The reason I give is, because they are always in the use of stopping, and so may the more easily be stopp'd close, clean, and sure, than if they lay wider.

But here you must Note of what Length the Nutt should be.

The Length of the Nutt of a Full-siz'd Consort Lute, Of what length the Long Nutt should be. fit for a Mans Hand, or a Womans, would be just Two Inches, quarter and half quarter long; and in a Nutt of This proportion, you will have full scope and freedom to lay your Strings so conveniently wide, that they shall all speak Clear, and your stopping will be very Roomey and Large; which is a mighty matter for Clear and Good Play: Yet too much Room is an Inconvenience.

But upon Little-siz'd-Lutes, for Children, or the like, the Nutts must be shorter, according to Discretion and Proportion.

Thus when you have Mark'd, and Rank'd all your Strings, and that you see the Distances please you well, then take off your Nutt, and with a fine smooth File, cut the Notches to a convenient depth, so that all your Strings may lye at an even and equal height, from the Finger-board, which would be about the thickness of a Half-Crown, or a little more; and will be a convenient Height to let the Strings have scope enough to whirle about with clearness of Sound, and not to touch the First Fret.

There is one thing more concerning the Shape of the Nutt, Note a great Conveniency towards easie Play, by the Shape of the Nutt. very considerable, for easie and neat Performance in Lute-play; viz. that Care be taken to File the Nutt thinner a little towards the 3ds, 2ds, and Treble, than it is in the farther part: The Player will find much advantage in his Play by this very Observation.

Then, when your Long Nutt is thus far in Order, you must take It and Pollish It very well, (but especially the Notches;) the [Page] which to do is Thus; How to Pollish the Nutts. viz. take a piece of New Neats-Leather, and a little scrap'd Chalk wet in Spittle, which with good Pains must be Rubb'd so long, till you be assur'd that the Notches at the Bottom be very Smooth and Glib, so that the String in the winding up may have no Impediment either in Gauling, or in Sticking fast in the Nutt, which are very Common Inconveniences, to the Loss of many a Good String.

Clear it with a Dry Linen Cloath.

This being done, you may proceed to the Stringing your Lute, which must have a Peculiar Direction.

Let your Four little Nutts alone, till you have Strung so far.

All These Things which I have set down, (although I say you must do Thus, The Reason of the necessity of knowing these Things. and So) are not properly a Work for You to do, (except you will be Ingenuous and Mechanical) but for the Instrument-Maker; And when ever you Buy a Lute, it ought to be Thus Fitted: Yet because I know that sometimes Work-men are Careless, and suffer Instruments to go out of their hands Defective in many such respects; and also that I would have you able to Judge of These so necessary Concernments, Therefore I have Thus given you Information, that thereby You may have any thing amended, before it comes out of their Hands.

As also, that many times you living in the Country, far from Work-men, may either Your self be able to mend any such Fault, or give Directions to some Ingenuous Country Work-man to assist You Therein.

CHAP. IV. Concerning the Mechanical Order of the LUTE.

ANd now I talk of living in the Country, it puts me in mind of One very needfull Thing, which whosoever lives far from Work-men, and keeps a Lute, cannot be without the knowledge of, without extraordinary Inconvenience; which is, How to take off a Lute Belly, and set it on again Compleatly, and is a Great Curiosity to perform well and neatly.

A Lute Belly often in need to be taken off.And you must know, that once in a Year or two, if you have not very Good luck, you will be constrained to have It taken off.

Because the Belly being so very Thin, and only supported with six or seven small weak Barrs, and by the constant stretch of the Strings, (which is a Great strength) the Belly will commonly Sink upon the First Barr next above the Bridge, but sometimes upon any other, and so cause It to let go Its hold at the ends of the Barr, and then your Lute will Jarr, and Grow unpleasant.

And if it be not timely amended, worse Inconveniences will follow, which may endanger the spoiling of the Belly.

[Page]Therefore when ever a Barr is loose, let it be quickly amended, or presently set your Lute down to a Lower Pitch, or untwist your Strings, and Lay it by, till you can get It mended.

Now therefore that you may know how to Help your self, by your self, or by your own Directions to any Country Work-man, as need shall be; I will shew you; and give you a Reason why.

For I have known a Lute sent 50 or 60 miles to be mended of a very small mischance, Danger in sending a Lute far to be mended. (scarce worth 12 d. for the mending) which besides the Trouble, and cost of Carriage, has been Broke all to pieces in the Return: So, farewell Lute, and all the Cost.

This Thing therefore which I am about here to set down, is of such absolute Necessity, that 'tis fit for all Persons who keep Lutes, to be acquainted with it.

The way unto it is Thus:

First,Implements fit to be had always in readiness. 1. A Glew-Pot. 2. Glew and Izing-glass. you must be provided of some certain little necessary Instruments or Tools, fit for such an Vndertaking.

The first may be a Glew-Pot, of about a Pint, made of Lead.

2dly. Have ever in readiness some of the Clearest and Best made Glew, together with Izing-glass, (both which mixt together make the Best Glew.)

3dly. Let your Smith make you a Four-square Iron, 3. An Iron. about the length of your Middle Finger, and about three quarters of an Inch square, Filed flat and smooth at one end, and at the other let there be a long Shank (much like to a Steel-stick, but Thicker) with a sharp end to run into some Handle of Wood, to hold it by; but if you had two of These, the other about a quarter so thick, it were better for some small uses.

4thly. You must have a Curious sharp Chizzel, 4. A Chizzel. about an Inch broad; but if you had two or three, you would find conveniency by them, some broader and narrower.

5thly. A little Working-Knife; such, 5. A Knife. are most commonly made of pieces of Broken-Good-Blades: One of them fastned into a pritty Thick Haft of Wood or Bone, leaving the Blade out about two or three Inches, and then Grind it down upon the Back to a very sharp Point, and set to a Good Edge, it will serve you for many Good Vses, either in Cutting, Carving, making Pens, &c. which is called a Working-Knife.

The 6th. is, a little Three-square File, 6. A File. which must serve to make Notches in the Nutts, or Ruff and fit the Pegs, as need shall require.

The 7th. and last is an Aul, a pritty strong and straight one,7. An Aul. which you will find a necessary use of.

These seven Implements will take up no great matter of Room in the Corner of any Gentlemans Study, being all put up in one little Box, so that at any time they may be in readiness, and not to seek.

I would have added unto them a Whetstone, of a fine and smart Gritt; for your Chizzel and Knife must always be kept very sharp.

And being Thus Accommodated, you may (when occasion is) fall to work on This manner; viz.

[Page] Preparations towards taking off the Belly.First, untwist your Strings, only so much, as you may have Liberty to take them from the Bridge; which when you have done, draw those of the first Head all together through your Hand, and twist them about that Head and Pegs: Then take the other four Ranks of Basses, and do the like with them, amongst the Peg's of the Long Head.

This being done, your Strings will be safe, and well out of your way, and ready to find their Places in the putting on again.

If any of your Nutts fall off, you must be carefull they be not Lost.

How to take off the Lace.Proceed next to the taking off the Lace, and if it be a Parchment, you may be the bolder with it, and never fear the spoiling it, for you must have a New one put on.

But if it be Silk or Silver, and that it shall serve again, take This Course with it:

First, have a Dish of Water, and set it close by you upon a Table, and with a Linen rag, (wet in the water) anoint (as it were, or bedabble) the Lace all over, about half a quarter of an hour together; and then warm all your Lace over with your Iron, being red hot, drawing your Hand slowly and closely, from place to place, till you think the Lace is hot quite through, (but take heed of Burning) and when you have so done, you may take the Lace at one end, and draw it off, so easily as if It had never been Glewed, without the least damage to your Lace at all.

How to take off the Belly.This being done, Attempt the Belly after the same manner, but yet with more Caution: And as you used the Lace with your wet rag, so use the Edge of the Belly all over where the Lace was, (but with more Time, at least a quarter of an hour) and especially That uppermost flat-narrowest-part of the Belly next the lowest Fret, (at least an Inch and a half) for that part lyes Glewed upon so much of the Finger-board, and will ask good Suppleing with Water and Heat, before it will yield.

Thus when you have well Suppled It, take your Red hot Iron, and heat it very well all over, till you think the Glew within is dissolved.

Then take your Little Working-Knife, and begin to try to get it between the Belly and the Back, Note. at the Bottom first; at which place take notice that the Belly lies upon a Flat, about a quarter of an Inch, the whole square of the Bottom; so that you must put in your Knife accordingly.

And if you have Wetted, and Heated enough, your Knife shall find an easie Entrance; which if you find not, Wet and Heat that part still again where you are at work, till you perceive it will willingly yield to the gentle force of your Hand and Knife: So when that Flat bottom is opened; Wet and Warm again a little further upwards (an Inch or two) well, and then put in your Knife again, and when you feel a Barr, then get your Knife under that Barr, and so gently force it, till you perceive It loose. And so from Barr to Barr, till you come to the Top-broad-flat-place; The which place you must again Wet and Heat very well and thorowly, and then [Page] taking the bottom of the Belly (which is loose) in one hand, and the Neck of the Lute in the other, you will find (with a little forcing) that it will come off very readily; but if need be, you may take a broad Meat-knife, and getting it underneath within, help it to part by degrees.

And now your Lute is quite undone, The Lute undone. you must get it mended again as well as you can.

A Carefull Messenger to London will do very well; a convenient Box, and an Easie-going Horse, or a Coach, will be very needfull; for 'tis in a wofull Pickle; a man would scarcely think it would ever come to good again: Well, fear it not.

And now because I have been an occasion why 'tis brought to This pass, and also that 'tis pitty a Good Instrument should be endanger'd in such a Long and Hazardous Journey, I will direct you how you shall Mend it, and put it together again, without the least prejudice, and to very Good advantage.

Therefore begin where you left off, that is, with the Belly, and before you lay it by, take your Hot Iron, (viz. not red hot, but only so hot as it may lye upon the Belly and not discolour or scorch it;) I say, take such an Iron, and laying that end of the Belly (which you last took off) upon a Table, with the Inside outwards, and holding it at the bottom with one hand, and the Iron in the other, and all to be-heat It, by which means you will straighten It again after that bending, which was caus'd by the taking off; (for Heat will set any thing straight, or awry.)

And in that manner may you likewise straighten any part of a Belly, which oftentimes will be risen or swell'd to an unevenness.

This being done, lay your Iron away, How to find the Faults in a Belly. and begin to view the Belly all over on the Inside, and find out what Barrs are loose, and what Cracks there are, which by your Eye (oftentimes) you will hardly find, especially in the Knot: Therefore to make All sure, take the Belly in one hand, and with the other, Knock it gently all over with your Knuckle upon the outside, by which means you may discover the least Crack or Looseness of any Barr, by the shattering or Fuzzing it will make, (if you be not Deaf.)

Then, when you have found out what Faults you can, The work is half done; Therefore to Work; and first mend all the Cracks, How to mend a Crack. before you meddle with fastning any Barr; which to do well and neatly, you must first cleanse all the Belly within, from any Old Glew, or such Patches as may hinder, (if any such be) which (with a scorching hot Iron) will presently come off.

Then with your broad Chizzel scrape and make all clean.

And for the mending a Crack, it is only taking a little Thin Glew upon the tip of a Thin-cut-stick or Chip, (for you need no Brush, as Joyners do) which you may with the assistance of your Finger, (opening the Joynt or Crack with a small force) let in, and rub a little Glew, only enough to wet every part of the Crack; which when you have done, then take your Hot Iron, and hold it so close, as may thorowly heat both the Glew and the Belly, which will cause the Glew to incorporate, and take fast hold of the Wood.

[Page]Then laying the Belly flat upon some smooth place, Press the Joynt close and even with your Fingers, and then lay all along upon the Crack a little slip of Paper, about a quarter of an Inch broad, or less, wet with Glew very thinly, and with your hot Iron fasten on the Paper, which will immediately cause that Crack to be as Firm as any part of the Belly.

Note how hot the Iron must be.And here you must note, that your Iron must be so hot, as to scorch the Paper, and the out-edges of the Glew only, and not at all to scorch the Belly; for by that little scorching the Crack is more quickly and strongly mended: Thus much for mending a Crack either in Back or Belly, &c.

Only Note, that if you find the Belly or Back in any such part to be Infirm or weak, with Worm-holes or the like, you may either let such Paper remain on still, or adde a larger Paper or Parchment, as you see cause, either upon That, or instead of It: Yet I do not allow of too much Lining, No lining of Cracks but upon Necessity. either in Back or Belly, the which do Clog an Instrument, and dull the Sound of It; But upon Necessity (in some cases) it must be done.

Note further as to the General use of Glew, whensoever you have occasion to Vse it, be sure to cleanse away all the Old Glew first very well; because that New Glew will not take any fast hold upon Old; and that must be done by a Scorching Iron, as aforesaid.

The Barrs mending.Thus having mended all the Cracks, fall to work upon those Barrs you find Loose, which most commonly be at the Ends about an Inch or two, and are likewise easily mended, first by heating and cleansing off the Old Glew, and then, with your thin Glew-stick, put a little Glew between the Belly and Barr; then laying your Belly upon a smooth Table, heat again the Barr and Belly with your Iron as it lyes, and so hold it down close to the Table till it be cold, which will be in less than half a quarter of an hour.

But because you may (if you will) be eased of so much trouble of Holding, it will be convenient that you have in readiness two or three pair of little slips of Trenchers, such as Boys make for Snappers, about an Inch broad, and 4, 5, or 6 Inches long.

Tye these, two and two together, at one end with a strong Pack-thread, and they will serve to slip over the Barr end, and so hold It and the Belly very close: These you may let stay on so long as you please, which will save you so much Labour and Time, the which you may spend in doing another, or any thing else needfull.

These are very necessary Implements, fit to put up with the rest of your Tools, to be in readiness when need requires.

Then when all your Barrs are thus well mended, lay by your Belly Carefully, lest any body Tamper with It, before It be well dry and hardned, which in 5 or 6 Hours will be sufficiently fit to be handled again, if it be a dry-warm-season; but if not, then set it in some Chimney-Corner, (only within the Ayr of the Fire;) for too much Heat will warpe and prejudice the Belly.

[Page]Thus you must do if you be in Hast; but if not, it were better to stay till next day, before you handle It any more.

Then you may confidently prepare for a Conjunction Copulative; first by cleansing all the superfluous roughness, of Glew and Paper, remaining about Those mended Places; the which to do is a Curiosity: But Thus must you do it.

If you have a less Iron, heat it and use it; if not,The cleansing of all Glewed places. your other may do well enough: I say, Heat It to such a height, that you may nimbly and lightly touch, and scorch all those Rough Places, either of Glew or Paper; But take heed of scorching the Belly, or overheating the Joynts lately Glewed, lest your work come in Pieces again.

When you have thus scorched all, and would have them come off, then take your Chizzel, (your Belly being laid Flat upon a Table) and scrape gently all Those Places, and all will come off very cleanly, as you would desire, to the very Wood: But if at the first time all comes not off, as you would desire, Then, lightly, and with a quick touch of a Hot Iron, scorch it again, and so time after time, by little and little, you must work, till you see All clear and smooth.

Take notice, that in cleansing off Glew, and Paper by scorching, An especial Note concerning cleansing off Old Glew or New. it is only to be done in the Inside of Instruments; for it will spoil the Gloss or Varnish of the Outside of any.

The Outsides therefore must ever be cleansed by moisture only.

There is but One thing more to do, before you joyn Back and Belly again, which is, to cleanse carefully every Barr end, and the whole Round-side-edge, of the Back and Belly, with the Two Flats, at Tops and bottoms; All which must be done as aforesaid, with a Scorching Iron first, and then with your Working-knife, or Chizzel, take off the Scorchings, to the clean Wood, that the New Glew may take fast hold; which being done, proceed in This manner.

First bring your Back and Belly together, and see if they will fit; by which doing, you will perceive (it may be) some little Impediment, or Fault, fit to be amended, before you come to Glewing, and so do and try till you are fully satisfied that all is clear and fit; Then fear nothing, but boldly proceed to the Vniting, which must be done after This manner.

Take your Aul, The Uniting of Back and Belly. and after you have laid the Belly True in the uppermost Flat, (which you cannot well miss of, because the Points of the Neck will give you infallible directions) I say, when you are fully satisfied, that your Neck lieth close, direct, and right to the Top, then (with your Aul) prick a Hole quite through the Belly, in the midst of that upper Flat, and joyn Belly and Back together;A Choice piece of Curiosity. then when you have thus Fitted them, pluck out your Aul again; for This doing is but as a Mark or Direction for you, against you have occasion to come There again, (which shall be very soon.)

Now to your Glew-Pot, with Back and Belly, and begin with which you please, and anoint all the Edges Carefully round, where [Page] you know they must Joyn, and every Barr-end be sure you touch well, and when Both are thus Carefully done, (for here lies the strength of the Work) then (having a Good Fire ready) bring Both to the Fire, and warm them a little, and clap them quickly together, and with your Aul prick and fasten them together at the Top in the same Hole which before you Joyned them at.

Take heed of clogging with too much Glew.But here in This Work you must be exactly Carefull, that you Clog neither the Back nor Belly, with the least drop of Glew more than is needfull; for all superfluity of Glew, is hurtfull to the Sound of an Instrument.

Now having in readiness your Great Iron, red hot, heat the Edges thorowly all over, and then especially the upper Flat where your Aul sticks, till you perceive the Glew is become warm and thin.

Then begin with your upper Flat, and with your Fingers you may Force it close to its old and true place, and then with little pieces of Paper, (so big as pence, or two-pences, wet with Glew) cover all the upper Flat in the Joynts, yet leaving about a Strawbredth or two betwixt Paper and Paper, so that you may see how the Joynt joyns, and presently scorch on those Papers, one after another, leaning pritty hard upon each one, with the squared end of your broad Iron, which must not be too Hot, for fear of burning the Belly, yet hot enough to scorch the Papers, and the superfluous Glew, into a Crustiness.

This being done, it will be a good Guidance to make It fall right all along; Then after this manner proceed Inch by Inch, first on one side, and then on the other, (for if you Glew all one side first, you may chance find it fall uneven at last:) Therefore have a Care often to be viewing how it fadges on both sides, and be sure at every Barr, you thrust it so close as possibly you can, with your Thumb and Fingers; and Paper it well all the way with Scorching, as abovesaid, and when you have rounded It Thus, lay it by till next day before you cleanse off Those Papers, &c.

But if you be in hast, you may cleanse It within 6 or 7 hours after, provided you handle it gently, otherwise you may loosen something within.

And to cleanse It, only do Thus;

How to cleanse the Lute.Take a dish of Water, and with a Rag bemoisten all those scorch'd Papers and Glew, often renewing the moisture, (yet but a little at a time) and once in Half an Hour, they will be so soft, that only with your Nails lightly running them backwards upon It, it will all come off as you will have it.

Note.And here I would have you Note, and Remember, that you use no other Toole saving your Nails, for any such work; because you may Gaul and blemish the Instrument with any hard Toole; but your Nails will not Hurt it, if you take Care.

When This is done, proceed to the putting on of your Lace, or Parchment, which if it be the Old Lace, you shall first lay it in water a while to steep, both to dissolve the Old Glew, and also to make it Gentle and plyable, and when it is steep'd enough, you may with the Edge of a Knife run off all the Old Slime and Glew, which with [Page] twice or thrice drawing over, betwixt your Thumb and Finger gently, will be done, and then 'tis fit to be put on.

Then (sitting down and taking the Lute into your Lap, How to put on the Lace. having your Glew warm and close by, and your Great Iron very Hot) Anoint about a Fingers length or more of the Lace lightly with Glew, then with your Iron, warm so much of the Edge of the Lute, (where you intend That shall lye) together with the Lace and Glew, and begin your work at which side you please, and holding It hard and close with your Thumb and Finger at the Top, draw it hard down with your other hand, only so far as it is anointed, and so pinch it close on both sides, smoothing it gently backwards and forwards with your Thumb and Finger, till you perceive It has fastned, which will not be long till you may proceed to the doing of such another length; then (cunningly taking up the Lace so, as you may not undoe the former) anoint so much more of the Lace, and do as you did before, and so proceed till all be Finish'd.

All this will not be one quarter of an hours work.

But yet Note, Note what part of the Lace will be most troublesome. that when you have wrought it down so far as the turning (about the Bridge,) you will find those turnings more troublesome than the rest; Therefore you must (after anointing and heating that place) pluck the Lace very hard there, and smooth it well between your Thumb and Finger often, till you at last find It ply and lye smooth and close.

You may for the more Curiosity in keeping the Lace clean, take a clean Linen rag, and hold between your Thumb and Finger whilst you are in smoothing, and so it will be neat.

There is nothing else to be said as to This doing, but be Carefull to lay it on straight, that you may have Credit of your Work, and that it be not too much upon the Belly, which will clog the Sound.

The Narrower your Lace is, the Better it is, provided it will but just appear with a little Edge upon Back and Belly.

But supposing you are to put on a Parchment, The way to put on a Parchment. (which is every way as Good for use, if not Better) then cut a Convenient breadth, and if it be in one, two, or three Lengths, it makes no matter.

Then lay it in Water a little while to soften it, and make it take Glew and ply, and after it has soak'd, take it out and draw it over your Knife Edge gently, between your Thumb and Finger, to take out the Water and the Slime, and by so doing it will be fit enough to take Glew, and to be dealt with as abovesaid concerning the Lace; only take heed of letting your Hot Iron come too near it, because it will be subject to run up into wrinkles, (with too great a Heat.)

This being done, lay by your Lute for a Day or Two, that the Glew may harden, and then you may proceed to the Stringing of it.

CHAP. V.

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NOw your Lute is pritty well come to It self again; and without all question (if you have rightly followed the Order of Those Directions prescribed) you will find it in all respects so Good as it was, if not Better; Therefore doubt it not in the least, but so soon as It is Dry enough, put on the Strings: Yet before you proceed to That, take These necessary Directions concerning the keeping your Lute.

Choice Observations about keeping▪ a Lute.And that you may know how to shelter your Lute, in the worst of Ill weathers, (which is moist) you shall do well, ever when you Lay it by in the day-time, to put It into a Bed, that is constantly used, between the Rug and Blanket; but never between the Sheets, because they may be moist with Sweat, &c.

This is the most absolute and best place to keep It in always, by which doing, you will find many Great Conveniences, which I shall here set down.

The first Commodity by keeping a Lute well.As, First, for the saving of your Strings from Breaking; for you shall not spend half so many Strings as another, who lays their Lute open in a Damp Room, or near a Window, &c.

2 2dly. It will keep your Lute constantly in a Good Order, so that you shall have but small Trouble in the Tuning of It.

3 3dly. You will find that it will Sound more Lively and Briskly, and give you pleasure in the very Handling of It.

4 4thly. If you have any Occasion Extraordinary to set up your Lute at a Higher Pitch, you may do It safely; which otherwise you cannot so well do, without Danger to your Instrument and Strings.

5 5thly. It will be a great Safety to your Instrument, in keeping It from Decay.

6 6thly. It will prevent much Trouble, as in keeping the Barrs from flying Loose, and the Belly from sinking.

Now these six considered all together, must needs create a seventh, 7 which is, That Lute-play must certainly be very much Facilitated, and made more Delightfull Thereby.

And because you shall not be wanting, in being able to give a Reason for any of These seven Conveniences, I will here in Order set you down the Reasons why.

The first Reason given for those [...] Conveniences.As first, That it will save your Strings from breaking very much; Your small Experience will find That apparent; because a String exposed to the Air, (especially if it be a moist Air) will not last Long: For the moisture causeth it to Swell; Therefore it cannot hold stretching like That String which is kept Dry, and in a Good Temper.

2d. Reason.Secondly, That it will keep your Lute in a Good Order and Temper, you will likewise find by as small Experience.

For That String which suffers the Inconvenience of the moist Air, as it will certainly Swell, so as certainly will it go out of Tune.

[Page]Therefore it must necessarily follow, that That String which is constantly kept in a Dry Temper, (as in a Bed it will be) must needs stand more constantly at, or near the Pitch it was set at, than the other, expos'd to moisture. Therefore your Trouble will be less in the Tuning: This is plain. Yet know,Note. that the Bed doth alter It a little; but still for the Best.

For when you put it into the Bed, it is supposed to have been out, and in the Air, which if it have been moist, never so little, will have Rais'd the Strings a little; which you must grant an Inconvenience, (although it should be but small;) But by putting It into a Bed, Remedied.

And always observe, when a Lute is taken out of a Bed, the Strings are more Lank than they were before; which may more easily be perceived by the bigger Strings of the Basses: for They will ever (at the coming out of the Bed) be Flatter than any of the smaller Octaves, which Pairs with Them: The Thicker therefore a String is, the more doth it partake of the moistness of the Air, and so must needs Swell proportionably, and be the more sharp.

Thirdly,3d. Reason. Whereas I said the Lute would sound more Lively and Briskly; There is very good Reason for That: Because all the Misty Vapours and Dampness (which is the cause of the Dulness of Sound) will be expelled; so that all the Natural Briskness which is in a Lute, will shew it self, having no Interruption.

Besides, it helps to Mellow a Lute; For Experience tells us, that an Old Lute is Better than a New One.

And the Reason must needs be, because that in a New Lute there is more of moistness in the Pores of the Wood, than when it is Old, Seasoned, and well Mellowed.

And truly I have found as much Difference at Times, in One and the same Lute, as if I had play'd upon Two several Lutes; which is very easie to be perceived, by any one who will observe a Lute at one Time left Carelesly ▪ and expos'd to damp Air, and at another Time, laid up in a warm Bed, and ordered as I have given Directions.

And as I also said, It will give you Pleasure in the very Handling of It; you will as easily perceive the Reason of that: For the Bed will dry up all the Moisture and Clamminess, which moist weather constantly occasions to any thing made of Wood, &c.

Fourthly, If you have occasion to set your Lute at a Higher Pitch, 4th. Reason. you may then the better do it; because the Strings being Dry, and free from Swelling, they will both hold better, and also the Lute is in no danger thereby; because the Glew is hard and strong, so that both the Bridge and Barrs are Tite, and all things well able to endure the stretch; which if you should do to a Lute lying abroad, expos'd to the moist Air, in a Damp Room, or the like; first, Snap goes your Strings, and it may be by and by off comes your Bridge; and your Barrs cannot hold long fast.

All which Mischiefs I have often known; the which are assuredly prevented by a Warm Bed.

[Page] 5th. Reason.Fifthly, It will keep the Instrument from Decay.

It is a usual saying, That an Oak is 100 years in Growing, 100 years Standing, and 100 years in Decaying; which is suppos'd to stand in all Weathers, wet and dry.

Now if This Thick-strong-lusty-sturdy-Oak will (in 100 years) Decay, by such usage; How much more easily then, must a Lute (made of so gentle soft Wood, and so very Thin) with such like Ill usage) Decay?

Yet we see, that many Lutes there are, of a Great Age; and I my self have at this present, a Lute made of Ayre, that is above 100 years old, a very strong and Tite Lute, and may yet last 100 or 200 years more, provided it can be kept according to This Carefull Order prescribed.

6th. Reason.Sixthly, It will save the Barrs from sinking, except you now or then give it a knock; for nothing sooner than Moisture (except It) gives liberty, or occasions the Barrs to sink, for the Reasons aforesaid.

Therefore, a Bed will secure from all These Inconveniences, and keep your Glew so Hard as Glass, and All safe and sure; only to be excepted, That no Person be so inconsiderate, as to Tumble down upon the Bed whilst the Lute is There;A Caveat needfull. For I have known several Good Lutes spoil'd with such a Trick.

7th. Reason.Seventhly, and Lastly, That Lute-play thereby must needs be much Facilitated, will appear very Plain; when as it will be considered, That all Those foresaid six Inconveniences will be taken away, by This Order and Care.

Therefore it must needs follow, that the Young Scholar will be eased of much Trouble, and consequently take a greater Delight and Pleasure both in the Lute, and in his Practice.

I have now done with Those Reasons, why I would have a Lute kept most constantly in a Bed, when it is in daily use; But at other times, when it is not used, a good warm Case, lined with Bayes within, and covered with Leather without, with Lock and Key, and Hasps, will be very necessary.

Yet All These are not a sufficient security for It, if it should stand in a Damp Room, for then both Lute and Case will be all mouldy, and Come in pieces.

Therefore care must be taken that It always stand in some warm Room, where a Fire is constantly used, or (next to that) upon your Bed-Testor.

Let This suffice for keeping your Lute safe.

I have now (except Stringing) spoken of All Things I can at present think upon that I judge fit, or may conduce to the Benefit of every One, who is a Lover and Keeper of a Lute, that they may know how to be able either to doe, or give Directions to have Them done, according to This most Compleat and necessary Order: and it is no Hard Work, nor Troublesome, but very Delightfull to any Active and Ingenuous Person, and a Commendable Recreation, besides all the aforesaid Benefits and Conveniences ▪

I will next proceed to the Stringing of the Lute.

CHAP. VI.

[Page]

AS to the Stringing of the Lute, take This General Direction. Some General Directions as to the well Stringing of a Lute.

The first thing you are to consider, is the Size of your Lute; 2ly. The Substance and Strength of it.

And as to the Size, if it be a Large Lute, it must have the Rounder Strings; and a Small Lute, the Smaller.

Then again (as to the Substance) if it be a Strong firm-made Lute, it may bear the Thicker Strings; but if Weak and Crazy, then the Smaller Strings.

Yet I rather advise to String it, according to the Size, than the Strength, &c.

First, Because in so doing, a Lute has more Natural Right done it, and will return you, more Acceptable Content, in token of Its Gratefulness.

2ly. Because a Lute that is Crazy and Weak, may have Ease done it, in setting it at a Lower Pitch, (if you see cause) sometimes.

But if you be to use your Lute in Consort, then you must String it, with such siz'd Strings, so as it may be Plump, and Full Sounded, that it may bear up, and be heard, equal with the other Instruments, or else you do Little to the purpose.

‘Another General Observation must be This, which indeed is the Chiefest; viz. that what siz'd Lute soever, you are to String,The very principal Observation in the Stringing of a Lute. you must so suit your Strings, as (in the Tuning you intend to set it at) the Strings may all stand, at a Proportionable, and even Stiffness, otherwise, there will arise Two Great Inconveniences; the one to the Performer, the other to the Auditor.’

And here Note, that when we say, a Lute is not equally Strung, it is, when some Strings are stiff, and some slack.

Nor can any man play so Evenly, or Equally well, upon such a Strung Instrument, as upon one well Strung; especially when he is to Run Division: For it will be, as if a man were to shew Nimble Footmanship, and were confined to Run over a piece of uneven Ground, with hard, and soft Places mix'd together.

Sure, he must needs Run unequally, in Those places, or slack his Pace, or else stumble and fall. Even so is it with such an unequal Strung Instrument.

Then again, it must needs be perceivable by the Auditor; for whensoever such unequal performance is made, the Life and Spirit of the Musick is lost.

Thus having given you These General Observations, in Stringing your Lute, I shall now more Nicely, give you some other, more Particular.

The first and Chief Thing is, to be carefull to get Good Strings, More particular Observations as to Strings. which would be of three sorts, viz. Minikins, Venice-Catlins, and Lyons, (for Basses:) There is another sort of Strings, which they call Pistoy Basses, which I conceive are none other than [Page] Thick Venice-Catlins, which are commonly Dyed, with a deep dark red colour.

And what sort of Strings are Best.They are indeed the very Best, for the Basses, being smooth and well-twisted Strings, but are hard to come by; However out of a Good parcel of Lyon Strings, you may (with care) pick those which will serve very well.

And out of these three sorts, First, chuse for your Trebles, 2ds, 3ds, and some of your small Octaves, (especially the sixth) out of your Minikins.

Then out of your Venice-Catlins, for your 4ths, 5ths, and most of your other Octaves.

Your Pistoys, or Lyons, only for the Great Basses.

There is a small sort of Lyons, which many use, for the Octaves; But I care not for Them, they being constantly Rotten, and good for little, but to make Frets of.

How to chuse your Strings.Now that you may know, all these Strings, and also how to know Good, from Bad, take these following Observations.

Minikins.First know, that Minikins are made up always, in long-thin-small Knots, and 60 are to be in a Bundle.

Catlins. Venice-Catlins are made up, in short double Knots, and 30 doubles in a Bundle.

Both which, are (generally) at the same Price, and the signs of Goodness, both the same; which are, first the Clearness of the String to the Eye, the Smoothness, and Stiffness to the Finger, and if they have Those two qualities, dispute their Goodness no further.

Lyons.The Lyon String, is made up in a double Knot; but as Long as the Minikin.

They are sold (commonly) by the Dozens, and not made up into Bundles. Their Goodness may be perceiv'd, as were the other: But they are much more Inferiour Strings than the other.

Coloured Strings.I have sometimes seen Strings of a Yellowish Colour, very Good; yet, but seldom; for that Colour is a general sign of Rottenness, or of the decay of the String.

There are several Sorts of Coloured Strings, very Good; But the Best (to my observation) was always the clear Blue; the Red, commonly Rotten; sometimes Green, very Good.

How to keep your Strings.As concerning the keeping of your Strings, you must know, there ought to be a Choice Care taken; for they may be very Good when you buy them, but spoiled in a quarter of an hours time, if they take any wet, or moist Air. Therefore your best way is, to wrap them up close, either in an Oyl'd Paper, a Bladder, or a piece of Sear-cloath, such as often comes over with Them, which you may (haply) procure, of them who sell your Strings: Yet they are not very willing to part with it, except they sell a Good quantity of Strings together.

Which, when you have thus done, keep them in some close Box, or Cupboard; but not amongst Linen, (for that gives moisture;) and let them be in a Room where there is, or useth to be, a Fire often: And when at any time you open them for your Vse, take [Page] heed, they lye not too long open, nor in a dark Window, or moist place: For moisture is the worst Enemy to your Strings.

Forget not, to Tye, or bind them close, or hard together.

I will now begin to help you to String your Lute, The first thing towards Stringing the Lute to be observ'd. and the first thing I would have you take notice of, is to know how to pull out a String well; For I have seen many a Good String spoil'd for want of the best way, and Care in this particular: And Thus it is;

Your Minikins and Venice-Catlins, will generally Run quite out, after you begin to pull them at the right end.

In your Minikin, observe to find the running end.

Then take it either with your Fingers, or your Teeth, (holding the contrary end fast with your Finger and Thumb, to keep it from Ruffling, or Running upon cross Twists) so may you draw it quite out, to the twisted place; the which you must be Carefull to untwist, otherwise you will draw it into a Knot, and so lose a good, (or it may be the best) part of your String.

Thus will most Strings run out easily; yet sometimes they will run a-cross, and not come out well, without your farther Care; which must be, to find out the other Twisted end, and so with a Pin, or some such Thing, open that Twist, by which means you will save your String, otherwise (if you force it) you spoil, or break it.

Secondly, when your String is well open, and you find it smooth, The second. and free from Knots, Try its strength, by taking it at one end in both hands, pulling it so hard, till you perceive it Strong, or Rotten; And if it be a right good strong String, it will many times endanger the Cutting into your Flesh, rather than it will break, yea, although it be a small Treble-Minikin String: But your Venice-Catlins will scarcely be broken, by a Mans (reasonable) strength.

Thirdly,The third. when you are thus far satisfied concerning the Fitness of your choice, both for strength and Size, then endeavour to find, a True length of that String, for your purpose, (the which is both a pritty Curiosity to do, and also Necessary;) And thus 'tis done.

First, draw out a Length, or more, then take the End, How to chuse and find a true String, the most curious piece of Skill in Stringing. and measure the length it must be of, within an Inch or two, (for it will stretch so much at least, in the winding up) and hold That length in both hands, extended to a reasonable stiffness; Then with one of your Fingers strike it, giving it so much liberty, in slackness, as you may see it Vibrate, or open it self; which if it be True, it will appear to the Eye, just as if there were Two Strings; but if it shews more than Two, it is false, and will sound unpleasantly, upon your Instrument; nor will it ever be well in Tune, either stopt or open, but snarle.

But then again, if you find it to be True, at the whole length, you must further examine it, how it will shew it self upon the Frets, (viz. stopt;) For you must know, that most Strings that are True Open, (that is, the whole Length unstopt) when you come to make use of Them amongst the Frets (stopt,) they will be False; Therefore This must be your constant way, to Try Them, viz. when you [Page] have found a String True the whole Length, hold it still as you did; but with that hand which holds the End you intend for the Frets, (or uppermost) take up about an Inch shorter, and then strike it, and see how you like it, according to your former Directions: Then again another Inch, and so try it again, and in conclusion again and again, so far as you have use of that String amongst your Frets.

Note how far you must find your String True.And here Note, some Strings (generally) are not stopt beyond the Letter d, as the 4th. String, upon the French Lute, Flat Tuning.

The 5th. String, not usually beyond the Letter f.

The 6th. not beyond the Letter d, &c. according as you may perceive, by the Reason of Tuning; in regard every smaller String takes off the Greater, at the Tuning Place.

A Good Note for the setting of Lessons, either upon Lute or Viol.So that in the General and Ordinary use of the Lute, Lessons are not set (nor should be, except upon some Extraordinary Occasion) with stopt Strings, when you may have Open Strings, which will do the Business; and for two very good Reasons.

First, because an Open String is more sweet, and Freer of Sound, than a stopt String.

2ly. Because the fewer stopt Strings you have, the easier must your Lesson needs be.

How far there is a Necessity of finding a String True.But your Treble String, would always be examin'd and found True, to h, y, or k, because there is no other String, to take it off.

Your 2d. String likewise to h, or y; because it is often us'd so far.

Your Third would be found True to e, or f, at least, for the same Reason.

But all your Diapasons, if you find them only True open, (viz. at their Length) it will be sufficient, because They are never stopt.

Thus much may suffice for direction of finding a True String.

Yet you must know, that although you put on All your Strings True to day, to morrow some or other of Them will many times stretch Themselves false or uneven: Therefore you must be the more carefull to give It a Review the next day, if you intend to be very Curious.

To Fret the Lute.The next Thing (after your Lute is Thus Carefully Strung) is to Fret It; which if your Lute lye well, and your Strings be put on True, is no hard matter to do: Yet there is a Curiosity in doing it; Therefore Note,

First, to chuse your B Fret, so Thick as well you may, (according to the Lying of your Nutt, and Strings;) For the Thicker That Fret is, the more easily may you fit all the Rest: because that in Fretting, every next Lower Fret, would be some small matter Smaller, than the next above, (quite through:) Yet This Rule is not observ'd by most, who are Careless; so that oftentimes, their Instrument Jarrs, and Sounds unpleasantly.

Now therefore observe first, to Tye on, or fasten a Fret well, [Page] so that it may be stiff, and not to be mov'd (easily) out of Its Place.

And you will find, that the first Fret, will be ever the hardest, to Tye well on, for two Reasons.

First, because it is the Thickest, therefore not so ready to ply, and stretch.

2dly. Because there is but a little narrower room above It, by reason it is so near the Nutt: Therefore you must be the more carefull, to stretch It very well, before you settle It.

The way to Tye on a Fret the best way, is Thus; viz.The best way to Tye on a Fret after the old Fashion, viz. Double. Your Lute standing (as it were) before you upon a Table, upon Its Back, take your Fret, and put It double, under all the Strings, beginning from the Basses, towards the Trebles; then (putting your Left Hand under the Neck) take That Middle Double, and draw it under the Neck towards the Basses, (holding fast the two Ends in your Right Hand) till you have brought them together, (viz. the Middle Nooze, and the Two Ends.)

Then take that End next you, which you held in your Right Hand, and put it through That Nooze, so, that you make another Nooze of That End, and then let the first Nooze go.

Then again, take but the other End, which still remains in your Right Hand, unused, and put It through your last Nooze, taking the Ends, (in each hand one) and let All else go, and (only drawing them straight) your business of Tying is over.

This being done, (now comes the Curiosity, to Stiffen, Fasten, The Curiosity of Stiffning, or Fixing a Fret. and Fix This Fret) I say, take the Fret (thus far fastned) and draw It so close (by both ends) as you can well, to stiffen It to the Neck; then, (holding both Ends fast, in your Left Hand) with your Right Hand and Left, force It down so low (towards C. D. E. F. &c.) as you can; then put It up again to the Nutt, where you'l find it much too wide or slack; therefore take the Ends, (in each hand One) and draw It stiff, and close again; then (as before) down with it, so low as you can, and up again: Thus do it three or four times, till at last you find it stiff, and so fast, that it will scarce be stirr'd, to Its place of B. (which is but a very little space.)

But here Note, that at last, before you force it down, to Its place at B. you are (after all stretching) to Tye it, of another hard Knot, and then it is firmly fast.

And except you serve This first Fret Thus, you will always be Troubled with It in your Play.

And if you take notice of most Lutes and Viols, wheresoever you come, you will find Them defective in This first Fret, for want of such a Care, as here I have directed unto, which is a great Inconvenience to the Instrument, and the Musick Thereof.

I have been the longer about This, because I know it so very Needfull; and also have taught you to Tye on All the other by This; but they will all be easier to stiffen than This, because they all have more Room upwards, in the Narrow of the Neck, than That has; And besides, they being all smaller siz'd Strings, will the more easily stretch, and ply, to their stiffness and closeness.

[Page] A single Fret the best.There is a way which I have lately try'd, and I find it much Better, which is, to Fret a Lute with single Strings.

My Reason is, because it is not only sooner done, and with a shorter String; but chiefly, it does (assuredly) cause a Clearer Sound from the String stopt; which must needs be granted, if it be considered, that the String lying upon This only Round single Fret, cannot but speak Clear, when as (on the contrary) it lying upon Two, (as in the Double Fret it does) it cannot be thought to speak so Clear, because, that although it Lye hard and close, upon the uppermost of the Two, next the Finger, yet it cannot lye so very close and hard, upon the undermost; so that it must needs Fuzz a little, though not easily discern'd, and thereby, takes off something of Its Clearness, especially if the Fret be a Thick-broad-Double-Fret.

This I confess is a Curiosity, yet I think it worth Examination, because the Business it self is a Curious Thing.

This is sufficient for Stringing and Fretting.

The next thing is to Tune your Lute, and place your Frets Right.

CHAP. VII.

How to place the Frets by Tuning the Lute.NOw to Tune your Lute, (which is a principal piece of Curiosity) you must begin where you left, viz. at the Frets, for your Frets are not to be drawn quite down, to their proper Places, till you have some Assurance, of those proper Places; the which must be, by your Ears, in Tuning.

I confess there is a Mathematical Rule, and way, to place the Frets, and is used in Bandores, Auferions, Citterns, and Instruments Strung with Wyar Strings; by which any Person, having neither Ear, nor Skill in Musick, may set them perfectly right, by That Rule: Yet That way will not hold exactly (always) with our Gutt-Strings, except they were exactly True, as generally Wyar Strings are; but in regard of their so often being False, the Best way is to place your Frets as you Tune up your Lute, by your Ear, according to Vnisons, 3ds, 5ths, and 8ths.

Therefore I say, first, Tune It so well as you can Open, (without Frets) making All agreeing Strings accord, in their several Concords; And when you are so satisfied, then attempt the fixing of your Frets to their Certain Places, and not before.

The which must be, by fixing your Frets exactly, according to the Vnisons of your Tuning, set, (the which shall be set you in Its proper place:) And the more Exact your Lute is Strung, the more readily will your Frets find their Places, and consequently your Business of Tuning the easier.

This being done, your Lute is ready for a Good Hand; which, because I would have you to have, I will proceed by such Infallible[Page]Rules and Directions, as you shall not fail in the obtaining Thereof.

The Rule for Tuning, is set down in the 12th. Chapter.

CHAP. VIII.

I Will suppose you to be a Very New Beginner, Concerning Lute-play. and that you know Nothing at all towards the Business; for such an One I had rather Chuse for my Scholar, than One already Enter'd; except by a Skilfull and Carefull Master, who has not suffer'd them to run into Ill-Habits: My Reasons for this shall be shewed in their due place.

The First Thing I would have you regard, is your Posture, viz.The first Document towards Lute-play. How to sit, and hold your Lute: For the Good Posture has two Commodities depending upon it.

The first is, it is Comely, Credible, and Praise-worthy.

The 2d. is, it is Advantageous, as to Good Performance, which upon your Tryal, you will soon perceive, although very many do not mind it.

‘Now as to This Order, first set your self down against a Table, The Posture. in as Becoming a Posture, as you would chuse to do for your Best Reputation.’

‘Sit Vpright and Straight; then take up your Lute, and lay the Body of it in your Lap a-Cross; Let the Lower part of It lye upon your Right Thigh; the Head erected against your Left Shoulder and Ear; lay your Left hand down upon the Table, and your Right Arm over the Lute, so, that you may set your Little Finger down upon the Belly of the Lute, just under the Bridge, against the Treble or Second String; And then keep your Lute stiff, and strongly set with its lower Edge against the Table-Edge, and so (leaning your Breast something Hard against Its Ribbs) cause it to stand steady and strong, so, that a By-stander, cannot easily draw it from your Breast, Table and Arm.’

'This is the most Becoming, Steady, and Beneficial Posture.

The reason why I order your Left Hand to lye upon the Table, is for an especial Great Benefit;Note the Reason of laying the Left Hand upon the Table. For if first you be thus able to manage the holding of your Lute with One Hand, the work will come easily on, because the work of the Left Hand is the most Difficult, and therefore must have no hindrance, or impediment, but must be Free.

And the holding of the Lute Neck up with It, (as very many do) takes away the Chief Strength, Liberty and Activity of That Hand; therefore gain but this One Ability at the very first, and it will give you Ease, and Content ever after, and enable you to do that which others shall never be able to do, who hold their Lutes by the Labour of the Left Hand.

This at first will easily be gain'd, but afterwards not.

[Page] The 2d. work is the Little Finger.The 2d. thing to be gain'd is, setting down your Little Finger upon the Belly, as aforesaid, close under the Bridge, about the first, 2d, 3d, or 4th. Strings; for thereabout, is its constant station.

It steadies the Hand, and gives a Certainty to the Grasp.

The 3d. is your Thumb.The 3d. thing is, (keeping all hitherto in This Posture) span out your Thumb, amongst the Basses, and lay the end of It down, upon which you please, but rather upon the Last, Twelfth, or Greatest Bass; and when you have thus made your Span or Grasp, view your Posture in all respects.Review your Posture.

‘And First, mind if you sit Comlily, Vpright and Straight. 2dly. If your Lute be not sunk down, A most necessary work to be gain'd. from its Exaltation, with the Heads. 3dly. That you continue It stiff, and steadily-strong, against the Table. 4thly. That your Left Hand, remain still upon the Table. 5thly. That your Little Finger, be still fixt under the Bridge. 6thly. That your Thumb End, lye upon the last Bass; I mean, the End of your Thumb, about half an Inch over the last Bass, and about three or four Inches above the Bridge. Lastly, That in This Posture of your Right-Hand, your Right-Hand Wrist, rise up, to a Convenient Roundness; yet not too much, but only to an Indifferency, and to keep it from Flatness, or Lying a long, &c.’

‘Now, by that time, which you can Examine well, all These Performances, 'tis two to one, but you find your self to fail, in some one, or other of Them; therefore, before you proceed any further, Rectifie your Fault or Faults, and enable your self, to sit in This Posture, for some time, till you find an Aptitude thereunto, which will be, in one quarter of an hour, or less.’

‘This, although it seem but little, will be Greatly to the Purpose.’

And now, supposing you are perfect in your Postures, proceed to the striking of a String, the which first, shall be the Twelfth, (the String on which your Thumb lyeth.)

Note how to strike the first stroke after your Posture is gain'd.And as to that Work, it is only (first) keeping your Thumb straight, and stiff, and gently pressing down that String, (with an easie strength) so, as your Thumb may only slip Over it, viz. That Pair, (for you must know, that always the Pairs, are struck together) and rest it self upon the next (or Eleventh) String, your Thumb then standing ready, to do the like to That String; and so from String to String, till you have serv'd all the row of Basses after the same manner.

And when you are able thus, to strike them Forwards, try to practise them Backwards, which will presently be done, and the whole duty (or work) of the Thumb, quite finished.

But This you must remember, viz. when ever you strike a Bass, be sure, you let your Thumb rest it self, upon the next String, and There let it remain, till you have Vse of It elsewhere.

And this is the only way, to draw from a Lute (as we term it) the sweetest Sound, that a Lute is able to yield; which being perfected, you may conclude, half the work of your Right Hand accomplished.

[Page]The 4th. thing is, to teach you the Vse of your Fingers, The 4th. Thing, is the use of the Fingers. and is Thus done.

First, observing still, all your former Postures carefully, with your Thumb ever resting upon some one of the Basses, (where you please) put the End of your second Finger, a very little under the Treble String, (about three Inches above the Bridge) as if you did intend only to feel your String, having your Fore-finger (at the same time) close adjoyning in readiness, (yet not touching your second Finger, or the String;) then draw up your second Finger, from under the String, forcing the String with a pritty smart Twitch, (yet gently too) to cause it to speak strong and Loud; the which, try to do several times, so long, till at last you perceive, (by several ways of Tryal) you can draw a sweet, smart, and pleasant Sound from That String; and when that is done, strive to do the like with your Fore-finger ▪ (your second Finger keeping the same Posture of closeness and readiness, as your Fore-finger kept.)

Then, try to divide your strokes equally, betwixt your Fingers; beginning first, with your second Finger, and then with your first: And so endeavour to strike the Number of four strokes, equally and evenly; ever observing to begin with the second Finger: at which stroke, you shall count one, then, with your Fore-finger, count two, your second Finger again, count three, and the last, with your Fore-finger, count four.

And Thus practise to count 1, 2, 3, 4, often; and so long, till you find you can do them readily, equally, and evenly; and never to strike twice together with the same Finger.

Now what I mean by Equally, and Evenly, will be well worth your [...]oting, and has a double signification or meaning. Equally and Evenly, doubly to be understood.

First, I mean by Equally and Evenly, that all the number of strokes which you make, be for Loudness alike.

Secondly, for proportion of Time alike, neither one louder or softer than another, nor one quicker or slower than another; the which to do, is a very Curious piece of Performance, and will lay a substantial Ground, or Foundation, for Excellent Good Play; Both which may well be attain'd unto, in half an hours time, with diligent observation.

But in the doing of This, take notice, that you strike not your Strings with your Nails, as some do, who maintain it the Best way of Play, but I do not; and for This Reason;The Reason. why the Nails are not so good to draw Sounds with, as the Flesh. because the Nail cannot draw so sweet a Sound from a Lute, as the nibble end of the Flesh can do.

I confess in a Consort, it might do well enough, where the Mellowness (which is the most Excellent satisfaction from a Lute) is lost in the Crowd; but Alone, I could never receive so good Content from the Nail, as from the Flesh: However (This being my Opinion) let Others do, as seems Best to Themselves.

And that you may learn to strike a String Clear, and Clean, take notice, that in your stroke, How to strike a String Clear, and Clean. you strive to draw your Finger a little Vpwards, and not Slanting, for that will endanger the hitting of [Page] another String, together with That String, you intend to Strike Single. This is called Clean Striking.

And Thus, when you find your self able to strike, and Count the Number of 4, or 8, or 16, (or what even Number you please) Equally, and Evenly, upon the First String; Then try to do the like upon the Second, Third, Fourth, or Fifth, &c. All which, I would have you Practice, to do Smoothly, and Neatly, according to all my former Directions.

And here suffer me to Tautologize a little, viz. Your Left-Hand upon the Table; your Lute Firmly Fix'd; your self and It, in your True Postures; and when (but) This is done, suppose your self, half a Lute-Player; For now you have little, or nothing to do more, besides the bringing up, and ordering of your Left-Hand, and so to joyn their Forces both together; which you shall presently, and very readily know how to do; as Thus, viz.

How to order the Left-HandFirst, (keeping your self still in all your Exact Postures, before mentioned) bring up your Left-Hand from the Table, bended, just like the Talents of a Hawk; All, excepting your Thumb, which must stand Strait, and Span'd out; your Fingers also, all divided one from the other, in an Equal, and Handsome Order; and in This Posture, place your Thumb under the Neck of the Lute, a little above (β) Frett, just in the midst of the Breadth of the Neck; all your Four Fingers, in this Posture, being held close over the Strings on the other side, so that each Finger, may be in a readiness to stop down upon any Frett.

And now in This Lively, And Exact Posture, I would have your Picture drawn, which is the most becoming Posture, I can Direct unto, for a Lutenist; and is all I can think upon Necessary, as to Preparation for Good Play.

All the Preparations are Finished.The next thing therefore shall be, to proceed to It: To which End, take notice of This Musick Line, (which although there be Six Lines, yet we call them, a Musick Line, and the meaning of It is This.

Those Six Lines, bear a reference to the First Six Ranks of your Lute-Strings: As for Example.

CHAP. IX.

[...] α β Γ δ ε f θ h y k

THe First, or Vppermost Line, you must suppose to refer, to your First, or Treble-String, the 2d Line, to your 2d String, the 3d Line, to your 3d String, the 4th, to your 4th, the 5th, to your 5th, and the lowest, or last, to your 6th String.

[Page]And whereas you see several Letters placed upon all those several Lines; know, That those Letters do refer to the several Fretts, upon the Neck of the Lute: As for Example.

The Letter α, is ever to be Struck Open (viz. unstopt) upon that String, on which It stands; or plainer, Thus; viz. That String is ever to be Struck Open, when the Letter α standeth on That Line, which refers to That String. Explain'd Thus, viz. The First Letter α standeth upon the First, or Vppermost Line; Therefore the First, or Treble String, is then to be Struck Open,: Likewise, the 2d Letter [...], standing upon the 2d Line, shews, That the 2d String of your Lute, is then to be Struck open; and so of all the rest, as aforesaid.

Now, for the Letter β, upon any Line, it shews, That the same String of your Lute must be stop'd close, to the uppermost Frett, with the very Tipp of One of your Fingers; And, so of all the rest.

The Letter Γ, close to the 2d Frett, [...], to the Third, &c. and so of all the rest, till you come to y and k. (The Letter y being put instead of i. And the Letter k, is the Last, and Lowest Frett.

And here Note, That the Number of 9 Fretts, is the Best Number for a Lute-Neck to carry; for if it bear fewer, What Number of Fretts is best upon a Lute. It will be too short, both as to the Proportion, and Comeliness of the Instrument, and Deficient as to the proper good use required in a Lute; and if it bear more than 9, It will be Inconvenient, both as to the Proportion of the Lute, and also, as to the Breaking of Strings.

Now, supposing you can find out (readily) every String, and Frett, according to those Six Lines, as also, stop every Letter by the same Rule, your Work will be very Easie; for you have only, Six other Ranks of Strings to take Notice of, which have no other Trouble, or Vse, than to be constantly Struck Open with your Thumb only.

And you shall Know, and Distinguish them Thus; viz. They ever standing under those Lines, and so Marked; as you see by This Explanation.

α

′α

″α

‴α

4

5

The First α, being called the 7th String; the Second, with a Dash before It, the 8th; the Third, with Two Dashes, the 9th; the Fourth, with Three Dashes, the 10th; the Figure of 4 the 11th; and the Figure of 5 the 12th.

And, but that Custom has prevailed, to make Those Six Ranks of Strings Thus, I conceive, It might be much Better, and more Proper, to Mark Them, with Six Figures, Thus, viz. 1.2.3.4.5.6. However, there is no great matter in It; yet the Figures are both sooner Set, and something more Reasonable.

By this time, I suppose, you are sufficiently informed in All these most Necessary Rudiments; so that me thinks I hear you say, Pray Set, and Teach me a Lesson; And indeed you are not far from It: And for the Preparation of which, take Notice once more of your Musick Line, where you may see the full order of all your 12 Strings together, according as we constantly use Them.

[Page] [...]

And before you attempt any thing farther, view them well; and taking your Lute into your Hand, enter into All your former Exact Postures, viz. First sitting in an Vpright-Comely-Posture of your Body, with your Lute well set, and firmly fixt between your Breast, and the Table-Edge, your Right Hand plac'd over the Bridge, your Little-Finger set down in Its proper place, about the Treble Part of It, and your Thumb Spann'd from It, to the Last, or Twelfth String, (viz. The Figure of 5.) from which place (by the advantage of the certainty of the Little-Finger's Place, being surely kept) you shall first Practice to hit all your Basses, backwards, and forwards, in Order, and out of Order, all manner of Cross-ways, so long, till you are assured of a ready Knowledge of each one, both by your Eye from your Book, and by the performance of your Thumb; which, (as I said before) if you do it not all well, in One Quarter of an Hour, you will have cause to Suspect your self of Doltishness.

But I (suspecting no such matter from you) believe by this time, you are able to Hit every String readily.

Therefore I will now proceed, to shew you the use of your Two First Fingers, the which will be about such a quantity of Time, in which you will have Them likewise Perfect and Ready; to which purpose, see here your Musick Line again, which is an Explanation, by Letters and Line, of what I formerly told you, viz. Counting One, Two, Three, Four, &c. yet (with all) there is an Addition of Time, or Proportion, by certain Notes, or Characters, set over the Heads of the Letters, viz. Thus.

4 Things observable in This Musick Line, carefully to be Noted, and Practised. [...]

In This Line there are 4 Things, which you are to take notice of.

First, The Letters, and what Lines they stand upon.

Secondly, The Characters of Time, standing over the Heads of those Letters.

Thirdly, The Fingering, express'd by those Pricks, underneath each Letter.

Fourthly, The Dividing or Barring of Four, or Eight Letters, by those down-right Lines or Stroaks. Explain'd Thus, viz.

The 1st. 4 α's, stand upon the Treble String.

[Page]The Character of Time, over the 1st. α, shews, that the other 3. α's are to be performed (every of them) as the 1st. α is, for matter of Time, or Proportion; and so of the rest.

The Pricks underneath, stand, to shew, with what Finger you are to Strike each Letter, viz. Two Pricks, signifie the Second Finger, and One Prick the Fore-finger.

Lastly, The down-right Stroak, (or Bar, as we call It) shews the Evenness, Sufficiency, or Observation, of a Full Time, (as I shall here-after declare.)

And now (as to your practice from This Line, I would have you (sitting, as I said, in all your comely and convenient Postures) with your Thumb Span'd out, and Resting, or Lying, with the End of It, upon some of your Basses) strive to hit the 1st. 4, α's, as they are there set.

The 1st. α with your 2d. Finger; and the 2d. with your Fore-finger. (The which, is All you have to do:) For you may perceive, the other Two, are but the same repeated.

Then strive to put 4 Together, as you see in the 1st. Barr; and when you can put 4 Together, pritty readily, then strive to put 8, as Evenly as you can.

But before I proceed any farther, I must acquaint you with Those Characters standing over the Heads of those Letters, which are of 2 several sorts, as you may perceive, by their various forms; and They (with some few more, which I shall here set you down in This next Musick Line) are of such Eminent Vse, and Necessity, in all manner of Musick, both Vocal, and Instrumental, that Nothing can be performed well, without the knowledge of them. Therefore, see Them All Here set down together.

CHAP. X.

𝆹

Semibreve,

톹텥

Minim,

톺텥

Crochet,

톼텮

Quaver,

톼텯

Semiquaver,

(demisemiquaver note)

Demiquaver.

THese are the Chief Notes and Characters, of Musick's Proportions, The meaning of those Characters. by which, (as they are placed, or set over any Letters, in a Lesson, (as you see in the foregoing Musick Line they are) you may know of what Quantity, any Note or Letter is, in your whole Lesson. As for Example.

If a Crochet stands over any Letter, (as there stands one over the first α, in that Line aforesaid;) you must say, that That α is a Crochet; and because there stands nothing over the next ααα's, they are also of the same Quantity with the first α, viz. all Crochets. [Page] So likewise there stands a Quaver over the Fifth α. Therefore That α must be called a Quaver: And the next 7 ααααααα's are therefore all Quavers, by the same Rule: And so likewise of all others. This is sufficient to let you know the meaning, or use of Them.

Now I will more particularly let you know their Differences, in their Exact Proportions, and Quantities.

Know therefore, (1st. in general) that the first Character, (viz. the Semibreve) is the Character of the Longest Proportion, generally needful in Lute-Play: And the last, (viz. the Demiquaver) is the Shortest.

And they are in Order, from the first (every one) but half so much as the foregoing Note. As for Example.

I will Compare them to Money, (and most People will be ready enough to count them the better (I suppose) for That.

Suppose therefore, that the 1st. Note (viz. the Semibreve) be a Groat, (which is your Chief Note, of Note.)

The Characters of Time Compared to Money.And because you must still divide by Halfes, you'l say, That the Minim must be but a Two-Pence, The Crochet a Penny, The Quaver a Half-Penny, and the Semiquaver (which is the Last, and Shortest, generally in use) a Farthing.

Trouble not your self, for the Demiquaver, till you have a quick Hand; It being half a Semiquaver.

This is an Easie, and Plain way; and in regard you have but Five only to Trouble you, I suppose you will the more intently strive to be able to understand Them, and be Exact in performing Them; the which to do, I shall put you in such a way, that you cannot possibly but be able to do Them in a very short time Perfectly.

The Definition of a Semibreve.I will begin first with the Semibreve, and give you Its Definition according to Its General Vse, by which you will understand all the rest.

To the right understanding of which, you must know, That in All Musical Performances whatever, if they be done according to Art, they are done according to the Rule of Time-keeping, (as we call It) which is ever observed, and done by the Motion, either of Hand or Foot, during the whole time we either Sing or Play.

Now, because upon an Instrument, both our Hands are imployed, we must therefore keep Time, with a Foot: Which is to be done with an Exact Observation, in putting the Foot down and up, Equally; that is, to be Constant to a True, and Even Motion, with the Foot, down and up; like unto the Ballance of a good Clock.

And the Best way to do it, is first to be able to Count the Number of 4, Evenly, viz. as if you were suppos'd to Measure every Count, with a pair of Compasses; Thus, .¹ .² .³ .⁴, and not Thus, .¹  .².³  .⁴,☞ nor any way unequally; by which Explanation, I suppose you may understand my Meaning, and is Thus (more plainly) viz. Note well This. ‘Just at your saying One, your Foot must knock, and remain down, till you have counted the Word Two; then, just as you say the Word Three, your Foot must rise, and continue up, till [Page] you have said the Word Four, and then down again at the Word One. And thus must your Foot constantly be in Motion, during your Play, and Equally dividing your Down from your Vp, so Exactly, that not the least Difference may be perceiv'd; which, if you Carefully practice at the first, you will ever continue It; but, if you be remiss in the beginning, you will always after, be uncertain, not only, to your own hindrance, but also, to all others, who shall Play in Consort with you: Therefore you cannot be too Careful, till you have gain'd your Habit, which will quickly be got.’

And here you must take notice, That Those 4 Counts, What is the Time Called s Semibreve. perform'd with your Foot, down, and up, is the Time, which we call a Semibreve, (viz. your Groat;) so that, if you observe, you will perceive, in the performance of It, that you have perform'd both the Minim, (viz. the Two Pence) and the Crochet, (the Penny) only with This Difference; That whereas you have made but One Semibreve, you have made Two Minims; and also 4 Crochets; for the Minim, is only the Down, or the Vp; and the Crochets are any Two of Those Counts, down, or up.

Now here must needs arise a Question, viz. How long must you be, in Counting Those 4 Counts? For you may be an Hour, or Two, (more or less) in doing of Them.

And as to This, I shall direct you unto, Two manner of Ways, (and both Good) the first is This.

Let Those 4 Counts be spoken Deliberately, viz. as a Man would speak Gravely, or Soberly, and not Hastily, or Huddlingly; yet not Drawlingly, or Dreamingly; but in an Orderly Familiar way of Speaking.

And This is one very Good Way, of laying a Notion into your Head, of some kind of Certainty, in Measuring your Time; and with a little Practice, you will gain a Readiness, and Familiarity unto It: Yet There is a Better, and more Certain Way, than This, which I will shew you, after First, I have given you a View of your Musick Characters, as Here they are set down, with Their Explanation.

톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯

톼텮톼텮톼텮톼텮톼텮톼텮톼텮톼텮

톺텥톺텥톺텥톺텥

톹텥톹텥

𝆹

Observe Here, in the Lowest Place, stands the Semibreve, (or Groat) marked Thus (𝆹)

In the next place above It, stands Two Minims, (or Two Twopences) mark'd Thus (톹텥톹텥)

[Page]Over Them, stand 4 Crochets (or 4 Pence) mark'd Thus (톺텥톺텥톺텥톺텥)

Over Them, Eight Quavers, (or 8 Half Pence) mark'd Thus (톼텮톼텮톼텮톼텮톼텮톼텮톼텮톼텮)

And next above Them, at the Top of all, stand 16 Semiquavers, (or 16 Farthings) mark'd Thus (톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯)

These Five Characters, are All you need to trouble your self to take notice of; only sometimes you will meet with a Prick'd Note, Thus, (𝆹·) or Thus, (톹텥·) Thus, (톺텥·) or Thus, (톼텮·) which, whensoever It happens, You must know, That That Note, is Augmented in Quantity, half so much as it was before; viz. a Prick'd Semibreve, is made Three Minims; a Prick'd Minim, Three Crochets; and so of the rest. The which I shall Explain here following, in the next Chapter, more particularly.

CHAP. XI.

An Infallible Rule, how to keep Time well.NOw I will proceed to the enabling of you to perform your Time, and by a most Exact, Easie, and Infallible Way; which shall be as a Touch-stone, to try whomsoever shall pretend to keep Time, the most Exactly; and it is Thus.

Take a Bullet, or any Round Piece, of what weighty thing you please, to the weight of half a Pound, or a Pound, (more or less) and fasten It, to the End of a Pack-thread, or any other String, long enough to reach the Top of the Seiling of the Room, in which you intend to Practice.

Then fasten the End of the String upon some Hook, or Nail, to the Top of the Seiling, so, as the Weight may well-nigh touch the bottom of the Floor; and when this is done, set It to work, after this manner, viz.

Take the Weight in your Hand, and carry It to one side of the Room, lifting It so high as you can reach; then let it fall out of your Hand; and you shall observe, ‘That This Weight, will keep an Exact True Motion of Time, forwards, and backwards, for an Hour or Two together.’

‘A strange Secret of the Pendent.And that although, at every Return, It strikes a shorter Compass, than It did the Time before; yet it keeps the former Exact Proportion, (for Length, or Quantity of Time) Infallibly: Yea, when It makes so little a Motion, as you can scarcely perceive It move, It Then gives the self-same Measure, (for Quantity) as It did at first: The which is a pritty strange thing, yet most Certain; And Easily prov'd, by any.’

‘Now I say, having found out, such an Assur'd Time-keeper, as This is, Let it be your Director, in all your Curious Private Practices.’

‘How to make use of This Perfect Time-keeper.And thus, I would have you make use of It, viz. when you have set it to Work; First, Sit, and Observe It in Its Motion, Well; and take good Notice, of the Proportion of Time It strikes: And here you must know, That according to the Length, or [Page] Shortness of the String, It will have a Slower, or Quicker Motion. Therefore a Long String is Best to Practice with, at first, A Long Pendent, best to Practice with. and such a Length, as will allow you to Count the Number of 4, with Deliberation, (as before I hinted you to) in Its whole Course, viz. Beginning to Count, One, just with the Turn, and meet It with the Count Three, at the next Return; and so Counting, (with Its Motion) One, Two, Three, Four, Exactly, in the time of Its coming, and going; and to be able, Punctually, still to meet the next Return, with the like Count, is the Work I would advise you to Practice well, along with It; and, so long, till you perceive you have gain'd an Indifferent good Habit, in this manner of Time-keeping, with your Tongue, and Foot. Which, after you can confidently do, by the Order of 4, (in which is included, Crochets, Minims, and Semibreves) and perceive your self Perfect; Then adventure to Count 8, viz. Quavers; by Numbring 4 to the Down, and 4 to the Vp; Always remembring to be Extreamly Careful, to begin your First Count, just with the Beginning of the Swing's Turn, or else you will faile much, and do your self no good.’

‘And in This undertaking, you will find a necessity to Count,Note well, all This Side. and to Play, just so fast again, as you did before; the which will be Nimble, and pritty difficult to perform, at the first; yet soon overcome, with good Care; and so well, that by This Practice, you will be brought to have an Exact Motion, of True Time-keeping; which is one of the most Necessary, and Main Things, in Musick; especially for a Beginner to know, and Endeavour after.’

‘And indeed, there is a General Fault, in This Particular, in most Performers; yea, in Masters Themselves: When in Playing of Divisions, they come to Sub-divide, (upon a Plain Song, or a Ground) They (Generally) are subject to Break Time, and (most what) to Play too Fast.’

‘And Here, a Man might venture to lay a Good Wager, That there is scarcely One Artist, (of the Highest Form) among Ten,How to be assured, to win a Musick Wager of a Good Artist, if it were layed. (I mean, a Very Master) that shall be able to keep an Exact True Time, (by This Infallible Rule) for 20 Semibreves together, (His Back being Turned towards the Pendent, for That Time.)’

‘I speak not This, to disparage any Master, or other; But only, because I know, It is so very Critically-Nice, and Hard to be Performed.’

‘But now again, you must know, That, although in our First Vndertakings, we ought to strive, for the most Exact Habit, of Time-keeping, that possibly we can attain unto, (and for several good Reasons) yet, when we come to be Masters, so that we can command all manner of Time, at our own Pleasures; we Then take Liberty, (and very often, for Humour, and good Adornment-sake, in certain Places) to Break Time; sometimes Faster, and sometimes Slower, as we perceive, the Nature of the Thing Requires, which often adds, much Grace, and Luster, to the Performance.’

‘But, This ought not to give the least Liberty, (to Young Beginners) [Page] to neglect their Chiefest Endeavour, after the most Exact way, of True Time-keeping.’

Thus, having prompted you, to the very Best way of learning, to keep Time, Truly; and as but yet, only with your Tongue, and Foot, I now would have you try, to perform some such Counts, (with your Practice) in some Lesson, upon your Instrument.

And at first, your Best Way will be, to take your last Musick Line, which I set you, (and is Here again renewed to your view;) and enable your self, to strike all those Letters, along with your Swing, according as I have Directed.

But 1st. you must take notice of the Pricks, standing under each Letter; which are to signifie, with what Finger each Letter is to be struck; viz. 2 Pricks, shew the 2d. Finger, and one Prick, the First, as was shewed before.

[...]

Now therefore, go back to your Practice, of Time-keeping again, and try with your Swing, Hand, and Foot together; and enable your self, to strike These Letters, with True Fingering, (so set) in a Just, and Even Proportion of Time; and so long Practice Them, till you perceive, you can Readily, and Familiarly do Them, with your Swing; The which will be one of your Greatest Difficulties in Lute-Play, The Chiefest Work of the Right Hand. and the Chiefest Work of your Right Hand.

This being done, I shall proceed to shew you, how to Tune your Lute; And as to That, you must take notice, There are divers sorts of Lute-Tunings, (as there are also Viol-Tunings.) All which, when you have gain'd an Ability, of Good Play in This One, (which I shall here set you,) you may very Easily (of your self) be able to Tune, and Play, in any of the Rest, at your Pleasure.

Therefore, for your Best Profit, and Advantage, I shall set you down, in This Musick Line, That Tuning, which I Esteem The very Best, among the French Tunings, (as they call Them) or the late New Tunings; and is the Last, and Newest, Excepting only One. And because I Esteem It, and say it is the very Best of Them All; I shall most Plainly Demonstrate It, so to be, to the Reasons, and Judgments of All Men, before I End This Work.

CHAP. XII.

[Page]

[...] The Tuning of the Lute, (Erroniously) called, the Flat-Tuning, &c. The Best of French-Tunings.

THis is called, (Erroniously) the Flat-French-Tuning;Reasons, for the Calling of a Tuning, Flat, or Sharp. but might more properly go under the Name of Sharp; both in Reference to the Tuning of the Three 1st. Ranks of the Diapasons, (beginning at the 12th. String;) as also the Three 1st. Ranks of Trebles; By which Observation, we may (more Reasonably) Term a Tuning, Flat, or Sharp.

But This is not so fit Discourse in This Place, for my Young Scholar; Therefore I will break it off, at present, and inform him, how to Tune his Lute; This way: As for Example.

If you would learn, well, to Tune your Lute, It is to be suppos'd, that you know an Vnison, 3d, 5th, and 8th: Or else you must learn, so to do; and then take notice, of Those Letters, set in the last Musick Line; which show, That every String, must be an Vnison to the next, under, or above It, as I have there set them down; only the Basses, and their Octaves, must be an Eight, to each other; and all the rest of the Double Strings, (which are Equal in their Sizes) must be Vnisons, one to the other.

This will be sufficient, for you to know, as concerning Tuning your Lute; and a little Vse, will make you Ready at It.

I will now shew you, the further use of your Right Hand.

[...] The further use of the Right-Hand.

You see Here, still, the same Line you had, before; only I have added (under every first of a Down, and first of an Vp) a Bass, which must be struck, together, with the very same Letter, at the very same time; with the Thumb; (which at the first, will seem a little troublesome, yet soon gain'd, or overcome.)

Your 1st. Rule holds good, in both Thumb, and Finger; for your Thumb must rest upon the next String, but your Finger not, but pick up. And your General Rule is, always, to strike a Single Bass, and Treble, with your Thumb, and 2d. Finger Remember, to stop the (β) with your Fore-finger, and hold It so stopt all the Time, till you have Play'd the whole Line; and when you can do It pritty readily, Then Practice it with Time, by your [Page]Swing, Hand, and Foot, as you did, with the Single Line, last before set you; The which, in half an hours time, will be your own, tollerably well: But, at 2, or 3 such half hours, Exactly; and Then you are in a Higher Form, and with Good Desert.

Next, Learn the Order, and Fingering of your Left Hand, Thus.

CHAP. XIII.

[...]

But before you touch the First Letter (α,) upon the 2d String, Remember to lay your Thumb upon the Last Bass, (which is to be struck, the last Note of the 2d. Barr) that it may be both in Readiness, and Resting some where, (as always it must be.)

The most Comely Posture of the Left Hand, Carefully to be Observed.Then, (having prepar'd your Right Hand) bring up your Left, (your Fingers standing Hollow, and Round; and of an Equal Distance (as the Tallents of an Hawk;) which is the most Comely, and Vseful Posture, for that Hand to be in.

Yet Noting, That your Left Thumb, stand not Bending, but Strait out; Then, placing That Thumb a little above the (β) Frett, underneath the Neck of the Lute, so that your Fore-finger, may stand just over the Letter (β,) upon the 2d. String, Pick up the Letter (α,) with the 2d. Finger of your Right Hand, and then be ready to stop down (β,) with the Fore-finger of your Left Hand, and so strike It, or Pick It up, with your 2d. Finger, (as It is Marked) of your Right Hand.

Then (holding it still stopt) stop the Letter (δ) with the Tip of your Little Finger, and so strike it, or pick It up, with your 2d. Finger, (as it is marked.)

These 4 Letters only, Practice so long as you please, (20, 30, or 40 Times over) till you have gained an Exact Habit in doing Them;In This Little doing well, a Great-way is gain'd in Lute-Play. And in which doing, you will have gained, an Exceeding Great-way into Lute-Play: Yet taking Notice, That when you come to the 3d. Barr, (which shews the work of the 3d. String) you are not to keep your Thumb above the ( [...]) Frett, (as I formerly gave Direction) but plant it (according to the Reasonableness of the Work) a Frett lower.

And so you must ever move It, (as occasion requires.)

[Page]Then, when you perceive, you can put Those 4 Notes together, Truly, and Readily; proceed to the rest, as you find Them prick'd down; and Endeavour to Play Them, as you did the first Four, (for all the Rest, must be stop'd, as Those 4 were, (viz. with the First, and Little Finger.)

And Here take notice, of One very Great Piece of Care, which by all means, you must now (at First) Observe: For fear of an Ill Habit, which is;

That after your Stopt Note, (whatever it may be) you are not to take up That Finger, which you last Stopt, until necessity require, or that you find some Reasonable Cause; as either to give way, for some other Letter, (as your (β) here must give way, for (δ) to sound, (in your coming back) or else, for that you are to use, That last Stop'd Finger, in some other Necessary Place; Therefore▪ take notice of This, for a General Rule, (both in Lute, and Viol-Play) That you never take up any Stopt Finger, One of the Best General Rules for Fingering, either in a Lute, or Viol-Play. (after you have struck it) till you have some necessary Vse of It, or that your holding of it so Stopt, may be inconvenient for some other performance; And when you do remove, (or unstop It) let it be so very little from the String, as One can scarce perceive your Finger, to have unstopt It; which Custom, will teach you to Play Close, and Quick, Neat, and Fine: But if (on the contrary) at the First, you use your self, to Lift, or Toss your Fingers High, (as too many use to do) you shall never Play Handsomly, Quick, or Well.

I us'd to compare such Tossing-Finger'd-Players, Toss not your Fingers High. to Blind-Horses, which always lift up their Feet, Higher than need is; and so by that means, can never Run Fast, or with a Smooth Swiftness: It is therefore, both Commendable, and Profitable, to Play Close; so that in doing much, you seem to take little, or no pains; and in so doing, you cannot but do Neatly, Nimbly, and Well: But if in your Beginning, you get an Ill, Beware of an Ill-Habit, at First. or False-Habit, you will scarcely ever be Reclaimed; which is (indeed) One main Cause, of so many Bad Performers, and the Lute's Discredit; either, in that Masters have not an Especial Care, in the 1st. Entring of their Scholars, or that Scholars are not Ingeniously Observant, to Practice, as they are Directed.

Thus have I been Long, in shewing you a Little, viz. to Perform the Last Line; yet think you it not Long, but be Patient to overcome It, and you will (by That Time) be able to do a Great-Deal, with Ease.

Here follows the Natural Formation of all the Stopt Strings, in these 5 following Musick-Lines; which if you can once do, Nothing can be Hard for you, and 'tis but One Half-hour's Work.

[Page]

The Formation of the Treble String.

[...]

Gain the Formation of the Treble String, and you have Gain'd All.And here take notice of those Figures, which stand under each Letter; and are to direct you, with what Finger you must stop each Letter; viz. the 1st. 2d. 3d. or 4th. Finger, according to the Figures.

Now, you must endeavour, To make This Line Exactly Perfect upon your Fingers, just as you see It set.

And the Quickest, and Best way to do it is; First only to Practice the 1st. 4 Letters, 20, 30, or 40 times; or so long, till you find a ready aptitude, to perform Them Equally, and Evenly, at your Command.

Then do the like to your next Four; and so from 4 to 4, till you have gain'd Them All. And in This one Line doing, you have more than gain'd the doing of All the other stop'd Strings; as you may plainly perceive by their standing,No String needful to be so much stopped, as the Treble String. (there being no necessity of stopping, so much, any String, as the Treble String.

The Formation of the Second String.

[...]

The 2d. String, is very seldom, so much stop'd, (nor is it needful;) because (α) upon the Treble, takes the 2d. String off, at the Letter (δ,) from any Necessity of Use; only sometimes, for Conveniency of Fingering, &c. we Play, or Prick the same Tones, upon the 2d. which otherwise belong, properly, to the Treble: Or sometimes, when the Treble String is Broke, you may make a good shift, to Play many Lessons, (without It) upon the 2d. String, by the same Rule.

The Third String's Formation.

[...]

This is the whole order of the 3d. String: And as the Treble took the 2d. off, at the Letter (δ;) so doth the 2d. take This off, at the Letter (δ;) so that there is no necessity of stopping [Page] This String, any further than (ε,) except for the same Reasons aforesaid.

The 4th. String's Formation.

[...]

This is the whole order of the 4th. String, and more than needs, by much, because The 3d String, generally takes the use of This off, at the Letter (δ)

The 5th. Strings Formation.

[...]

This is the whole order of the 5th. String; the 4th. taking It off, at the Letter (f.)

The 6th. String, needs no Explanation, in that It is seldom stopt, beyond the Letter (δ.)

This I think fully sufficient, to give you the Exact Information, concerning the whole Fingering of the Lute, as to Single Stopping.

It only remains for you, to acquaint your self, with the Ready Vse of every String, as It is Thus ordered; (the which will soon be done) and Then, you will proceed, with much Cheerfulness, and Delight, to the Full-Stops, which are not many, nor at All Hard, but very Familiarly Easie, and Natural, for the Hand.

But before I proceed to Them, I will make Perfect, all your Work, Thus far, as we have gone.

Therefore, take notice, of This next Musick Line; which is the very same I set you a little before, only I have added to It, some Basses, or Diapasons; and if you forget not my former Directions, I doubt not, but you will Play It, at the first sight.

[...]

There being no difficulty, in the Playing of This, the Treble, or upper part, being (as I said) the same you had a little before; only strike the Basses, with Those Trebles, you see set under Them.

CHAP. XIV.

[Page]

Seven Handsom Lessons, or Praeludiums, follow.HItherto, I have given Sufficient Directions, as to the whole Order of the Lute, in Reference to Single-Play; I should therefore proceed, to inform you the way towards a Full-Play: But, because you shall be more Perfect in This, (by which means, the next, will be much more Easie) I will, here following, set you down 7 Praeludes, (in each Key One) which shall serve you, as so many handsome Lessons, upon any after occasion, in any One of the 7 Keys. The 1st. shall begin here, in C-fa-ut-Key.

The 1st. Lesson, being a Praeludium for the Hand in C-fa-ut-Key.

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

This I'l call a Lesson; All the other were only Rudiments, and of no further use, than to give you Insight, Thus far: Therefore, when you have made your intended use of Them, leave them, and adhere to your Lessons only.

This may serve you, as a Praelude, at any time, upon This Key;Take good notice, in what Key you Play in, at any Time. being call'd C-fa-ut-Key.

Now, before I proceed any farther, It will be very needful, that I, and you, make sure of the True, and Exact Performance, of This Lesson, in every Punctilio; For it will profit you Extreamly [Page]much, so to do; and if you do not This well, you will be Deficient, in many Things: Therefore take Patience unto you, and Examine, every Barr, in the whole Lesson.

The Number of Barrs, are 16, and every Barr, has just one Semibreve, in It.

First then, take notice, that in the 1st. Barr, are 8 Quavers, (which, you know, makes a Semibreve:) In the Playing of which, (before you attempt the striking of the first Stroak) you must be sure to provide, or make preparation for the 3 Notes following (at least.)

The first Stroak, is (β) upon the Sixth, and the Figure 5, (being the last Bass;) both which, must be struck, at the same time, with the Thumb, and 2d. Finger.

But your Preparation, must be Thus, viz. Having stopt the (β) with the End of your Fore-finger, and made ready your Right Hand, An Explanation of All the Particulars, in the foregoing Lesson; and of Great good use to a Beginner. you must take the 3 following Letters, into your Consideration, (before you strike the first stop) and so make ready your Little Finger, by setting it close over the Letter (δ;) by which means, you may readily stop It down, so quick, as you please; And being in this ready Posture, strike the 1st. stop, but take not up the (β,) till you come to the last Note of that Barr; nor (δ,) till you come to the last (β;) by which means, the stops will be All ready; and the Thus holding of your Letters stopt, all the while, will give a very Fine Sound, or Gingle, beyond any other way of Play.

Thus,The first Barr Explained. (having Explained the 1st. Barr) when you perceive you can put them together Readily, and Truly; Practice them over, 20, 30, or 40 times, before you attempt a Note farther; and then, undertake the 2d. Barr; Remembring, to observe all the same Directions, as you did in the 1st. Barr, viz. Always prepare for the ensuing Notes, before you strike the First Note of any Barr; then take up no stopt Finger, till need so require; for any stopt Finger, remaining still upon Its stop, gives you a better advantage, than if it were taken off, as being a sure Guide, to any other stop following; and by This Habit, or Custom, your Hand will have a kind of assured Knowledge, and Aptitude, to reach from place to place, Certainly.

Whereas, on the contrary, when the Hand is loose, and off, Several Benefits of holding a stopt String stopt, till there be need of Its Release. from the stops, It is uncertain, and cannot be assur'd to stop, so perfectly well, as by that other Habit, without taking your Eye off your Book, which often proves very prejudicial; but by This way of Practice, you shall suddenly gain the way, to Play without any Trouble of looking upon your Fingers, or otherwise; the which, is both Commendable, and very Beneficial; for It will quickly make a Ready-Hand, and most Neat, and Curious Play; And, (besides All which) sometimes It is of Absolute Necessity, This Punctilio is Explained at large in the Viol Part. Pag. (in reference to the strict Rules, and Laws of Composition) that such a Note, ought to be held stopt, and sounding, so long, till such a Number of Notes, (following) are all performed; as upon occasion, in your farther Proceedings, I shall explain, by some Examples.

[Page]This Punctillio, I stand very much upon, and so would I have All my Scholars, because I know, It is of most Excellent Vse, both in Lute, and Viol-Play.

In your last Barr, save one, the 5th. Letter of that Barr, is a (Γ.) upon the 4th. String, and has before it a little Crook, or Comma, Thus (,) which is the Mark of a Grace, in Play, which we call a Back-fall; and if you can do It, in This place, you will do It, (upon occasion) in any other place, upon the Lute.

Now, how to perform It, is Thus, viz.

If you remember, (according to my General Rule) that the precedent Letter (δ,) is to remain stopt, till you come to strike This Letter (Γ,) you will find, that the Back-fall, will be very easie to perform; for, (you are to know that) to make a Back-fall Right, Explanation of a Back-fall, you are always to strike the Precedent Letter, (which stands upon the same String) instead of That Letter, which is to be Back-fall'd) with your Right Hand, and not at all to strike the Letter It self; yet you must make It sound, by your Left-Hand Finger, (so soon as you have struck the Precedent Note) by shaking It from That (δ,) (so struck) into the (Γ.)

This is the Nature of all Back-falls, viz. They ever partake first, of that Tone, either of a half Note, or a whole Note, next ascending, (according to the Aire of the Lesson, or Key.

This last Saying, viz. according to the Aire of the Key) will be a Mystery to you, at present; but I shall take a fitter time, and place, to Explain It in; In the Interim, let It not trouble you.

I will now make an End, of shewing you This Lesson; and there is only the last Barr of it to speak to, in which is a Full Stop; the first part of it, is to be struck with a Raking, or Brushing-stroak, downwards, by the Thumb, immediately after you have struck the (β) upon the Sixth; and the last 4 Letters in one Stop, Raked over, with your Fore-finger, upwards, all at once; but strive to Rake Them smoothly, and neatly; or (to say better) only stroak them all over Gently, or Lovingly, from the uppermost, to the undermost, and Then the work is done; but be sure to stop Clean, (as we use to Term It) so that one Finger hinder not another.

B [...] the W [...]-Learning of This Lesson, all such Lessons are Learned.By this plain Direction, I suppose, This Lesson is your own; and likewise, (together with It) All other such Single Lessons; I mean Single, because there is only Express'd a Bass, and a Treble.

Now, because it is a great Trouble for the Master, always to set down Figures for Fingering, What is injurious to a Learner. as also, a Greater Injury to the Scholar to Expect It, (for the Custom of It keeps Him in Ignorance) so that He learns without any Reason, Rule, or Skill; only, because It is so Mark'd, or Figur'd for Him,) I will therefore (to cut off all such inconveniencies on both sides) give an Assur'd-General-Rule for Fingering, with Examples to confirm the same▪

First therefore, Let the foregoing Memento, be ever had in Mind, when you are to Play a Lesson, at first-sight, (viz.) before [Page] you attempt to stop, or strike the first Note of any Barr, A General, and Certain Rule, for True Fingering, with the Left Hand. be sure to view the whole Barr, and observe how the Notes stand, one differing from another, Then order the first Stop, with such a Finger, or Fingers, as may be held stop'd, (if you can) till the first Barr be performed, or further (if without inconvenience) you may.

This Rule alone, will almost do the whole Business; as by Example, you may perceive very much, in This next Lesson, which is a Praelude in D-sol-re-Key.

CHAP. XV.

The 2d. Praelude in D-sol-re.

[...] [...]

THe 1st. stop is a double Note;This Lesson Explain'd, so, that by This means, One may Play Blind-fold. and both the Letters may be held stop'd, very conveniently, till the whole Barr be performed; in the holding of which, you have an absolute certainty of Fingering, for all the rest of That Barr, without the least doubt; For by holding the first stop stop'd, your Fore-finger, and Little-finger, will naturally ply, or take β and δ. So that if you were blind-fold, you could not tell well how to miss Them; especially, after you have wonted your Hand a little to that order by Habit, (which is soon gain'd.

In the 2d. Barr, (β) may very conveniently be held, till the whole Barr be performed.

In the 3d. Barr, you can but perform the 1st. 4 Letters, before you remove. But, in the Playing of those 4 Letters, Note well, This New Rule. observe a New Rule, (which yet I have not given) both for the Right, and Left Hand, Thus.

Stop the β, and the Γ, both together, at the same time, as if you did intend to Play them at the same time, both together.

Then, (before you strike the (β) lay on your Thumb, Fore-finger, and 2d. Finger, all together, upon the β, α, and Γ, as if you did intend to strike Them all together; Then, when both [Page] your Hands are in This Readiness, How to draw a sweet Sound, and not to Knock, or Drum upon the Lute, as too many do. you will find it, not only very Easie to pick them up, one after another, (as they must be) in their due proportion; but also they will yield a far more Curious Sound, than if you should (as most do) stab upon Them, at a Venture, (the which I call Knocking, or Druming upon the Strings;) But This way I call, Feeling your Strings, before you sound Them, and Drawing a Sweet Sound from the Lute; which is so very Considerable, as any performance you can make upon your Instrument.

There is yet one little Punctilio, which I must acquaint you with, before I leave these 4 Notes, viz. The first Letter (β) is a Bass, and therefore to be struck with your Thumb; yet in this place It must not be struck, as other Basses, (viz. Resting your Thumb upon the next String) according to the General Rule;) because, if you should do so here, the Resting of your Thumb, would hinder the next following (α) (upon the 4th. String) from Sounding Readily;The General Rule of the Thumb, contradicted, and why? Close-Play, and Its Certain Rule, so that you must give that (β) a little Lift up, and cast your Thumb, beyond the End of your Fore-finger, without Resting; and so it will do very well.

This I call Close-Play; And in All such Cases, when you have Close-Play (with your Thumb, and Fingers, so very High together, (as Here you have) you must do so; otherwise, ever Rest your Thumb.

The next 4 Letters of This Barr, likewise prepare for, together, with both Hands, before you strike the first Note, and then Play Them Evenly, and Equally, as you did the other; only Here you must Rest your Thumb, This not being accounted Close-Play, because you have a String, or Two, between the Thumb, and the Treble.

And In This Order, perform the whole Lesson through, and all such like Lessons in the world,This last Example is a General Rule, soal Close Play, especially the 3d. Barr, of It. as you meet with.

This Rule, carefully observ'd, will undoubtedly teach you, True Fingering, Good, Sweet, Neat, and Curious Play, in any Lesson.

You have in the End of the Last Barr, save One, a Back-fall to the uppermost (α,) on the 2d. String; which must be Back-fall'd from (β,) upon the same String, as in the former Example, you had your (Γ) Back-fall'd from (δ,)

A General Rule, to perform all Full-Stops.The last Note of this Lesson is a Full Stop, (which yet you have not met with before) therefore take this General Rule for It, and all Full Stops; viz. when you have made it ready, by stopping it True, and Clear, strike it altogether with your Thumb, and Fore-finger; The Bass only with your Thumb, and Rake all the rest, (beginning with the Treble String) with your Fore-finger, which is enough for This Lesson.

I call That, the Treble of a Full Stop, which is the uppermost of any Stop, though not the Treble String.

CHAP. XVI.

[Page]

I Will still farther Explain (by Example) the General way, A further Explanation of the General Rule for Fingering. of Good, and True Fingering, by setting you a short Praelude, upon each Key, and by that means, you will also gain, so many Lessons.

I have told you, There are but Seven Distinct Keys, (Naturally) in the whole Scope, and Nature, of Musick; and You have had Two, already, viz. C-fa-ut, and D-sol-re; This next shall be in E-la-mi.

The Third Praelude, in E-la-mi.

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

The 1st. thing needful, in this Lesson, for you to Remember, is to hold the last (δ), in the 1st. Barr, stopt, till you have struck the 2d. (δ,) in the 2d. Barr; then hold that (ε) still, that whole Barr.

At the 3d. Note, of the 4th, Barr, plant your Fore-finger In that (ε) by which you are Enabled to Play all that Barr, and the 2 1st. Notes of the next Barr, without any trouble, or other form, (you perceiving, how aptly f h, and f ε will fall to be stopt, according as I have marked them.

The 5th. Note of the next Barr, is (ε,) which you must (according to their General Rule) hold, till the (δ) following be struck upon the Sixth String.

The next Γ Γ's, must be both stop'd with your Fore-finger, Here the General Rule of Stopping, is again excepted against. by laying it a-cross, close and hard, which is contrary to the General Rule of stopping, as aforesaid, yet sometimes you will find it needful, as here in this place It is; and though It be more troublesome than with the End of your Finger, yet it will soon [Page] be Eas'd; for It is but for them 2 Letters. I have nothing more to say of This Lesson, than still to put you in mind, constantly to hold every 1st. Letter, till your 2d. be struck, when you have them come by 2, and 2, as in the next Barr they be, and so forwards.

The Back-fall, at the 9th. Note, in the last Barr, but One, must there be taken from the (Γ,) which stands before it, (which in that place is from a whole Note, or 2 Fretts; but your other, which you learnt before, was only from a half Note; and One Frett, is always a half Note.

Your 2 last Full Stops must be struck, the 1st. wholly with the Thumb, in the way of a Rake, beginning at the Bassest String; and the Last wholly with the Fore-finger, beginning at the Treble String. So This Lesson is finished, I hope to your perfect Vnderstanding of It.

The next, is a Praelude, in F-fa-ut-Key, as you may here see.

CHAP. XVII.

The 4th. Praelude for Fingering, in F-fa-ut-Key.

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

HEre is nothing in This Lesson, that you can doubt of, but is according to your General Rules, till you come at the 5th. Barr; where you shall see the 2d. and 3d. Notes, both mark'd with the Fore-finger, which is contrary to the General Rule; yet oftentimes we do Play, (as there you see) twice with the Fore-finger, [Page] the Notes standing as there you see them, (one under another:) But then we strike, Them Two Notes, after another manner, viz. not picking up the 1st. Note, but Slipping-wise, (as it were) and resting the Finger, upon the 2d. Note a little, and then strike the 2d. Note, as you do others.The General Rule excepted against, by the Slip-stroak.

I call this a Slip-Stroak; you have it again in the 5th. and 6th. Notes, in the same Barr, and twice more in the 8th. Barr: Therefore, if you can do it in One, you may do it in All. And again upon a Close.

There is another kind of Exception, from your General Rule, by hitting twice, with your 2d Finger, as in the last Barr: But that is always upon the Close; or after a Long, or Shaked Note; and the Reason is, chiefly in regard that your next Note is so very short; and also, because that the Full Stop, in the next Barr, must be struck with the Fore-finger; so that it would be far more inconvenient to strike both Them, with the Fore-finger, than the 2 former with the Long Finger: which indeed is no Inconvenience at all, in regard there is time enough, to turn the 2d. Finger again, whilst the Shake, or Back-fall, is in agitation,

There is no need of Direction, for This Lesson, only remember, that the last Full Stop, must be struck, with the Thumb, and the Fore-finger.

CHAP. XVIII.

The 5th. Praelude for Fingering, in Gam-ut-Key.

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

THe Directions for This Lesson, will be very short; there being nothing in it, that (I think) you can doubt of; yet, because in the Sixth Barr, those 2 ( [...] 's) are mark'd for several Fingers.

[Page] Exceptions from your General Rule, in shifting of Fingering, very needful to be known.And you might think, that because your Rule bids hold the one, till you come at the other; therefore the other might best be still kept stopt with the same Finger; I shall here, give you a Reason (both why) it is altered in this place; and in all such Cases, you may alter your Fingering, for a better advantage, in performing the Ensuing Notes.

You see that [...], and [...], follow the 2d. [...]; therefore, because of that Convenience, (which you see you gain, by altering your 2d. [...]) you do much better, than if you should hold it still stop'd, with your 4th. Finger; besides, you have time enough, to shift Fingers, by reason of the Eighth String, coming between; in which time, you may do it, without the least Inconvenience.

There is another the like shifting of Fingering, in the 2 last Notes of the next Barr, viz. [...]; your [...] being held still stopt, from the last Barr, might, (you may say) very well be still kept, with the Fore-finger; I say so too, If it were not so short a Note, as you see It is, which will be troublesome, to skip back to the next Letter ( [...],) in the next Barr; therefore, in that respect, as also the precedent Note [...], being a Long Note, viz. a Prick'd Quaver, you may better make your shifting, in that place, than in the next.

You will find many such occasions, reasonable to contradict your General Rule; for which Cause, I thus Explain, upon These 2 Places; that thereby, you may make your own Observations in the like Cases, Hereafter.

This is all that is needful, for This Lesson. Here's another in Are-Key, being the Sixth Praeludium, for Fingering.

CHAP. XIX.

[Page]

The Sixth Praelude in A-re-Key, for the Fingering.

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

IN the Ninth, and Tenth Barr of This Lesson, observe only to lay the End of your Fore-finger, flat ▪ over both Those 2 ( [...] 's) which you see Marked with the same Finger, and I question not, but you will Play the whole, without any further Direction.

Now we come to the 7th, and Last Key, being B-mi; and is a Key, which seldom any Master Setts, or Plays any Lessons, in; except He alter the proper Nature of It, by making it Flat; and Then (indeed) It is a very Noble, Brave, and Brisk-Lively Key, as Any Key in the whole Scale: But as It is here Natural, It is Seldom, or very Rarely Compos'd In; However, in that you shall see, It is a Thing, that may be done; And also, that This Tuning is capable of Bearing It Sufficiently, and Well: I will Here set you a Praelude in It also, as It now follows in the next Page.

And likewise, among the Number of Setts of Lessons, (following) you shall have a whole Suite, or Sett, in the same Key: and I doubt not, but They will Please you, as well, as Any, or Most, in the whole Book.

CHAP. XX.

[Page]

The 7th. Praelude, for Fingering;

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

I Believe, there is nothing in This Lesson, which you will make any doubt of;A short Repetition of the whole Rudiment for Fingering, very profitably to be repeated; being a General Rule for True Fingering. yet, because it is the last of the 7, which I intend for Rudiments, in Single Play for Fingering; I will not think my pains ill spent, to renew unto you a short Repetition, of the Substance, of what I have already been about, in all these 7 Praeludes or Rudiments, if you will not think your pains ill spent, in Reading, and Observing.

I say, (in the 1st. place) for Single Fingering; Hereafter put away all Marks, and Figures, and commit your self, wholly to your [Page]Reason, and let that Guide you; yet upon any difficulty, or doubt (through forgetfulness) you may have recourse hither, to these Rudiments; for they carry in them, the whole natural Formation of every String, for ordinary Play.

In the 1st. place therefore, you are to remember,The 1st. Remembrance. that in the Playing of every Barr, in a Lesson, you are to view the whole Barr, (or more) before you attempt to stop, or strike any one Letter.

Then 2dly, when you stop the 1st. Letter, 2d. you must have regrrd to stop it, with such a Finger, as you may (with ease, and conveniency) stop, and provide for the following Notes, in that (or the next) Barr.

But 3dly, and chiefly, in Plain Time, that is,3d. when your Barrs consist of 4 Crochets, or 8 Quavers) you must ever contrive, to put 4, or 8, Equally together. As for Example.

In the 1st. Barr of this last Lesson, I have Mark'd the 1st. 2 ( [...] 's) with the 2d. and 3d. Finger, which I might have done several Other ways; but in respect of the subsequent Notes, of the same Barr, I count it better to stop them all, as you see.

Then 4thly, 4th. you must (above all) not forget to keep your Holds; that is, (as before) ever hold fast-stop'd, the 1st. Letter, (at least) till you have struck the 2d. But if you can, (and that there be no inconvenience, either for hindring of some other Notes, or performance of some Curious Grace, or that your Hand may be too much bound, &c.) hold it, till you have performed all, that conveniently you can.

This last Rule alone, will be almost sufficient, to teach any one, Good, and True Fingering, for the Left Hand.

Fifthly, you must be Very Careful (now,5th. in your first beginning) to get a Good Habit; so that you stop close to your Fretts, and never upon any Frett; and ever, with the very End of your Finger; except, when a Cross, or Full Stop is to be performed.

And Sixthly, take heed of Tossing your Fingers,6th. high from the Strings, when you have occasion to take them off. But let your Play be Glose, and scarcely seem to move your Fingers, which is a great Commendation, but a far greater Advantage to your self; For, whoso gets That Ill Habit of Tossing, shall never Play quick, nor well, but very uncertainly, and most unhandsomly.

I will here repeat; because I know there is one thing more,7th. E [...]eamly well worth your Remembrance; which is, ‘That always in playing of 2, 3, or 4 Single (or Divided) Notes, (which begin a Barr, or begin at any Bass, or the like:) I say, be sure you provide both your Hands to perform, so far, as conveniently you can, before you hit the first Note: My meaning is, prepare for the stopping of 2, or more; and striking of them also, as if they were to be struck, altogether, The most absolute, and best performance, (or observance) towards Good Play. by setting your Left Hand upon the Stops, and your Right Hand upon the String, ready to strike; yet strike them in their due time, and at your leasure, according to their true Quantities.’

[Page]Thus I have (perchance) seemed too Teadious, in Repeating unto you; but I know it so needful a thing, for a Learner to be told more than once, of such Considerable Rules, without the which observing,Note. he shall never Play well; So that still, I do perswade you to Read them over, very often; but especially to put them Carefully into Practice.

I will now trouble you with no more Repetitions of this matter; only refer you to those Particulars, which Explain the manner of performing those 7 Praeludes; I shall only desire, that you Perfect them upon your Fingers, before you attempt any thing else; for in so doing, you will advantage your self very much.

CHAP. XXI.

I Will now proceed to shew you, what belongs to Full-Play; (for all these have been Single, except your Closes.

Full Play.Your General Rules for that, will be short, and very easie. As for Example.

Here is an Example, for all Notes of 3 Parts, viz. a Bass, and 2 Trebles; and if you can do This, you will do All in This Kind.

[...] Explained in the next Line, Thus.

[...]

Those 4 First Barrs, in the uppermost short Musick Line, are sufficient for the General Knowledge of the like.

Their Explanation, is in Those Notes, in your last undermost Line, and show, that the Letter [...], must be hit with the Thumb, and the 2 ( [...] 's) with your 1st. and 2d. Finger; yet, though I have so divided them, (for your sight) they must be struck alltogether, or but a very little dividing, (which may be allowed, in many Cases;) However practice them both ways.

Here is another Example for Nearer, and Closer Play, with your Thumb, and Finger.

[Page] [...] Explained in the next Line, Thus.

[...]

Here follows an Example for 4 Parts, viz. Three Trebles, and a Bass.

[...] Explained in the next Line, Thus.

[...]

You must know, That the Explanation of This last Example, Either Raking, or Dividing Play: Which is a very good old substantial way. as I have Explained It, is not the way, which is much used, in these days, (although I use It often, as you may do, upon occasion;) but the Fashionable way of Playing them, (now us'd) is much more easie; namely, only to hit the Bass with your Thumb, and Rake down all the other 3 Letters, with your Fore-finger, at the same time; and is the General way of Playing all other Full, or Fuller Stops.

An Example of some, you may see in this following Musick Line.

[...] Raking Play

Begin to Rake (or Smoothly Stroak) all those 1st. Six Strings, at the Treble String, laying on your 1st. Finger, How to Rake a Full-Stop. at the same time [Page] you lay on your Bass; Then, just as you hit the Bass with your Thumb, draw all over your Fore-finger, very gently, till you have hit the Sixth String, and you will hear a very Full Consort, of 7 Parts, (provided you stop Hard, and Clean;) and thus must you do, by all the rest of the Full Stops, till you come to the 2 last Notes of the 3d. Barr, which [...] and [...] are to be struck, with your 2 Fore-fingers, with the Bass; as in your former Examples of Dividing Play; Then make your Back-fall to the [...], in the last Barr, from [...]; and after you have well Shaked it, stop the last Full Stop, before you hit the Single [...], between them, because it is a short Note, and will not admit of any delay, after it is struck; but requires the last Note, quick upon it: So that in the time of your foregoing Prick'd- Crochet, (which we count a long Note, especially at a Close) you may have liberty to stop the last Full Stop, (which will take you up a little time;A way to bring in a Close, Neatly, without Blemish.) Then (you being thus ready) strike that [...], and so bring in the last Stop, with the more Compleatness, and thus of all such Close Notes.

CHAP. XXII.

BY this time, I will conceive you sufficiently ready, at all these foregoing Rudiments, which (although but very few) yet are as the main Foundation, of your whole Business, which I count well over with you, because I suppose you Ingenious.

I will now, in these 2 Chapters following, lay down, all the other Curiosities, and Nicities, in reference to the Adorning of your Play: (for your Foundations being surely Laid, and your Building well Rear'd, you may proceed to the Beautifying, and Painting of your Fabrick) And those, we call the Graces in our Play.

The Names of such, which we must commonly use upon the Lute, be These.

The Names, and Marks of the Graces.The 1st. and Chiefest, is the Shake, Marked Thus, with a Prick before it, as here you may see, ( [...]) The 2d. the Beate, Thus, ( [...]) The 3d. the Back-fall, Thus, ( [...]) The 4th. the Half-fall, Thus, ( [...]) The 5th. the Whole-fall, Thus, ( [...]) The Sixth, the Elevation, Thus, ( [...]) The 7th. the Single Relish, Thus, ( [...]) The 8th. the Double Relish, Thus, ( [...]) The 9th. the Slur, Thus, ( [...]) the 10th. the Slide, (the same) Thus, ( [...]) the 11th. the Spinger, Thus, ( [...]) The 12th. the Sting, Thus, ( [...]) The 13th. the Futt, Thus, ( [...]) The 14th. the Pause, Thus, ( [...]) or Thus, ( [...]) The 15th. and last, Soft and Loud Play, Thus, (so: lo:) which is as Great, and Good a Grace, as any other, whatever. These are the 15 Graces, which may be used upon the Lute; yet Few, or None use them All. Their Explanation followeth; And first of the Shake.

[Page]The Shake, is 2 ways to be performed, either Hard, or Soft, the Hard, (or Tearing-Shake) is thus done, viz. If you Shake any String Open, you must first strike it with some Right Hand Finger, and then be ready with the Fore-finger, The Explanation of the Hard, or Tearing-Shake, open. of the Left Hand to pick it up, with the very Tip (near the Nail) of your Finger; and so, by often, and quick picking it up in that manner, or (more plainly) Scratching It, in a Smooth, Nimble, and Strong Agitation, you will have performed It.

The Soft-Shake, is done, in all respects, like the former,The Soft-Shake open. except the Tearing, and Scratching; and only by Beating the String Strongly, and with a Quick Motion, in the same place, as you did the other; which always must be either in [...], or [...]-Frett; and if it be done Evenly, and Strongly, it gives a very Pleasant Grace unto your Play.

Some there are, (and many I have met with) who have such a Natural Agility (in their Nerves) and Aptitude, to That Performance, that before they could do any thing else to purpose, they would make a Shake, Rarely Well. And some again, can scarcely ever Gain a Good Shake, by reason of the unaptness of their Nerves, to that Action; but yet otherwise come to Play very well.

I, for my own part, have had occasion to break, both my Arms;The Authors Inability, to make the Nerve-Shake. by reason of which, I cannot make the Nerve-Shake well, nor Strong; yet, by a certain Motion of my Arm, I have gain'd such a Contentive Shake, that sometimes, my Scholars will ask me, How they shall do to get the like? I have then no better Answer for Them, than to tell Them, They must first Break their Arm, as I have done; and so possibly, after that,The Arm-Shake. (by Practice) they may get My manner of Shake.

The Stopt-Shake, is (only) differing from the Open-Shake, The Stopt-Shake, and its Explanation. in that you are always to use some One of your Vnder-fingers, in your Shaking, and to Stop, one of your Vpper-fingers, upon some Letter, and then Shake with an Vnder-Finger. As for Example, Suppose you stop the Letter [...] upon the 2d. String, with your Fore-finger: Then must you make your Shake, from the Letter [...], (because It is the Aire) upon the same String, with your Little Finger ▪ Remembring to Stop the [...], Hard and Close, all the time of your Shaking; and if you will have a Soft, and Smooth Shake, then only Beat the Letter [...] Hard, and Quick, directly down, and up, with the very Tip of your Little Finger; but if you would have a Hard, or Tearing Shake, then Nibble the [...] strongly, and very quick, and it will give you Full Content; and so for all Stopt Strings, which require Shaking.

You must likewise know, That a Shake is not always to be made 2 Fretts off, (which is a Full Note Distance,) but as often from One Frett, (which is but Half a Notes Distance.)

And to know certainly, when to do One, A General Rule, how to make All Shakes properly, and in their True places. and the Other properly; Take This General, and Certain Rule; (never to be altered) which is, That All Shakes, must be made, either from the Half, or Whole Note; according to the Aire, and Humour of your [Page]Tuning, and Lesson. As for Example. In this next Musick Line, I have set the Aire of the Tuning down, upon every One of the Six Strings, which only are to be Shaked; the Bass, never.

An Example of whole Notes, and half Notes, in reference to Shakes, and Back-falls, in their proper Aire. [...]

Observe the Order of the Treble String first, and see which are Whole Notes, and which are Half Notes, from each other.

First, from [...], to [...], is a Whole Note, (because 2 Fretts.)

From [...], to [...], is likewise a Whole Note, for the same Reason.

From [...], to [...], is but Half a Note, (because but One Frett.)

From [...], to [...], is a Whole Note; and from [...], to [...], a Whole Note.

A certain General Rule, for Graces; never to be Contradicted.Thus, by This Rule, Examine all the rest, and you cannot fail, to know Whole Notes, and Half Notes; which is a certain Rule, both for Shakes, Relishes, Elevations and Back-falls, never to be contradicted; That is, Every Shake, is to be made in the Aire, viz.

If I would Shake [...], upon the Treble String, I must first stop [...], and then Shake It, in [...]-Frett.

Likewise, If I would Shake [...], upon the 2d. or 4th. String, I must stop [...], and then Shake it in [...]-Frett, (because that is the Aire, and but Half a Note.)

This I suppose enough, to make you know the Certain Place of Shaking any Note.

I will, from hence, proceed to the Back-fall, because the same General Rule, is proper for them both.

The Back-fall Explained.A Back-fall, is only Thus; viz. Let your Note be what it will; It must 1st. partake of the Tone of another Note, or Half Note above it, before it Sound, As for Example.

Suppose I would Back-fall [...], upon the Treble String, then I must 1st. stop [...], upon the same String, and strike it, as if I did absolutely intend [...] (only) should Sound; yet so soon as I have so struck [...], I must, with the Stopping Finger (only) cause the [...], to sound, by taking it off, in a kind of a Twitch, so that the Letter [...], may Sound, (by reason of that Twitch, or Falling back) presently after the Letter [...], is struck, &c.

This is called a Back-fall, and there needs no more to be said of it, (It being so Easie to be understood.)

Now you must know, That the Back-fall may be either Plain, or Shaked; if Plain, you have done it already, by the last Direction.

If Shaked, then Thus, viz.

When you have given it that Twitch, (I have not a fitter word to give it) you must Shake it, either with the Loud, or Soft Shake, (in the proper Letter) afterward, as if it had not been Back-fall'd; and This, is likewise sufficient for It.

[Page]The Beate, is your Letter struck;The Beate, Explained. (be it what it will) and so soon as it is struck, that Sound must be Falsifyed, always into a Half Note beneath, by taking up your Finger, (as if you would Back-fall the False Note, from that stop'd Letter) and strongly, so shaked, to and again; yet, at last, the same Finger, must rest down, in the 1st. True Note. As for Example.

If I would make a Beate upon [...], on the 4th. String, I must, at the same time, (together with that [...]) stop [...], on the same String;; and, so soon as I have struck the [...], I must Twith it up, and by the Twitch, cause the [...] to Sound, and so continue in that Quick Motion, as if I did only intend to Shake the [...]; yet, so strongly knocking down my Finger into [...], that at every Knock, or Motion, [...] may be Equally heard with [...]; and when I have thus continued Beating, so long as my Time will allow me, I must then give the last Knock into [...], with all the strength I can; so that [...] must be Eminently heard at that very last: Observe, not to make a Grace, to prove a Disgrace. For you must know This, That whatever your Grace be, you must, in your Fare-well, express the True Note perfectly, or else your pretended Grace, will prove a Disgrace.

The Half-fall, is ever from a Half Note beneath, The Half-fall, Explained. (as is the Beate) and is performed, by striking that Half Note first; but so soon, as that is so struck, you must readily Clap down the True Note, (with the proper Finger, standing ready) without any further striking. Explained Thus.

Suppose I would make a Half-fall to [...], upon the Treble, (or any other String) I must place a Finger in [...] upon the same String, and absolutely strike [...], as if nothing else were intended ▪ but so soon as [...] has given its perfect Sound, my next Finger, must fall smartly into [...]; so that [...] may Sound strongly, only by That Fall; which will cause a Pritty, Neat, and Soft Sound, without any other striking, and this is the Half-fall.

The Whole-fall, is a Grace, much out of use, in These our Days;The Whole-fall, Explained. yet because, in some Cases it is very Good, and Handsome, and may give Delight, and Content to many, who think fit to use It; know, it is Thus Performed; viz. It gives Two False Letters, before the True intended Letter comes in. Explained thus.

Suppose I would give a Whole-fall, to the Letter [...], upon the 5th. String: Then I must first strike [...], upon that String; and then fall my Fore-finger hard, upon [...], on the same String, and so closely after, (holding [...] still stopt) fall my 3d. or Little Finger, as hard into the True intended Letter [...]; and thus the Performance is Finished; yet always observing, (that for an Equality, and Evenness, in these 3 Sounds) which is a thing Chiefly to be Regarded) you must take Care, Choice Directions, for It Exact Performance. that you strike not the first so Loud, as that the strength of the Finger, is not sufficient to cause the other 2 following Letters to Sound as Loud, as the first, which was struck. Therefore, ever at a Whole-fall, strike the first Note of the 3, Softly; so may you with the more Ease, and Certainty, make the next 2, as Loud; for a Man cannot fall a String so Loud, as he can strike it.

[Page]This is sufficient to Explain the Whole-fall; Only Note, That you always fall it, through the proper Ayre-Notes of the Key, (which to a Musical Ear, is Naturally known.)

Sometimes, it will be 2 Full Notes; as, suppose you should Fall [...], on the 3d, String; Then must you Fall it from [...], into [...], and so into your True Note [...], which is the Ayre of that 3d. String, for Those Notes in this Tuning.

CHAP. XXIII.

The Elevation, and its Explanation.THe Elevation, the Single Relish, and the Double Relish, will take up too much Trouble to Explain Them, by Words only; and will better be done, by Notes, or Letters, because they are to be performed, by many, and various Notes. Therefore, in Their Explanation, I will use a Musick Line ▪ and Letters, for your more Easie understanding of Them.

The Elevation, is generally to be made in the Ascension, or Descension of a 3d. and always upon the Middle Note; (But in saying a 3d. or 3 Notes, I do not mean always [...] 3 Full Notes; for there is a 3d. Major, and a 3d. Minor, as are Here Explained. As for Example.

Those 3 1st. are a 3d. or 3 Full Notes Ascending, which we [...] call 3d. Major, or Sharp 3d. and the 2d. 3, are a 3d. or 3 Full Notes Descending.

The 1st. 3 of these, are a 3d. Ascending,, with the Half Note in the midst, which we call a Flat 3d. or a 3d. Minor; the last 3, are the same Descending.

Now, from any of These Notes, you shall know, how the Elevation is to be made, and that is always upon the midst of the 3; Thus, 1st. according to the 3 Full, or Whole Notes, as in the 1st. Six Letters upon the 3d. String. Explained Thus.

The 2d. 3 Thus.

The Elevation, Ascending, and Descending. [...]

Thus the Elevation is express'd, both Ascending, and Descending, as you may see (by this Line) upon the Letter [...], which takes up 5 Letters; (as you see link'd together by a Hoop'd Stroak) None of which, are to be struck, but only the 1st. [...], and all the rest are to be performed by the Activity of the Left Hand, in the manner of Falling, or Sliding.

[Page]The Falling, you have had express'd before; and the Sliding, shall by and by be Explained.

Let this suffice to express the Elevation; only you must Remember, that as in your Falling of the Whole-Fall, I gave you a Note, not to Hit your 1st. of the Number, Harder than you were able, to cause All the rest following, to give the same strength of Sound; so must you do in This: For they must always be Equal in Loudness; which will require a pritty Careful Practice: For 'tis a Hard Grace.

The 3d. Minor, or Flat 3d. is done after the same manner; yet observing the Ayre of your Lesson.

The Single Relish, (after This, The Single Relish. is understood) will be very Easie, as being but a piece, or part of the Elevation; and is likewise generally done upon the Ascension, or Descension of a 3d. Thus.

Ascending a 3d. Thus. Descending a 3d. Thus.

[...]

Explained Thus, 1st. Ascending.

[...]

2d. Descending.

[...]

Note, That the 2d. Note, upon which you perform the Relish, has a Back-fall, which would always be performed very strongly, and smartly, before you attempt the other 2 Notes; which is All that is needful to be express'd, concerning the Single Relish.

The Double Relish, is a Grace, very profitable to practice, The Double Relish. for the making the Hand Nimble, Quick, and Even; But upon the Lute is not us'd to be performed, by any Sliding, or Falling of Notes, as Others are; because It consists of too many Notes, to be performed, without some other Help, than by the Left Hand; But is done in This following manner, Thus.

[Page] [...]

All This, is but called the Double Relish, expressing Those 3 Plain Notes.

In Encient Times, the Well, and True Performance of It, upon the several Keys, throughout the Instrument, (either Lute, or Viol) was accounted an Eminent piece of Excellency, though now, we use it not at all in our Compositions upon the Lute.

However, I shall commend the Private use, and Practice of It, to All Practitioners, as a very Beneficial piece of Practice, for the Command of the Hand. And although the very Shape, and Fashion of It, be not at This Day in General use; yet I will set down such Allusions to It, or such Kind of Dependences upon It, (when I come to give Further Directions for the Hand) as shall pass, with very much Grace, and Modish-Good-Applause.

But I must 1st. make an end of Explaining the rest of These Graces, which I will hasten to do.

The Slur.The next therefore, is the Slur, and is no more than the Falling of so many Letters, (Ascending) as you can, upon Any one String; only by hitting the 1st. as you did the Whole-fall. As for Example. All Those, which are Hooped in, go under the Name of Slurr'd-Notes; only hitting the 1st. and Falling the rest, as in the Elevation before.

Explained Thus. [...]

The Slide, is near of Kin to the Slur, and differs only Thus; your Notes are always Descending, The Slide. and Mark'd with a Hoop, or Slide, as your Slur. As for Example.

The Slide Explained. [...]

We seldom Slide above 2, or 3 at a time, [...] as you may see marked in the 1st. 2d. and 3d. Barrs, with the Slide.

Sometimes we Slide Four, as in the Little Short Line.

[Page]The doing of This, is no more, than 1st. to make all the Stopt Letters Ready, (that is, have Them all Stopt together;) Then hit the 1st. and Twitch the rest, with your Stopt Fingers, one from another, as you take Them off, and Remember to do them All Equally, for Distance, and Loudness, according to former Directions.

The Spinger, is a Grace, very Neat, and Curious, The Spinger, Explained. for some sort of Notes; and is done Thus, viz.

After you have Hit your Note, which you intend to make the Grace upon, you must (just as you intend to part with your Note) Dab one of your next Fingers lightly upon the same String▪ a Fret, or 2 Fretts below, (according to the Ayre) as if you did intend to stop the String, in that Place; yet so Gently, that you do not cause the String to Sound, in That stop, (so dab'd;) but only so, that it may suddenly take away That Sound, which you last struck; yet give some small Tincture of a New Note; but not Distinctly to be heard, as a Note; which Grace (if Well done, and Properly) is very Taking▪ and Pleasant.

The Sting, is another very Neat, and Pritty Grace;The Sting▪ Explained. (But not Modish in These Days) yet, for some sorts of Humours, very Excellent; And is Thus done, (upon a Long Note, and a Single String) first strike your Note, and so soon as It is struck, hold your Finger (but not too Hard) stopt upon the Place, (letting your Thumb loose) and wave your Hand (Exactly) downwards, and upwards, several Times, from the Nut, to the Bridge; by which Motion, your Finger will draw, or stretch the String a little upwards, and downwards, so, as to make the Sound seem to Swell with pritty unexpected Humour, and gives much Contentment, upon Cases.

The Tut, is a Grace, always performed with the Right Hand, The Tut, Explained. and is a sudden taking away the Sound of any Note, and in such a manner, as it will seem to cry Tut; and is very Pritty, and Easily done, Thus.

When you would perform This Grace, it is but to strike your Letter, (which you intend shall be so Grac'd) with one of your Fingers, and immediately clap on your next striking Finger, upon the String which you struck; in which doing, you suddenly take away the Sound of the Letter, which is that, we call the Tut;Which makes the Lute to speak. and if you do it clearly, it will seem to speak the word Tut, so plainly, as if it were a Living Creature, Speakable.

The next, (which I (my self) only call a Grace;Soft and Loud Play, a most Excellent Grace. because no Master ever yet (as I can find) directed it, as a Grace, but my self) is to Play some part of the Lesson Loud, and some part Soft; which gives much more Grace, and Lustre to Play, than any other Grace, whatsoever: Therefore I commend It, as a Principal, and Chief-Ornamental-Grace (in its Proper Place)

The last of All, is the Pause;The Pause. which although it be not a Grace, of any performance, nor likewise Mumbered amongst the Graces, by others, yet the performance of It, (in proper Places) adds much Grace: And the thing to be done, is but only to make a kind of Cessation, or standing still, sometimes Longer, [Page] and sometimes Shorter, according to the Nature, or Requiring of the Humour of the Musick; which if in Its due Place be made, is a very Excellent Grace.

I have now done, with the Declaration, and Explanation of the Graces.

I will therefore proceed, to (what I suppose you long for) viz. the further Explaining of Lute-Play.

CHAP. XXIV.

I Can Remember but One Thing more; which I count Needful, that you be informed in, before you shall find your self sufficiently Able to give a True Account of every performance in Any Lesson, that you shall meet with.

And it is the knowledge of the Right-Hand-Fingering, in a General way: A General Rule for the Right Hand Fingering. Which Thing, in this Chapter, I will endeavour to Explain; and the rather, because it is too Great a Trouble, in the Pricking, or Printing of Many Lessons, to set down the Fingering, to every Note.

Besides, for your future satisfaction, and that you may Play by a Certain Rule, and not upon Trust, at a Venture, with much Vncertainty, not knowing a Reason for what you do: Wherefore, attend This General Rule; which shall never fail you, for True Fingering.

You must know, all Lessons you shall meet with, either will, or should be Barr'd;All Lessons should be Barr'd. so that when you see the Barr, you will easily perceive, what sort of Notes it consists of, viz. of Even, or Odd Notes.

If They be all Even Notes, either of One Kind, or Mixt, (provided they be mixt Even; as 2 Crochets, and 4 Quavers together, or any such;) Then, ever begin the first, with your 2d. Finger, and then the 2d. with your 1st. Finger, &c. as you will see in most of Those 7 Praeludes, I set you down before, with their Fingering Mark'd.

But in Case your Thumb shall begin any Barr, with a Single Letter, When your Thumb single, begins any Barr, what Finger follows. (as in the 7th Praelude, in B-mi, It did) you must know, that In such a Case, your Thumb supplies the Place, and Office of your 2d. Finger, as in that Praelude you may see, in most of the Barrs, quite through.

But when the 2d. Finger, shall begin a Barr Single, and the 2d. Note of the Barr shall be struck with the Thumb, When the Thumb supplies the place of the Fore-finger. (as in the 5th. Praelude in Gam-ut, you may see;) Then the Thumb supplies the Place, and Office of the Fore-finger, your 2d. Finger still keeping Its Course, in taking the 3d. or next Note. Thus, (let your Lesson be so long as it will) if your Barr consist of Even Notes, or Evenly Mixt; make no Scruple, but perform it always in This Even manner; which is the Sure, and Best way of Playing All Divisions, so falling out.

[Page]But if you meet a Barr, not Evenly Mixt, as one Crochet, and 2 Quavers, for the 1st. 3 Notes; and then the like again, for the 2d. Three Notes, (or the like;) In such a Case, you must only have Respect to Those Even Notes, of a Kind, (in that Barr) viz. which are the 1st. 2 Quavers, and which the last 2 Quavers; and begin Them, with your 2d. Finger, although you struck the Former Note, with the same Finger; as Thus, for Example, you may see in These 2 Barrs.

[...] Even Notes of a Kind, in a Barr, how to be Play'd.

I suppose, you remember, that a Single Treble, and a Bass, is always to be struck with the 2d. Finger, and the Thumb.

Let This suffice, for Even Notes in a Barr.

But when you meet with Odd Notes in a Barr, Thus.

Odd Notes in a Barr, how.

[...]

Then Play Those Three 1st. Notes of the Barr, as you see them Mark'd, (which is Natural, and proper Fingering;) but then, at the 4th. Note, you will perceive, that Those remaining 4 Notes, will prove to be Even Notes, and of a Kind, (as to the Rule of Fingering) though Two of Them be Semiquavers, and Two of Them Quavers; That is, they are 2 and 2 of a Kind; which is all the Concern of your Observation in Fingering: Therefore, you must Turn your 2d. Finger, although you struck the stop before, with the same Finger.

The 2d. and 3d. Barrs ▪ are both of the same Nature, as you see I have Mark'd Them.

This may serve for a Sufficient Direction, Even Notes of a Kind. for your General Observation, in your Right Hand Fingering, viz. That whensoever you meet with Even Notes of a Kind, in a Barr, you are to begin the 1st. of that Even Number, with your 2d. Finger; although the Barr, in the whole, consists of Even, or Odd.

In Triple Time, you will often meet with Three Odd Quavers, Triple Time. Thus, as in this Example following on the other side.

[Page] An Exception for the General Rule, of Fingering, for the Right Hand. Example Thus. [...]

The Rule will still hold Good; For you must hit the 1st. odd Quaver, with your Fore-finger; and then the 2 last, (which are Even Notes of a Kind) begin, as you see, with the 2d. Finger.

I think I need say no more, concerning this General Rule, for Fingering: Yet sometimes, there will happen such kind of Notes, and Passages, which we find, will be more Handsomly Convenient, to be Play'd, Contrary to This General Rule; some of which I will here set you down.

The 1st. Example, contrary to the General Rule. [...]

Observe the 3d. Note of This Rudiment, and you will perceive, that It is a Semiquaver; and they are all so, till you come to the Fifth Note of the last Barr: They are likewise Notes of a Kind; so, that according to your General Rule, All Those Notes should be Played with contrary Fingering, to what you see them here set; viz. Whereas you see them Mark'd, to begin with the First, and Second Finger, they should begin with the Second, and First Finger.

The Reason, why the General Rule, is contradicted Here.Now, my Reason is This; because, that in This Place, It is more Natural, according to the Formation of the Hand; and so It will be more familiarly easie, and ready for the Hand, to perform Those Notes (as they so stand) than according to the General Rule: Which if you attentively observe, you may easily perceive.

As for Example; Take notice, how that the Fore-finger, of your Striking Hand, (stands in Its Posture of Play) more conveniently ready over the 2d. String, than over the 1st. So also doth the 2d. Finger, (at the same Instant) stand more ready, over the Treble String, than over the 2d. So that, if you will make your Preparation, as formerly I have directed, viz. To make your 2d. Note ready, (with both Hands) before you strike your First; I say, (Thus Preparing) you cannot chuse but perceive, how that the Natural Formation of the Right Hand, doth Invite you to This manner of Play, in This Place; And so would be in all other, hapning in the same Kind. As for Example.

[Page]Here is another such.

[...] The 2d. Example, contradicting the General Rule.

The 1st. Barr, is according to the General Rule; But the 2d. you see, is just in the Nature of the other above, Contradictory; and therefore, would be so performed.

Now, It will be very good, (for your Experience, The best way to confirm you, in this particular Play. and Confirmation) to try to Play These 2 last Examples, according to the General Rule; by which means, you will more apparently perceive the Difference, and Reasonableness of This Exception; For you will find, by such Tryal, that you cannot perform Those Notes, so smoothly, and easily by the Rule-Play, as by the Exception-Play.

I will still proceed in This Kind of Explanation; because, that in the doing of It, I shall do you Two Great Advantages.

The One shall be, I will Explain All (or the most part of) such Passages, as usually are so performed upon This Tuning, or the Lute in General; by which doing, you shall ever after be put out of doubt, as to the right order of all such Performances.

Then 2dly. I shall give you such an Advantage, as to the General way, of Curious coming to the several Closes of Those several Keys; in which I shall Express Them, as will be a great means, to enable you to Command a Kind of Voluntary Play upon the Lute; which Thing indeed I do aim▪ at; And it shall be the very next adjoyning Work to This, which I do intend (God Willing) to Endeavour: The which, (to be able to do) is the Most Absolute, and Most Satisfactory Piece of Performance, What is the most Absolute satisfaction, upon the Lute▪ that any Person can Attain unto, upon This, or upon any other Instrument.

But First, I will make an end of This kind of Play.

Here therefore, are Five other such Examples; which, (with the former Two) runs through All the Keys; and I suppose will be sufficient, to enable you, both to know when, and how to Break the General Rule-Play, upon All such Cases, at any time. And also, (if you often Practice These following Examples; which you may do at any time, upon Tuning your Lute, &c.) and which will seem very Handsom, upon That, or any other Occasion, and add Lustre to your Play also, and make your Hand Neat Agile, and Fine; For you must know, That such kind of Come-offs, as These, are accounted Quaintnesses, or Elegancies; and in Play, Esteemed very Credible, in the Performer, if he Perform Them Accurately, and Curiously Well. And here, in this next Page following, you shall have Them set you.

[Page] Example in D-sol-re-Key.

[...] [...]

Example in E-la-mi-Key.

[...] [...]

Example in F-fa-ut-Key.

[...]

Example in Gam-ut-Key.

[...]

Example in B-mi-Key.

[...]

In this last Example, Tune F-fa-ut, (or the Ninth String) Sharp.

[Page]Now, I will (according to my promise) proceed, and endeavour, both to advantage you farther in your Experience, and Abilities, in Reference to your more Exact Performances; As also, (if you take good notice of what you shall meet withall) to enable you, to Manage the Lute, (not only like a Good Scholar in Playing of Lessons, (set you) well, but) as a Master: That is, To be able, (upon the Touch of any String, or Key) so to follow such a Touch, or such a Humour, as on the sudden, you either accidentally Hit upon; or else shall Design unto your self, to follow like a Master; the which shall be done, by the Expressions of sundry and various Humours, and Conceits, in the Nature of Ex tempore, or Voluntary Play, What is to be known, in Reference to a Voluntary Play, very necessary. proceeding from One Key to Another, Orderly, and Naturally; which is a Thing very few know how to do, and fewer put in Practice: But none at all, (that yet I could ever hear of) who have attempted, to give it in Example, as hereafter, [...] Work, you shall find done.

I will therefore proceed to Examples; and make my Discourses upon several Cases, according as Need shall require.

To which end I must first inform you, of Two Principal Matters, in Reference to Voluntary Play.

The First is.Concerning the Key. You must have a special regard to That Particular Key you first Touch, or attempt to Play upon; and is commonly done, when your Lute is well in Tune: And in the doing of which, It is ordinary to seem to Dwell, or Abide upon some String, or Note, by which the Key will quickly be known.

Then 2dly, Express some little Humour, or other, presently after;Concerning the Fuge, Form, or Shape. by which the Auditor may discern some Shape, or Form of Matter ▪ which you intend to follow: Both which, if you can do Well, and Maintain; you will pass for an Able Lutenist, or Master.

The Key may be known 4 several ways.How to know the Key, 4 several ways.

First, By the Bass, or Diapason; which if you make for your Beginning Stroak, there is no doubt, but It must stand for your Key.

Secondly, by the Third, or Tenth, to your Bass (reckoning upwards.)

Thirdly, by the Fifth, or Twelfth, to the Bass.

And Lastly, by the Eighth.

I say, by these Four ways, your Key may be known.

As for Example: Suppose I intend to Play a Praelude in C-fa-ut-Key, and to manifest, what Key I do intend to Play in, I will begin Thus, with the last Great String, which is the Diapason of C-fa-ut.

The First Praelude beginning in that Key C-fa-ut.

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

Here you may apparently discern the Key, of This Praelude, by the First Note, which is C-fa-ut.

Now for the Fugue, Shape, or Form of This Lesson, you shall know It Thus.

The Fuge is seen in the first Barr, in which is exprest a determinate Order, intimating Matter, and Form of Notes, which Matter, or Conceit; I do intend to pursue, quite through the Lesson.

This Term Fuge, is a Term used among Composers; by which They understand a certain intended Order, The meaning of a Fuge. Shape, or Form of Notes; signifying, such a Matter, or such an Extention; and is used in Musick, as a Theam, or as a subject Matter in Oratory, on which the Orator intends to Discourse.

And this is the Nature, and Vse of a Fuge in Musick; and, as you may most plainly discern, in This last set Lesson.

Examine It therefore, and observe the 1st. Barr, which speaks the Intent, or Conceit of the whole Lesson; each Barr varying a little; yet (as I may say) Tasting of the First, or Alluding Thereunto

The very Best way, to procure Invention. This is the very way, if well Vnderstood, and Imitated, which will occasion Invention, with much Ease, and Great Delight: But at the present, will (or may) seem a Mystery: However, I will pursue It so long, in what I shall hereafter set down, that I doubt not, but you will Grapple with the meaning of It, well, before I conclude, and to your great Satisfaction, and Advantage.

From this Place, quite through the Book, there is scarce a Lesson, but will Exemplifie This particular Matter of Invention.

I am Engaged next, to let you know, how to express your Key, by a 3d. or 10th. to your Diapason intended.

Now for Example, you still intend C-fa-ut-Key; and you begin to touch your 2d. String, which is a 3d. or 10th. to your intended Key.

Here is a Praelude, which will show you, how That may Handsomly be done; As also to Maintain a Fuge, or Humour.

The 2d. Praelude in the 10th. above the Key.

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

Here the Key is obvious, and Plain, as beginning on the 2d, String, (the Letter [...], on the same String being but the same Tone, yet augments the Sound, and makes it a little Fuller;) And that 1st, [...] may properly have a Beate to It, for Its Grace, (the which is set;) Likewise the 1st. [...], in the 2d. Barr; The 1st. [...], in the 3d. Barr; The [...], in the 4th. Barr; The 1st. [...], in the 5th. Barr; And the 1st. [...], in the 9th. Barr.

Note likewise, That All those Letters, Note. which I have Noted for Beates, must be struck with the Thumb; and the Treble above each, with the 2d. Finger.

This may suffice, for the Fingering of the Lesson.

Now, as to the Humour of It, you may observe, That It All Tasts of, or Similizeth with the 1st. Barr, in some small kind; yet not too much of the same Humour; for that is Nautious, and Tiresome, (which has been Anciently, by some, us'd too much; but too little now a days, by others.

‘Judgment, gain'd by Experience, must be the best Director in This Matter.’

‘The last part, Is a little a Kin to the Fuge; yet peculiarly a Humour by It self.’

‘For you may carry on, and maintain several Humours, and Conceits, in the same Lesson; provided they have some Affinity, or Agreement one to the other: But That does require some Experience▪ and Judgment also; and more than some of our Late Composers of These Times shew, who make their Lessons, as I have known Boys to make their Jacks of Lent;A Comparison, concerning Ridiculous Composures. Their Doublet-Sleeves of several Colours, and both differing from the Skirts, and the Body differing from All, (and yet all very Good Stuffs, Cloth, or Silks, had they been properly, and Judiciously plac'd;) which kind of Ridiculous Composures, have no Good Order, or Compendious Artifice in Them; but are made up at Random, by Hab-Nab, without Care, Skill, or Judgment.A Necessary, and short Digression, Comparing Musick to Language, or Oratory.’

‘Now here, it will not be Impertinent, to make a short Digression, and to say something in This Respect, of Musick; which I believe, every one will not believe, or think possible; and especially, in the matter of Invention, in Composition.’

[Page] ‘But Thus much I do affirm, and shall be ready to Prove, by Demonstration, (to any Person Intelligible) That Musick is as a Language, and has Its Significations, as Words have, (if not more strongly) only most people do not understand that Language (perfectly.)’

‘And as an Orator, (when he goes about to make a Speech, Sermon, Further Explained. or Oration) takes to Himself some Subject Matter, to Exercise Himself upon, as a Theam, Text, or the Like; and in That Exercise, can order His Discourse, or Form, various, and sundry ways, at his Pleasure, and yet not stray from, or loose His intended Matter. Even so may a Learned Master, in This Art, do the like; and with as much Ease, Scope, and Freedom (significantly.)’

‘And as in Language, various Humours, Conceits, and Passions, (of All sorts) may be Exprest; so likewise in Musick, may any Humour, Conceit, or Passion (never so various) be Exprest; and so significantly, as any Rhetorical Words, or Expressions are able to do; only, (if I may not be thought too Extravagant in my Expressions) if any Difference be; It is, In that Musick speaks so transcendently, and Communicates Its Notions so Intelligibly to the Internal, Intellectual, and Incomprehensible Faculties of the Soul;The Divine Rhetorical Power of Musick. so far beyond all Language of Words, that I confess, and most solemnly affirm, I have been more Sensibly, Fervently, and Zealously Captivated, and drawn into Divine Raptures, and Contemplations, by Those Vnexpressible Rhetorical, Vncontroulable Perswasions, and Instructions of Musicks Divine Language, than ever yet I have been, by the best Verbal Rhetorick, that came from any Mans Mouth, either in Pulpit, or elsewhere.’

‘Those Influences, which come along with It, may aptly be compar'd,☞to Emanations, Communications, or Distillations, of some Sweet, and Heavenly Genius, or Spirit; Mystically, and Vnapprehensibly (yet Effectually) Dispossessing the Soul, and Mind, of All Irregular Disturbing, and Vnquiet Motions; and Stills, and Fills It, with Quietness, Joy, and Peace; Absolute Tranquility, and Vnexpressible Satisfaction.’

‘I speak not by Roat, but by Experience, and what I have often found, and felt.’

‘This Relation will seem strange to many; which I shall not wonder at; because I know there are but few, which do arrive to that Height, and Degree of Experience, and Knowledge, both of the Art, Practice, or Effects of It, or (which is more) that do make use of Their Musick, in such a Solemn, and Divine way.’

But I must break off This Discourse, in This Place, and return to teach my Scholar, how to begin to Play a Praelude, from the Fifth, or Twelfth. The Example follows, in the next Page.

[Page] The Third Praelude in the Fifth.

[...] [...]

Here is a short Praelude, which begins in the Fifth, or Twelfth, as appears by the First Letter ( [...]) upon the Treble String.

The Fuge, or Humour, you may observe lies in the First 4 Notes, and is maintained, quite through; One Strain Retorting upon the Other, in Vniformity; which is a very Great Loveliness, in Musical Expressions; but is too much dis-regarded by many.

In the Playing of This Praelude, use your Fore-finger, and Thumb, almost quite through, according to the Rule of Close-play; which I conceive you may Remember.

The 4th. Praelude in the Eighth above.

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

This Praelude begins in the Eighth, to the Diapason; but is properly enough said, to be the Key; yet because I told you of the Eighth, I have here done It.

[Page]You must know, that an Eighth, and a Vnison, (in Musick's Nature) is the self same Thing in Effect; as I shall here demonstrate, by an Example.

How an Eighth, and a Unison, is signified to be the same Thing in Nature.For, let a Man, and a Woman (or a Boy) sing any Song together, (Note, for Note;) And the Woman, or Boy, will as Naturally (and cannot but) sing an Eighth, above the Man, as if they were both the same; which will not do in any other Chorde whatever besides.

And in a great Mystery. This Thing must needs be accounted a strange Mystery; and is a Fit Subject for the Greatest Phylosopher to study to give a Good Reason for.

Now, as you have observ'd the last 3 Praeludes, in respect of Their Fugues, Orders, and Forms; So I pray do This, and you will find▪ that the Humour of the 1st. 2 Barrs, is answered, and maintained in the 3d. and 4th. Barrs; Then, from thence, there is Another Humour or Fuge maintain'd to the End ▪ yet various, but alluding partly to the 1st.

In the Playing of It▪ use your Thumb, and 2d. Finger for the First Note; and so with your Thumb, and Finger, all the way▪ as you see It Mark'd.

I will now set you a Sett, or a Suit of Lessons, (as we commonly call Them) which may be of any Number, as you please, yet commonly are about Half a Dozen.

The First always, should begin▪ in the Nature of a Voluntary Play, which we call a Praeludium, or Praelude.

Then, Allmaine, Ayre, Coranto, Seraband, Toy, or what you please, provided They be all in the same Key; yet (in my opinion) in regard we call Them a Suit of Lessons) They ought to be something a Kin, (as we use to say) or to have some kind of Resemblance in their Conceits, Natures, or Humours.

I will begin This First Sett, with a Praeludium; and still, by It, Endeavour your further Information, concerning Voluntary Play, and maintaining a Fugue, Conceit, or Humour. Therefore Note This following Praelude.

Here begins the First Praelude of the 8 Suits of Lessons, next following.

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

Here is now a Longer Praelude, than any yet you have had before; and if you observe the Humour of the 1st. Two Barrs, you will perceive, That the whole Lesson alludes to the same Thing; and yet with pleasant variety: I suppose you will not fail in Playing it with True, and Proper Fingering, by reason, that your Rules are so Plain, and often Repeated before.

Therefore I'le say no more of This, but proceed to the rest of the Sett. And Here is the First.

The First Lesson of the First Sett, called the Authors Mistress.

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

Soft Loud

[Page] A Story, (not Impertinent) concerning This Lesson; although many may chance to smile at It.This Lesson I call my Mistress; And I shall not think It Impertinent, to detain you here a little Longer than Ordinary, in speaking something of It; The Occasion of It; And why I give It That Name: And I doubt not, but the Relation, I shall give, may conduce to your Advantage, in several Respects; but chiefly, in respect of Invention.

You must first Know, That It is a Lesson, though Old; yet I never knew It Dis-relished by Any; nor is there any One Lesson, in This Book, of that Age, as It is; yet I do Esteem It (in Its Kind) with the Best Lesson in the Book, for several Good Reasons, which I shall here set down.

It is (This very Winter) just 40 Years since I made It; (and yet It is New, because All like It) and Then, when I was past being a Suitor to my Best Beloved, Dearest, and Sweetest Living-Mistress; But not Married; yet Contriving the Best, and Readiest way towards It: And Thus It was,

‘The occasion of This Lesson. That very Night, in which I was Thus Agitated in my Mind, concerning Her, (My Living Mistress;) She being in Yorkshire, and My Self at Cambridge,) Close shut up in My Chamber, Still, and Quiet, about 10, or 11 a Clock at Night, Musing, and Writing Letters to Her; Her Mother, and some other Friends, in Summing up, and Determining the whole Matter, concerning Our Marriage: (You may conceive, I might have very Intent Thoughts, all that Time, and might meet with some Difficulties. (For as yet, I had not gain'd Her Mothers Consent.) So that in My Writings, I was sometimes put to My Studyings. At which Times, (My Lute lying upon My Table) I sometimes took It up, and Walk'd about My Chamber;☞ Letting my Fancy Drive, which way It would, (for I studied nothing, at that Time, as to Musick) yet my Secret Genius, or Fancy, prompted my Fingers, (do what I could) into This very Humour; So that every Time I walk'd, and took up My Lute, (in the Interim, betwixt Writing, and Studying) This Ayre would needs offer It self unto Me, Continually; In so much that at the last, (liking it Well, (and lest It should be Lost,) I took Paper, and set It down, taking no further Notice of It, at That Time; But afterwards, It pass'd abroad, for a very Pleasant, and Delightful Ayre, amongst All; yet I gave It no Name, till a long Time after, nor taking more Notice of It, (in any particular kind) than of any other My Composures, of That Nature.’

‘But after I was Married, and had brought My Wife Home, to Cambridge; It so fell out, that one Rainy Morning I stay'd within; and in My Chamber, My Wife, and I, were all alone; She Intent upon Her Needle-Works, and I Playing upon my Lute, at the Table by Her; She sat very Still, and Quiet, Listning to All I Play'd, without a Word a Long Time, till at last, I hapned to Play This Lesson; which, so soon as I had once Play'd, She Earnestly desired Me to Play It again;☞ For, said She, That shall be Called, My Lesson.’

‘From which Words, so spoken, with Emphasis, and Accent, It presently came into my Remembrance, the Time when, and the Occasion [Page] of Its being produced, and returned Her This Answer, viz. That It may very properly be call'd Your Lesson; For when I Compos'd It, You were wholly in My Fancy, and the Chief Object, and Ruler of My Thoughts; telling Her how, and when It was made: And Therefore, ever after, I Thus Call'd It, My Mistress; (And most of My Scholars since, call It, Mrs. Mace, to This Day.)’

Thus have I detain'd you, (I hope not too long) with This short Relation; Nor should I have been so seemingly Vain, as to have Inserted It; But that I have an intended purpose, by It, to give some Advantage to the Reader, and doubt not, but to do It, to Those, who will rightly consider, what here I shall further set down, concerning It.

Now in Reference to the Occasion of It, &c.There are Times of Barrenness, and Times of Plenty, in Matters of Invention. It is worth taking Notice; That there are Times, and particular Seasons, in which the Ablest Master, in his Art, shall not be able to Command his Invention, or produce things, so to his Content, or Liking, as he shall at other Times; but he shall be (as it were) Stupid, Dull, and Shut up, as to any Neat, Spruce, or Curious Invention.

But again, at other Times, he will have Inventions come flowing in upon him, with so much Ease, and Freedom, that his greatest Trouble will be, to Retain, Remember, or Set Them down, in Good Order.

‘Yet more particularly, as to the Occasion of This Lesson; I would have you take notice, that as it was at such a Time, when I was Wholly, and Intimately possessed, with the True, and Perfect Idea of my Living Mistress, who was at That time Lovely, Fair, Comely, Sweet, Debonair, Vniformly-Neat, and every way Compleat: How could (possibly) my Fancy Run upon any Thing, at That Time, but upon the very Simile, Form, or Likeness, of the same Substantial Thing.’

And that This Lesson doth Represent,The Story apply'd to use; And the Lesson Explained. and Shadow forth such a True Relation, as here I have made, I desire you to take notice of It, in every Particular; which I assure my self, may be of Benefit to any, who shall observe It well.

First therefore, observe the Two First Barrs of It;The Fugue. which will give you the Fugue; which Fugue is maintained quite through the whole Lesson.

Secondly, observe the Form, and Shape of the Whole Lesson, The Humour. which consists of Two Vniform, and Equal Strains; both Strains having the same Number of Barrs.

Thirdly, observe the Humour of It;The Form. which you may perceive (by the Marks, and Directions) is not Common.

These Three Terms, or Things, ought to be considered, in All Compositions, and Performances of This Nature; viz. Ayres, or the Like.

‘The Fugue, is Lively, Ayrey, Neat, Curious, and Sweet, like my Mistress.’

‘The Form, is Vniform, Comely, Substantial, Grave, and Lovely, like my Mistress.’

[Page] ‘The Humour, is singularly Spruce, Amiable, Pleasant, Obliging, and Innocent, like my Mistress.’

‘This Relation, to some may seem Odd, Strange, Humorous, and Impertinent; But to Others, (I presume) It may be Intelligible, and Vseful; in that I know, (by Good Experience) that in Musick All These Significations, (and vastly many more) may (by an Experienc'd; and Vnderstanding Artist) be Clearly, and most Significantly Express'd; yea, even as by Language It self, (If not much more Effectually.)’

‘And also, in that I know, that as a Person is Affected, or Disposed in his Temper, or Humour, by Reason of what Object (of his Mind) soever; He shall at That Time produce Matter, (if he be put to It) Answerable to That Temper, Disposition, or Humour, in which he is.’

‘A Good Caution for Composers. Therefore I would give This as a Caviat, or Caution to any, who do attempt to Exercise Their Fancies, in such▪ Matters of Invention; That They observe Times, and Seasons, and never Force Themselves to any Thing, when they perceive an Indisposition; but wait for a Fitter, and more Hopeful Season; for what comes most Compleatly, comes most Familiarly, Naturally, and Easily, without Pumping for; (as we use to say.)’

‘Strive therefore to be in a Good, Chearful, and Pleasant Humour always, when you would Compose, or Invent; and then, such will your Productions be: or to say better, Chuse for your Time of Study, and Invention, (if you may) That Time, wherein you are so Disposed, as I have Declared.’

‘And doubtless, as It is in the Study, and Productions of Musick; so must It needs be, in all other Studies, where the use, and Exercise of Fancy is Requirable.’

I will therefore take a little more pains than ordinary, to give such Directions,Directions, to Play the Mistress well. as you shall no ways wrong, or injure my Mistress, but do Her all the Right you can, according to Her True Deserts.

First therefore, observe to Play, Soft, and Loud, as you see It Mark'd quite through the Lesson.

Secondly, use That Grace, which I call the Sting, where you see It set, and the Spinger after It.

And then in the last 4 Strains, observe the Slides, and Slurs, and you cannot fail to know my Mistress's Humour, provided you keep True Time, which you must be extreamly careful to do, in All Lessons: For Time is the One half of Musick.

And now I hope I shall not be very hard put to it, to obtain my Pardon, for all This Trouble I have Thus put you to, in the Exercise of your Patience; especially from Those, who are so Ingenious, and Good Natur'd, as to Prize, and Value, such Singular, and Choice Endowments, as I have here made mention of, in so Absolute, and Compleat a Subject; As also, in that they may several ways gain Advantages Thereby; which is my Chief Aim, and Drift.

[Page]I will now set you, the 2d. Lesson of This Sett, The 2d. Lesson of the first Sett, Named the Off-spring. which shall be as one of the same Kindred; and indeed It is so nearly Related unto the First, as I can give It no Name so proper, as the Off-spring; because It came (as I may say) out of the First, (as you shall hear;) For after some time, that My Mistress grew in Esteem, and to be so Generally well liked of (as I have declared) I was desired by some of My Scholars, to make another Part, to Play at the same time with That my Mistress, upon another Lute: Whereupon I Set This next Lesson; and It is so made, that It is both a Consort Lesson, (to the former, upon another Equal Lute) and does pass also for a Lone-Lesson; and call'd often the 2d. Part, or Part of My Mistress. And here It is.

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

In the use of This Lesson, you must Note Two Things especially. The Explanation of the Off-spring.

The First is, That if at any time you Play It in Consort, (with That other) Those Two last Notes of the Fourth Barr, and the Three First of the Fifth Barr, may be left unplayed, (which thing we call Resting;) because They are the very same Notes, in that place, of the foregoing Lesson; so that although It will be no Discord, (if Played) yet It is not accounted Handsom to Play the same Thing upon 2 several Instruments, Consort-wise, at the same time.

But when It is Played as a Lone-Lesson, Those Notes are very Proper, and Fit Aire, to come in, in That Place, in Reference to the Retort in the next Two Barrs following.

But when It is Played, as a Part-Lesson to the other Lute, It is more Ample and Modish to Rest Them 5 Notes, (The other Lute then Playing Them) for that the 2 Lutes will Retort, and Answer one the other much more compleatly, in the same Kind, or Humour.

[Page]The 2d. Thing observable is, That when you Play It for a Lone-Lesson, you must, (for the Humour sake) make Three Pauses, in the last Strain, at Those Three Places where you will find Them Thus [...] Marked; and Those Three Notes also to have the Sting-Grace, (as you may see It set before Them.)

This is all I shall hint you unto, in This Lesson; for I believe you will find the Humour of It Easily, in regard It is so near of Kin to the former; only remember to Play It Soft, and Loud, as you see It Marked.

Take notice also of the Fugues which are in It, maintain'd to the end, yet various from the other.

The 3d. Lesson of the 1st. Sett, named the Cozen-German.

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

I have on Purpose, set you These Three Lessons together, in that you may the more (for your Experience, and Practice) be informed in That Main Thing, which I have driven at for you, viz. To be able to know, the manner of Managing a Fugne, and so to maintain It, as to bring It in, Properly, with your whole Discourse, into a True and Handsom Form, or Shape, in any Matter you intend to pursue, or have a Design for; and in way of Extemporary, or Voluntary Play.

And as you see, These Three Lessons, are of such a Near Affinity, or Likeness of Humour ▪ or Conceit, one to the other, you may the more plainly perceive by Them, after which manner, you may follow, and vary a Fugue, &c.

In This last Lesson, you will see the Fugue follow'd, and maintaind to the End; and without being Glutted; or Cloyed with It; because It is so variously perform'd, and upon Sundry, and Pleasant [Page]Keys. As also the Exact Vniformity, or Likeness of each Strain, both within Themselves, and also of One Strain to another.

When I talk of Vniformity in a Lesson, I mean Thus.What is meant by the Uniformity of a Lesson.

We are to consider of the Lesson, chiefly as to Form, or Shape; which Thing concerns the Composer, principally to be careful of; But as for Fugue, or Humour, you may let Them be what they will; yet They would be so contriv'd, as to have Neatness, and Spruceness in Them; and to be maintain'd Vniformly, and Evenly.

In which Thing we must ever have a Care, The first Thing observable in Uniformity. first to make our Barrs of every Strain, in Number, Even, (viz. 4, 6, 8, 10, 12, or &c.) and Rarely, or Never to make a Strain of Odd, (viz. 5, 7, 9, 11, or 13, &c.) Barrs in a Strain; for if at any time you chance to meet with a Strain, consisting of Odd Barrs, ☜ peruse That Strain well; Ponder It in Its Fugue, Matter and Form, and you will (in the End) perceive, that either some one of Those Barrs, might well have been spared, or else some other put in, or added, (here or there) which might much more have Amplified the Strain; But being as It is, with an Odd Barr, you will find it Incompleat, and Dis-satisfactory; that is, It will not throughly please you, (if you have a True, and Vniform Fancy.)

For It may very aptly be compared to an Oversight, in the making of Verses, A Comparison betwixt Musick, and Poetry, as to Quantities, &c. where the Poet (inconsiderately) puts in a Foot too much, or a Foot too little; and in the True Scanning of such Verses, you may easily perceive them Hobble, and not run smooth, which is a great blemish to the Work.

There have been, and still are, very good Masters, and Composers; as also, Poets, which do not regard this one Thing; And I am very confident, if They were hinted to It, and did well consider It; Themselves would acknowledge Their Oversight, and for the Future, always retain the Observance of It.

The 2d. Thing, which makes Vniformity more Lovely in a Strain, is, That Those Even Barrs, may bear some kind of Correspondency, (as I may say) Affinity, or Likeness in their Form, or Shape, one to another; as you may very plainly perceive there is in These 3 foregoing Lessons; (more Examples of which, I shall not need to set down, to cause you to understand my meaning.)

These Two Considerations are to be had, in Reference to one Strain of a Lesson.

But the 3d. Thing, which will make an Absolute, Compleat, The Third Thing is absolute Uniformity. and Perfect Vniformity in a Lesson, is, when both Strains, are so contriv'd, That They agree Equally, both for Number of Barrs, and for Shape and Form, in such a Retorting way, as is likewise plainly to be seen in Those 3 last mentioned Lessons.

I speak not This to Bind, or Restrain the unbounded, and unlimited Braveries of Fancy, or Invention of any; For I know there are very Excellent Composures of all Forms, and Shapes, and of Even and Odd Barrs, according to the various Humours, and Pleasures of Men.

And sometimes for a Conceit sake, I have done the like; yet (for all that) upon a Review, and better Consideration, I could [Page] see where, and how easily to Correct such a Defection, (for so still I must call It) in the Fancy, or Humour, by either Adding, or Diminishing; and so make my Lesson still the more Compleat, and Vniform.

Many things are Good, yea very Good; but yet upon After-Consideration, we have met with the Comparative, which is Better; yea, and after That, with the Superlative, (Best of All) by Adding to, or Altering a little, the same Good Thing.

This Thing which I thus hint unto, with what went before, (I dare avouch with confidence) will (by a due Observance of It) prove a most steady, An assured way, to make Handsom, and Good Lessons. and certain way (easily) to make Handsom, and Good Ayre; especially for Lessons of a short Cut, such as are Allmaines, Ayres, Corantoes, Serabands, and such like.

They would ever be made Vniform, and Even.

But as long Lessons, viz. Praeludes, Fancies, Pavines, &c. It is not a Matter of so great Concern; because, that in the Exceeding Length of Them, there cannot be such a Nice Notice, taken of their Cuts, or Shapes; besides, They have many times Humours of Pauses, and Flourishes, in a [...]ild way, according to their Nature, that it is not expected from Them, to appear in such an Exact, and Punctual Form, as one of These short Ones, which is (more in use, and of a more easie Discern;) Commonly, like a Pair of Verses, of Six, Eight, Ten, or Twelve Feet, which if either be too long, or too short, a very Indifferent Observer, may soon espy the Defect.

These 3 last Lessons, although I have given them such Fansical, Humorous, or Conceited Names; yet (according to their Forms, and Shapes, and Order of their Time, or Proportion) may be call'd short Allmaines, or Ayres.

And that you may hereafter know how to give Right, and Proper Names to all Lessons you meet with, take notice of This General way, how you may know Them, and how you may Order Them.

There are first Praeludes, then 2dly. Fancies, and Voluntaries, 3dly. Pavines, How to know, and give right Names to all sorts of Lessons, &c. 4thly. Allmaines, 5thly. Ayres, 6thly. Galliards, 7thly. Corantoes, 8thly. Serabands, 9thly. Tattle de Moys, 10thly. Chichona's, 11thly. Toyes, or Jiggs, 12thly. Common Tunes; But lastly, Grounds, with Divisions upon them.

And of every of These, I will give you some kind of Knowledge, by way of Description. The Description of Them. 1. The Praelude.

The Praelude is commonly a Piece of Confused-wild-shapeless-kind of Intricate-Play, (as most use It) in which no perfect Form, Shape, or Vniformity can be perceived; but a Random-Business, Pottering, and Grooping, up and down, from one Stop, or Key, to another; And generally, so performed, to make Tryal, whether the Instrument be well in Tune, or not; by which doing, after they have Compleated Their Tuning, They will (if They be Masters) fall into some kind of Voluntary, 2. The Fancy, or Voluntary. or Fansical Play, more Intelligible; which (if He be a Master, Able) is a way, whereby He may more Fully, and Plainly shew His Excellency, and Ability, than by [Page] other kind of undertaking; and has an unlimited, and unbounded Liberty; In which, he may make use of the Forms, and Shapes of all the rest.

Pavines, are Lessons of 2, 3, or 4 Strains, very Grave, and Sober; Full of Art, and Profundity, but seldom us'd,3 Pavines. in These our Light Days.

Allmaines, are Lessons very Ayrey, and Lively;4. Allmaines. and Generally of Two Strains, of the Common, or Plain-Time.

Ayres, are, or should be, of the same Time, 5. Ayres. (yet many make Tripla's, and call them so;) only they differ from Allmaines, by being commonly Shorter, and of a more Quick, and Nimble Performance.

Galliards, are Lessons of 2, or 3 Strains, 6 Galliards. but are perform'd in a Slow, and Large Triple-Time; and (commonly) Grave, and Sober.

Corantoes, are Lessons of a Shorter Cut, 7. Corantoes. and of a Quicker Triple-Time; commonly of 2 Strains, and full of Sprightfulness, and Vigour, Lively, Brisk, and Cheerful.

Serabands, are of the Shortest Triple-Time;8. Serabands. but are more Toyish, and Light, than Corantoes; and commonly of Two Strains.

A Tattle de Moy, is a New Fashion'd Thing, 9. Tattle de Moys. much like a Seraband; only It has more of Conceit in It, as (in a manner) speaking the word, (Tattle de Moy) and of Humour; (as you will find, quite through This Book, where they are set;) That Conceit being never before Published, but Broached together with This Work.

It may supply the Place of a Seraband, at the End of a Suit of Lessons, at any Time.

Chichona's, are only a few Conceited Humorous Notes, 10. Chichona's. at the end of a Suit of Lessons, very Short, (viz.) not many in Number; yet sometimes▪ consists of Two Strains, although but of Two Semibreves in a Strain, and commonly, of a Grave kind of Humour.

Toys, or Jiggs, are Light-Squibbish Things, 11. Toys, or Jiggs. only fit for Fantastical, and Easie-Light-Headed People; and are of any sort of Time.

Common Tunes, 12. Common Tunes. (so called) are Commonly known by the Boys, and Common People, Singing Them in the Streets; and are of either sort of Time, of which there are many, very Excellent, and well Contriv'd Pieces, Neat, and Spruce Ayre.

The Ground, is a set Number of Slow Notes, very Grave, 13. Grounds. and Stately; which, (after It is express'd Once, or Twice, very Plainly) then He that hath Good Brains, and a Good Hand, undertakes to Play several Divisions upon It, Time after Time, till he has shew'd his Bravery, both of Invention, and Hand.

Thus, I have given you to understand, the several sorts, and Shapes, of most Lessons in use.

I will now proceed in This Suit of Lessons, and here set you a short Coranto, as you shall see following in the next Page.

[Page] The 4th. Lesson of the 1st. Sett, being a Coranto.

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

This Lesson I call a Coranto, and Properly, as you may see, both by the Time, and Shape of It; However, I would have It Play'd in a Slow, and Long Proportion: For the Nature of It, is far more Sober, than a Coranto, and will please you much better so.

The Fugue is seen, in the 3 First Notes, and perceptible all over the Lessons.

The Form is Even, Vniform, and Perfect.

The Humour, is a kind of Sorrowing, Pittying, and Bemoaning. A General Observation▪ how to find out the Humour of a Lesson.

And as to the General Humour of any Lesson, take This as a Constant Observation; viz. observe It, in Its Form, or Shape; and if you find It Vniform, and Retortive, either in Its Barrs, or Strains, and that It expresseth Short Sentences, (as you may observe in All These last Four Lessons, that they have done;) Then you will find it very Easie, to Humour a Lesson, by Playing some Sentences Loud, and others again Soft, according as they best please your own Fancy, some very Briskly, and Couragiously, and some again Gently, Lovingly, Tenderly, and Smoothly.

☞And forget not especially, in such Humours, to make your Pauses, What gives the Chiefest Lustre to Play. at Proper Places, (which are commonly at the End of such Sentences, where there is a Long Note, as easily you will know how to do, if you give your mind to regard such Things, which give the Greatest Lustre in Play, as I have already told you.

The Playing of This Lesson, is so Familiarly Easie, that I need say no more to It. Therefore here is another.

[Page] The 5th. Lesson of the 1st. Sett, being a Coranto, but call'd, I like my Humour well.

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

This Lesson may rather be called a [...] Humour, than a Coranto; and has Its Fugue, or Subject Matter (upon which It Treats) exprest in the 1st. Two Barrs, which is throughout maintained, with Handsom, and Various Intermixtures.

The Form is Vniform, (each Strain within It self) though not All of the same Number of Barrs; and yet the 1st. Two Strains are; which is no Errour, but sometimes, (for Humor-sake) more Pleasant, and Delightful, as in this 3d. Strain, which is Humorous, and Conceited, and seems to Mock, or Mowe, or Jest; to be Blyth, or Merry; as if it were telling some Jiggish Story, and Pointing at This, or That Body, all along, till it comes to the 4 last Barrs, where you see the Letter ( [...]) upon the 2d. String, with a Full Stop; and where you must Pause, and use the Stinging Grace a Pritty while; and then Softly whirl away, and Conclude.

And although it be Coranto-Time, yet (in regard of the Conceitedness of the Humour) I give It That Name.

And because, that Corantoes (Generally) are but of Two Strains; Therefore I will here following, set you a Perfect Coranto, having said sufficiently concerning This.

[Page] The 5th. Lesson of the 1st. Sett, being a Coranto.

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

This Lesson is a Perfect Coranto, and has Its Fuge exprest [...] in the 1st. Two Barrs, and is throughout maintained.

Its Form is Vniform, each Strain within It self; the Humour is Solid, Grave, and very Perswasive, by way of Argumentation; Expostulating (as it were) the Matter with much Ferventness; which you must Humour, by performing Soft, and Loud-Play, in Proper Places; where you may easily perceive such Humour to lye.

Such Observations, as These, will prove several ways Beneficial unto you; both as to your Delight, in your undertaking; and also, a Help to Increase your Knowledge, and Judgment; far beyond that Common way of Poaring, and Drudging at the Practice of Lessons, only to Play them Readily, and Quick, which seldom, or never Produceth Judgment, but leaves This Knowledge ever behind It; which is much more than the one Half of the Work.

I will now Conclude This Suit of Lessons, with a Light Business, as commonly we use to do, (and most commonly call'd a Seraband;) But because I will be a little Modish, I have invented a New-Fashion'd-One, which I call a Tattle de Moy; Because [Page] It Tattles, and seems to speak, Those very Words, or Syllables, as you may perceive by the Five First Letters of It.

The 7th. Lesson, and Conclusion of This 1st. Sett.

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

This Lesson is not without Its Fugue, Form, and Humour; All which I doubt not, but you will readily find out.

The Fugue, is in the 1st. 2 Barrs; the Form is absolutely Perfect, and Vniform, as you may perceive by the whole.

For you may (by your Eye) divide It into 4 Equal Parts, (viz. 4 Times Eight Barrs.)

Its Humour is Toyish, Joccond, Harmless, and Pleasant; and, as if it were, one Playing with, or Tossing a Ball, up and down; yet It seems to have a very Solemn Countenance, and like unto one of a Sober, and Innocent Condition, or Disposition; not Antick, Apish, or Wild, &c.

As to the Performance of It, you will do well to Remember, Memento, that Soft, and Loud Play, is a Chief Grace. (as in all the rest, so in This) to Play Loud, and Soft, sometimes Briskly, and sometimes Gently, and Smoothly, here and there, as your Fancy will (no doubt) Prompt you unto, if you make a Right Observation of what I have already told you.

‘These ways of Discourse, will seem strange, to very many, at the first, because They are unusual; yet I am not out of Hope,This way of Teaching, differs from the Common way. but that after a Deliberate-Consideration, had upon the Matter, (together with the Practice, of what they may here find; as also comparing This way, of Open, and Free Teaching, with That General Close, and Reserved way, all along us'd) I do not doubt, but they will find such Good Acceptance, as there will be a Right use made of Them; by which the Lute shall be Redeemed from [Page] Those Ignorant,Its Benefit, and Advantage. and Belying-Reproaches, and Slanders, which It has (hitherto) all along undergone: And also be so Illustrated, and brought into Deserved Esteem again, that for Ever after, It shall be accounted, and approved (according to Its True Worth) the Best of Portable Instruments: And also very Easily Attainable, both in the Practick, and Vnderstanding Part thereof; which is the Scope of my Endeavours.’

CHAP. XXV.

I Suppose now, by what I have hitherto said, and done, you believe there is a Necessity of Observing These Rules, Thus set down; and that you perceive the great Benefit, that may attend the Observing Them.

However, lest you may not yet be fully satisfied in your Thorough-Apprehensions of Them, I will next, set you down, another Suit of Lessons; in another Key, and Treat upon Them, as I have done upon These, and by That Time, I shall not the least doubt of your sufficient understanding my Meaning.

Yet, before I set them down, I think it very requisite, to inform you in one most Necessary Piece of Mastership;A Compleat Piece of Mastership. which is ever performed, by Those of Good Skill, when They End a Suit of Lessons, in any one Key, and do intend presently to begin another, in a Differing Key; which is:

They do not Abruptly, and Suddenly Begin, such New Lessons, without some Neat, and Handsom Interluding-Voluntary-like-Playing; which may, by Degrees, (as it were) Steal into That New, and Intended Key.

Now, that you may be able to do It Handsomly, and without Blemish, or Incompleatness, (for you must know, It is a Piece of Quaintness so to do) you must take Notice, that always, when you have made an End of Playing, upon any One Key, (if Discourse, or some other Occasion, do not cause a Cessation of Play, for some pritty Time, so as the Remembrance of That Former Key, may, (in a manner) be Forgotten) It will be very Needful, that some care be taken, that you leave That Key Handsomly, and come into that Other you intend Next to Play upon, without Impertinency.

For such Impertinencies, will seem to be very like such a Thing as This, A Comparison, betwixt Language, and Musick. which I shall name viz.

‘That, when Two, or more Persons have been Soberly, and very Intently Discoursing upon some Particular Solid Matter, Musing, and very Ponderously, considering thereof; All on the sudden, some One of Them, shall Abruptly (without any Pause) begin to talk of a Thing Quite of another Nature, nothing relating to the aforesaid Business.’

‘Now, Those By-standers, (who have Judgment) will presently apprehend, That although His Matter might be Good; yet His Manner, and His Wit, might have been better Approv'd of, in [Page] staying some certain, convenient Time, in which he might have found out some Pritty Interluding Discourse, and have taken a Handsom Occasion, to have brought in his New Matter.’

‘Just so, is it in Musick, and more particularly, in this Last-Recited-Matter; as to Chop Different Things of Different Natures, and of Different Keys, one upon the Neck of another, Impertinently.’

‘For I would have It taken Notice of, That Musick, is (at least) as a Language, if It will not be allowed a Perfect One; because It is not so well understood, as It might be, (as I have Declar'd in my little Piece of Poetry, which adjoyns to the Dialogue betwixt My Lute, and My Self.’

Having thus far prepared you,The way how to pass from one Key to another, without Abruption, or Absurdness. with an Apprehension of the Needfulness of the Thing; I will now show you how It is to be done, without Abruption, and Absurdness.

First, (as abovesaid) it may be, that Discourse, may take off the Remembrance of the last Key, in which you Play'd, or some Occasion of a Leaving-off, for some Pritty Time, by a String breaking, or the like; or if not, then (as commonly It happens) there may be a need of Examining the Tuning of your Lute, (for the Strings will Alter a little, in the Playing of One Lesson, although they have been well Stretch'd.

But if lately put on, or have been Slacked down by any Mischance of Peggs Slipping, then they will Need Mending, most certainly.

I say, some such Occasson, may sometimes give you an Oppertunity of coming Handsomly to your New Intended Key: But if none of These shall happen, then you ought, in a Judicious, and Masterly way, to work from your last Key, which you Play'd upon, in some Voluntary way, till you have brought your Matter so to pass, that your Auditors may be Captivated with a New Attention; yet so Insinuatingly, that they may have lost the Remembrance of the Foregoing Key, they know not how; nor are they at all concern'd for the Loss of It; but rather taken, with a New Content, and Delight, at your so Cunning, and Compleat Artifice.

Now, as to your better understanding of This Piece of Art, and Skill; you must first know, that there is a greater Dis-relish, or Offence to the Ear, in passing to some Keys, than to Others. As for Example.

If you end a Sett of Lessons, in C-fa-ut, A Caution, not to go from any Key immediately into a 2d. or 7th. from that Key. (as in this last Sett you have done) then do not presently begin a Sett, either in a 2d. above, or below That Key, viz. either in D-sol-re, or in B-mi. For they are the 2 Great Vnsufferable Discords in Nature, (viz. a 2d. and a 7th.)

And although they are not so to be considered, as in Composition, in This Place; yet there is a secret Tincture of, or Alluding to such a Thing, which will Infuse It self into the Harmonical Part of a Man, whereby he will be a little Disturb'd, or Displeas'd, although he be unskilful, and know not for what Cause; but contrary-wise, [Page] fall into any Other Key, and the Blemish will not be so Great, by far.

I will now set down some Examples, how to pass from one Key to another, Neatly.

The last Sett, was in C-fa-ut; your next shall be in F-fa-ut; so that It is Needful, you be able to Play some Little Handsom Thing, to bring you off orderly, from That Key to This.

CHAP. XXVI.

Here are therefore, Half a Dozen Interludes, to pass from C-fa-ut, to F-fa-ut-Key,

1st [...] [...] [...] [...] 2d [...] [...] [...] [Page] 3d [...] [...] [...] 4th [...] [...] [...] 5th [...] [...] [...] 6th [...] [...] [...]

[Page] The Benefit of these Six Interludes, will be much more than so many Lessons. These Six Examples of Interludes, will do you more Credit, and Service, and give you more Satisfaction, and Vnderstanding, in managing of the Lute, in a Masterly way; if you Practice to Play Them Neatly, and make your Observations, how to Imitate, and Make the like, than if I had set you Twice so many Long, and very Good Lessons.

And that you may not doubt of Any Thing you see Prick'd in Them, know, That the first Barr in every one of Them, stands only to shew you the Common Ending of Lessons in C-fa-ut-Key; some being of Triple Time, and some of Plain, or Even Time. So that when you have ended any Lesson in that Key, then you have your Choice of any of These Six Come-offs, to pass Smoothly, and Commendably to F-fa-ut-Key, which you next intend to Play in.

Fugue, Matter▪ Form, or Shape; Humour, Life, or Conceit.Now for your better understanding of the Notion of Fugue, (or Matter;) Form, (or Shape;) Humour, (or Conceit;) I would have you to observe, that in every one of Those Six Interludes, though you see they be very short) may plainly be perceiv'd, All Those 3 Necessary Pertinencies, The Chief Things Regardable in Composing. in reference to Invention, Voluntary-Play, and a Good Composer, viz. Matter, Form, Humour; Life, or Conceit.

And without a due Observance of These, None shall Compose Musick with that Ease, The Readiest way to a Good Invention. Familiarity, and Certainty, Compleatness, and Pleasure, as Those who do observe Them.

I will not deny, but that it is possible, to Light, or Hit upon something that may be Good; and do believe, that through a Natural Aptitude, (which is in many) Many do attempt to Compose, and often happen upon very Good Ayre; but know not how it came to pass: Nor do They observe These Things, (because, as I conceive, They might never be informed Thus, concerning Them) yet I say, such Productions must needs be, with Much More Labour, and Trouble, than if They did Thus go about Their Work, by a Certain Rule; which (together with a Good Fancy) would never fail, Quickly to do the Business; yea, and with much Ease, and Readiness.

Why the Rules of Composition are not Treated upon, in This Book. The Rules of Composition, are Few and Easie; and Attainable in a Months Time: And They are published so very well, and Substantially by divers, that I shall count it an Vnnecessary Trouble, to say any Thing of Them.

But as to the Great, and Principal Matter of a Composer, which is Invention;Want of Invention, the greatest Discouragement to Young Composers. (and commonly the want of It, is the Greatest Discouragement that a Young Composer meets with) I know no Better way, than what may be found by These Discourses, and Examples; which all along, quite Through the whole Number of Lessons, both for Lute, and Viol, in This Work, I have so contriv'd, That whosoever shall Diligently observe the Order of Them, cannot (possibly) but by Them, and the Discourse, find such Advantages, as I speak of; there being no better way for such a Thing, than Example; the which He shall find in every Lesson in This Book, (excepting One, which shall be Set in the next Sett) according to the above-laid-down-Principals, viz. Fugue, Form, and Humour, &c.

[Page]I will not say neither, that every One, who makes the Rightest Vse, and Observation of the Best Rules in Art, shall by Those Rules attain to such Curiosity, Quaintness, or Excellency; as shall some Others, who have more Accute, Active, and Spruce Parts Naturally; But shall ever be out-done by Them: However, by These Rules, they shall have such Advantages as above-said; and so much for their Certain Assistance, that they shall scarce ever do Ill; although not so Eminently well, as others.

I will now break off This Discourse, and set you another Sett of Lessons; and in F-fa-ut-Key: The first is a Praelude.

CHAP. XXVII.

The 2d. Sett of Lessons, in F-fa-ut-Key, being a Praelude.

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

[Page] The 2d. Lesson of the 2d. Sett, being an Allmaine.

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

The 3d. being an Ayre.

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

[Page] The 4th. being an Ayre.

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

The 5th. Lesson, being a Coranto.

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

[Page] The 6th. Lesson of the 2d. Sett, being a Tattle de Moy.

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

Observations▪ upon This last Sett of Lessons.Observe the Praelude of This last Sett, and you'l find the Fugue apparent, in the 31st. Odd Notes, and the Barr following; and is maintain'd quite through,; yet Pleasantly, and Variously.

And if you Note the Form, you'l find It Vniform, according to what I have before told you.

The Humour must be found out, by Playing Soft, and Loud, and making your Pauses, &c.

The 2d. Lesson, has also Fugue, Perfect Form, and Humour, as you cannot but easily perceive, and find out.

The 3d. has all in It, viz. Fugue, Form, and Humour; yet the Fugue, is not so easily perceiv'd from the beginning, as in the former Lessons. But the Form is Perfect, viz. Even Number of Barrs, in both Strains. The Humour Easie.

The 4th. has All very Perfect, and so visible, that I need only desire you, to Play It Neatly; for 'tis a Pritty Knack.

The 5th. begins not with a Visible Fugue, but has several Allusions, and References, one thing to another, as you will perceive easily in the Playing of It.

[Page] Each Strain is Vniform, and even to It self, though not a Perfect Even Form, one to the other; as one Strain having 18 Barrs, and the other 20. You cannot miss of Its Humour.

The 6th. is apparent in Its Fugue; Its form as the last; Its Humour Familiar, Pleasant, and Innocent.

Your Great Benefit will be, by well Noting, and Studying upon These Discourses, and Lessons, as you Play Them;The Benefit of One Suit of Lessons, well Studied, and Practiced. and be very Curious in That Performance, Playing Them all Smooth, and Clean, without Slubbering the least Letter: By which means one Suit of Lessons, Play'd, and Understood Right, and Well, will Enable you to Play Twenty, quickly.

I will now proceed, and set you another Sett in A-re-Key: Therefore you must first know, how to Pass Handsomly from This last F-fa-ut-Key, unto It; for which end, I have likewise set you Half a Dozen of Interludes, Here following.

CHAP. XXVIII.

Interludes from F-fa-ut, to A-re-Key.

1st [...] [...] [...] 2d [...] [...] [...] [Page] 3d [...] [...] [...] 4th [...] [...] [...] 5th [...] [...] [...] [...] [Page] [...] [...] [...] [...]

These Six Interludes, do all partake of the Foregoing Rules, viz. Fugue, Form, and Humour; as you may see plainly; but you must Examine Them Well, and you will Loose no Labour in so doing.

I will now set the Praelude to This 3d. Sett; as you shall see following in the next Page.

CHAP. XXIX.

[Page]

The 3d. Sett of Lessons in A-re-Key; Praelude 1.

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

This is a Florish, or a Short Come-off at the End of a Lesson; which may be Imitated upon the like occasion, at any time.

[Page]The Praelude you see, has Matter, Form, When Soft, and Loud Play is most Necessary. and Humour in It. And ever when you meet with such Seeming-Single-Moving-Walking Things; and find Affinity between Parts and Parts, or Barrs and Barrs, (as in This you may) then Soft, and Loud Play is the Most Necessary, for to Humour It withall; The which▪ I would have you to observe in All such Lessons; which Thing alone will much Conduce to the Improvement of your Fancy, and Judgment.

Many Drudge, Many Drudge and Practice Hard, to little purpose. and take much Pains to Play their Lessons very Perfectly, (as they call It (that is, Fast) which when they can do, you will perceive Little Life, or Spirit in Them, meerly for want of the Knowledge of This last Thing, I now mention, viz. They do not labour to find out the Humour, Life, or Spirit of their Lessons: Therefore I am more Earnest about It, than many (It may be) think Needful: But Experience will confirm what I say.

The 2d. Lesson of the 3d. Sett, being an Allmaine.

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

[Page]This Allmaine has the Fugue maintained quite through.

The Form is Vniform, and Perfect; both Strains being of an Equal Number.

Its Humour I will leave to your Finding out; because I will [...]xercise your Industry; and so proceed to the next.

The 3d. Lesson in the 3d. Sett being a Coranto.

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

This Coranto, is not without Its Fugue, Form, and Humour.

The Fugue, is not so Apparent, as most of the Former; yet if you seek for It, you will easily perceive It; which I do forbear to tell you; because now it is Time, that you look after It your self; which will be the Greater Improvement unto you.

[Page]As to the Form, you may observe an Vniformity in each Strain to It self; yet both Strains are not Equal.

The 1st. Strain, has 3 Times Four Barrs; which speak, (as it were) 3 several Sentences, (Equally.)

The 3d. Strain likewise speaks 3 Sentences, viz. the 2 first, are 4 Barrs a piece: But the last concludes the same Number of Them both, viz. 8 Barrs; the which Vniforms the whole Strain.

Now the Humour, I have assisted you withall, in writing Lo: and So: viz. Loud and Soft; which is enough for This Lesson.

Here is another, which I would have you Play, in a very Sober, and Grave Proportion; for It has a most Singular Humour, in the way of Expostulating Grief, and Sorrow, as much as possibly a Lesson can do; Therefore I call It the Penitent.

The 4th. Lesson of the 3d. Sett, being a Galliard-shape; yet for Its singular, and most Eminent Humour, I call It the Penitent.

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

I shall not need to say more of this Lesson, than that It is Artificial, with Fugue, Form, and of a very Singular Humour: Therfore Labour to find It out, and then you will be well pleased with It.

[Page]Now comes a Lesson, which has neither Fugue, nor very Good Forme, yet a Humour, although none of the Best, which I call Hab-Nab.

The 5th. Lesson of the 3d. Sett, called Hab-Nab.

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

‘This Last Lesson, (quite Differing from all the whole Number going before) I have set you here on Purpose; because by It, you may the more Plainly Perceive, what is meant by Fugue: Therefore view every Barr in It, and you will find not any one Barr like another, nor any Affinity in the least kind betwixt Strain, and Strain; yet the Ayre pleaseth some sort of People well enough: But for my own Part, I never was pleased with It; yet because some liked It, I retained It. Nor can I tell, how It came to pass, that I thus made It, only I very well remember, the Time, Manner, and Occasion of Its Production; (which was on a sudden) without the least Praemeditation, or Study, and meerly Accidentally; and as we use to say,A Story of the Manner, and Occasion of Hab-Nab's Production. Ex tempore, in the Tuning of a Lute.’

‘And the Occasion, I conceive, might possibly contribute something towards It, which was This.’

[Page] ‘I had, at that very Instant, (when I made It) an Agitation in Hand (viz. The Stringing up, and Tuning of a Lute, for a Person of an Vnuniform, and Inharmonical Disposition, (as to Musick;) yet in Her self well Proportion'd, Comely, and Handsome enough; and Ingenious for other Things; but to Musick very Vnapt; and Learned It, only to please Her Friends, who had a great Desire she should be brought to It, if possible; but never could, to the least Good purpose; so that at the last we both grew weary; (For there is no striving against such a Stream.)’

I say, This Occasion, possibly might be the Cause of this so Inartificial a Piece, in regard that That Person, at that Time, was the Chief Object of my Mind, and Thoughts. I call It Inartificial; because the Chief Observation, (as to good Performance) is wholly wanting: Yet It is True Musick and has such a Form, and Humour, as may pass, and give Content to Many; Yet I shall never advise any to make Things Thus by Hab-Nab, without any Design,The Reason of that Name, Hab-Nab.as was This: And therefore I give It That Name.

There are Abundance of such Things to be met with, and from the Hands of some, who fain would pass for Good Composers; yet most of them may be Trac'd, and upon Examination, their Things found, only to be Snaps, and Catches; which they (having been long Conversant in Musick, and can command an Instrument, (through great, and long Practice, some of Them very well) have taken here and there (Hab-Nab) from several Ayres, and Things of other Mens Works, and put them Handsomly together, which then pass for their Own Compositions.

Yet I say, it is no Affront, Offence, or Injury to any Master, No Offence for one Master to take another's Fugue. for another to take His Fugue, or Point to work upon; nor Dishonour for any Artist so to do, provided He shew by His Workmanship, a Different Discourse, Form, or Humour: But rather a Credit. But it is rather a Credit, and a Repute for him so to do; for by His Works He shall be known; It being observable.

That Great Master Composers may all along be as well known by Their Compositions; (or Their Own Compositions known to be of Them) as the Great, and Learned Writers may be known by Their Stiles, and Works; which is very Common, and Vsual to be so Distinguish'd, by Those of Judgment, and Experience, in such matters.

‘These last Ages have produc'd very many Able,Mr. William Lawes, Mr. John Jenkins▪ and Mr. Christopher Simpson Quoted for their Eminent Works. and most Excellent Masters in Musick; Three only (of which) I will Instance in, in This Particular; because they were so Voluminous, and very Eminent in Their Works, viz. Mr. William Lawes, Mr. John Jenkins, and Mr. Christopher Simpson.’

‘These Three Famous Men, although Two of Them be laid asleep, (or as we say, Dead;) yet by Their most Singular and Rare Works, They Live; and may so easily be Distinguished, the one from the other, and as Exactly known, which is which, as if they were present in person, and should speak Words.’

[Page] ‘This is known (to Observable-Able-Masters, and many Others, who are Conversant in such Observations) to be very True.’

‘A Comparison betwixt Musick, and Language I speak thus much for This End, and Purpose, That it may be more Generally Noted, That there is in Musick, even such a Signification to the Intelligible, and Vnderstanding Faculty of Man; and such a wonderful-various-way of Expression, even as is in Language, Vnbounded, and Vnlimited; and we may as properly, and as Aptly take a Subject Matter to Discourse upon, (for so I will term It) and as Significantly Express to That same, or such a Purpose; and show as much Wit, and Variety, as can the Best Orator, in the way of Oratory: And I would, that this were Better known, and more put into Practice, than (by many) It is.’

The 6th. Lesson of the 3d. Sett

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

Here is a Lesson will make a mends for the last, if you Play It Slow, make your Pauses, and observe the Humour of It; which is very Easie, and Familiar; so that I need say no more, but take care to perform It.

[Page] The 7th. Lesson of the 3d. Sett.

7th [...] [...] [...] [...] [...]

This Ends the 3d. Sett, being a Tattle de Moy.

Find out the Humour your self, by Soft, and Loud Play, in Proper Places; as you may most apparently perceive where.

Here follows Interludes, to carry you Handsomly off from A-re-Key, to the next Sett in D-sol-re; which if you Imitate, you may do the like your self; and so be able to pass from one Key to another, in a Voluntary way; which is the most Commendable way of using any Instrument.

CHAP. XXX.

[Page]

Examples of Interludes, to pass from A-re-Key, to D-sol-re-Key.

1st [...] [...] [...] 2d [...] [...] 3d [...] [...] 4th [...] [...] [...] [Page] 5th [...] [...] [...] 6th [...] [...] [...]

Any of these last Interludes, will seem, (if handsomly play'd) as a little Voluntary, or Extempory Business; in which (after you have us'd your self unto) you will take as much Delight, as in Sett Lessons.

CHAP. XXXI.

[Page]

Here begins the 4th. Sett in D-sol-re-Key.

The 1st. is a Praeludium.

Praelude.

1st [...] [...] [...] [...] [...] [...] [...]

[Page]Allmaine.

2d [...] [...] [...] [...] [...] [...]

Galliard.

3d [...] [...] [...] [Page] [...] [...]

Coranto.

4•h [...] [...] [...] [...]

Coranto.

5th [...] [...] [Page] [...] [...] [...] [...]

Seraband.

6th [...] [...] [...] [...]

[Page]Tattle de Moy.

7th [...] [...] [...] [...] [...]

Here Ends the 4th. Sett, in D-sol-re. The next shall be in Gam-ut.

And Here follows Examples of Interludes, to pass from D-sol-re, to Gam-ut.

CHAP. XXXII.

[Page]

The 1st. Interlude.

1st [...] [...] [...] 2d [...] [...] [...] [...] 3d [...] [...] [Page] 4th [...] [...] 5•h [...] [...] [...] [...] 6th [...] [...] [...]

Here follows the 5th. Sett. The First being a Praelude.

But raise your Ninth String half a Note higher.

CHAP. XXXIII.

[Page]

The 1st, Lesson of the 5th. Sett.

Praelude.

1st [...] [...] [...] [...] [...] [...]

[Page]Allmaine.

2d [...] [...] [...] [...] [...] [...] [...] [...]

[Page]Ayre.

3d [...] [...] [...] [...]

Coranto.

4th [...] [...] [...] [...] [...]

[Page]Seraband.

5th [...] [...] [...] [...]

Tattle de Moy.

6th [...] [...] [...] [...]

Here ends the 4th. Sett.

CHAP. XXXIV.

[Page]

Here begins the Interludes to the 6th. Sett, which shall be in E-la-mi Key, to show the way from Gam-ut-Key, to It.

1st [...] [...] [...] 2d [...] [...] [...] 3d [...] [...] [...] [Page] 4th [...] [...] 5th [...] [...] [...] [...] [...] [...] [...] [...]

The Sett follows, the first being a Praelude.

CHAP. XXXV.

[Page]

The 1st. a Praelude.

1st [...] [...] [...] [...] [...] [...] [...]

[Page]Allmaine.

2d [...] [...] [...] [...] [...] [...]

Ayre.

3d [...] [...] [...]

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

Galliard.

4th [...] [...] [...] [...] [...] Play This Lesson very Slow Time.

[Page]Seraband.

5th [...] [...] [...] [...] [...]

Tattle de Moy.

6th [...] [...] [...] [Page] [...] [...] [...]

The End of the 5th. Sett.

And now shall follow a Sett in B-mi-Key, Natural; which I never yet see set upon the Lute. It being a Key, (as some say) very Vnapt, and Improper to Compose any thing in: Yet because you shall see the Bravery, both of the Instrument; as also of This Flat Tuning, I will set down a Sett of Lessons in It; as I have done in the rest of the Keys: And first Vsher you into It with some Interludes, here following.

CHAP. XXXVI.

Here begins the Interludes to the 7th. Sett, in B-mi-Key.

1st [...] [...] [...]

[Page] 2d [...] [...] [...] 3d [...] [...] [...] 4•h [...] [...] [...]

[Page] 5th [...] [...] [...] [...] [...] 6th [...] [...] [...]

To Crackle such 3 Part-Stops, (as abovesaid) is only to divide each Stop, with your Thumb, and 2 Fingers; so as not to loose Time; But give each Crochet Its due Quantity; And [...] Prittiness; Cause Them to Sobb, by Slacking your Stopping Hand, so soon as They are Struck; yet not to unstop Them, but only so much as may Dead the Sound on a sudden. This gives Great Pleasure in such Cases.

Tune up the 9th. String Half a Note to all This Sett; and also to the Interludes.

And put down the 12th. Half a Note.

Here Ends the Interludes. The Sett follows in B-mi-Key.

CHAP. XXXVII.

[Page]

Praelude.

1st [...] [...] [...] [...] [...] [...] [...]

[Page]Allmaine.

2d [...] [...] [...] [...] [...] [...] [...]

[Page]Allmaine.

3d [...] [...] [...] [...] [...] [...]

Coranto.

4th [...] [...] [Page] [...] [...]

Ayre.

5th [...] [...] [...] [...] [...] [...]

[Page]Ringing, or Bell-Galliard.

6th [...] [...] [...] [...] [...]

Saraband.

7th [...] [...] [...] [...]

[Page]Tattle de Moy.

8th [...] [...] [...] [...]

I have now made an end of These Seven Suits of Lessons, which I promis'd you, viz. In every Key upon the Scale (Natural) a Suit, with Praeludes, and Interludes; by which it may appear, how Easily, and very Familiarly, This Tuning affords conveniency for Substantial Matter, in every Key; the which you will not find done upon That Other, call'd the New Tuning: Nor (indeed) is It capable of that Familiarity, Ease, and Fullness, so to do, as This Flat Tuning is. However, I love It very well; and will likewise set you (here following) a Suit of Lessons in That Tuning; because, I suppose, you may love to be in Fashion: Therefore first see the Tuning Sett, in this Vnder-Line.

Unisons Eights

[...]

CHAP. XXXVIII.
Here follows a Sett of Lessons in the New Tuning.

[Page]

Praelude.

1st [...] [...] [...] [...] [...]

Allmaine.

2d [...] [...] [...] [Page] [...] [...]

Ayre.

3d [...] [...] [...] [...] [...] [...]

[Page]Coranto.

4th [...] [...] [...] [...] [...] [...] [...] [...]

[Page]Seraband.

5th [...] [...] [...] [...]

Tattle de Moy.

6th [...] [...] [...] [...]

Here Ends the Sett.

[Page]I have now Finish'd, and Furnish'd you, with 8 Suits of Lessons, with Praeludes, Interludes, and Florishes, besides all the Former Rudimental-Initiations; from which alone, you may attain to an Exact Order for the Best way of Lute-Play; if you carefully observe Those Directions given.

You have here likewise, seen both the last New Tunings; which (of divers others, now forsaken) are chiefly thought fit to be Retained, (Generally) both in England, France, Germany, Italy, &c. But of These 2 last Tunings, I do Prefer That First, which goes under the Name of the Flat Tuning, and Judge It to be the very-very-Best of Those, call'd the French Tunings; which I shall Endeavour to make Manifest, after I have first shewed you, how to Translate Lessons, from the One Tuning, to the Other; as by This following Table, you may most easily do.

CHAP. XXXIX. The First Table of Translation.

The Flatt Tuning.

[...]

The New Tuning.

[...]

Flatt.

[...]

New.

[...]

This Table of Letters, Comprehends all the Strings, and Letters upon Each Tuning; by which any Person, (who can but Write, and Read) may Readily Translate any Lesson, from the One Tuning, to the Other, and must be done after This manner. As for Example.

First, (laying your Table before you) Thus.

What Letter soever you see upon such a String, in the one Tuning, you must set down (for your Translation) the same Letter, which you find in your Table, answering to That Letter on the Other, viz. More Plainly, Thus.

I find an [...], upon the Treble String of the New Tuning, in a [Page]Lesson, which I would Translate to the Flat Tuning; I must then set down an [...] likewise, upon the same String, for my Translation; because That Letter [...] is in answer (to It) in my Table. So likewise of all the Rest, upon the Treble, 2d. 5th. and 6th. Strings. All the Difference will be only in the 3d. and 4th. Strings, excepting some little Matter in the Diapasons.

Further yet, supposing you find the Letter [...], upon the New Tuning, on the 3d. String; then for your Translation, set down an [...] upon the 3d. String; and so forwards, as you see set on that String.

Then again, you find the Letter [...], upon the 4th. String, in the New Tuning; for which, you must set down the Letter [...] ▪ for your Translation, upon the 4th. and so of all the Rest in that Line, or String.

Now, whereas the Diapasons do differ, (some of Them in Half Notes, Flatter, or Sharper, the One, from the Other) there is no way to Reconcile Them, but either to Tune Them up, Note, how to Reconcile the Difference in the Diapasons. or down, the One, to the Other, (as is very usual, in any Tuning, to alter a Bass, I latter, or Sharper, upon occasion) or else take such a Letter, as you may see in your Table, which answers to such Basses. As for Example.

The Ninth String, in the New Tuning, being Sharp, and the same String, in the Other Tuning, being Flat, you must (if you will not Sharpen your Bass) set down for It, the Letter [...], upon the Fifth String; and so of all the Rest.

This I think sufficient, for your Directions, towards the General Translating of any Lessons, in These Two Tunings.

But whereas I said, any Person might do This Thing, by This Rule; yet know, That He who has Skill and Experience in the Instrument, shall do It more Compleatly; because there are certain Stops, in either Tuning, which will fall out a little Cross for the Hand, which by the Skilful may be contriv'd more aptly, and easier for the Hand;A Caution worth Noting, in Translating of Lessons. some times by changing one Letter, for another; as [...] upon the Treble, [...] upon the 2d. and h upon the 3d. are all the same Sound; and so you find the same Tones various, quite through the whole Instrument.

Then again, sometimes by Varying, or Transposing the Parts of several Full Stops; all which consists (most commonly) of Vnisons, 3d's, 5th's, and 8th's; so that if the Parts chance to lie (in one Tuning) 3d's, 5th's, and 8th's, from the Pass; It may be, they will fall out to lye Better, in the other Tuning, viz. 5th's, 3d's, and 8th's; or 8th's 5th's, and 3d's from the Bass; which is no Difference in the main, and may very well, at any time, be so Transpos'd, in most Full Stops.

So that I say, although the Injudicious may (by This Rule) Translate a Lesson, Well, and Truly; yet the Experienc'd, and Skillfull, shall do It more Compleatly.

And to make This Particular Business yet more Plain, and Satisfactory, take here a View of a Short Lesson, which I have Translated from the New, to the Flat Tuning; after which, I will give you another Exemplary Table, to Translate from the Theorboe, to These Tunings, or from These, to the Theorboe.

[Page] This is the Lesson of the New Tuning, to be Translated.

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

It will be very well worth your Exact▪ Noting, the whole Order of This Translated Lesson in both the Tunings; and what Difference there will be found as to their Performance in the whole: And withall Take Notice, That I have chosen This Lesson in E-la-mi-Key; which is the very (and only) Glory of That whole Tuning, as may be seen by the First, and Last Stops of the Lesson, which give the Fullness of Harmony, (viz. 3d's, 5th's, and 8th's) all upon Open Strings, which in the Translation you see is a Full Stop, yet easie enough; And by Thus doing, you may see how very Fairly I have dealt by Those who oppose the Flat Tuning, &c. whereas, e contra, If I had taken a Lesson from the Flat Tuning, (in almost any other Key) and made such a like Translation, (as now by the Rule of Translation any Person may do, and which I shall Advise unto) you would have seen a Vast Difference.

[Page] This the Translation.

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

In this Translated Lesson, you may see, how that in the very first Full Stop, the Concords are Transpos'd; that is, they lye not in the self-same Order in one Tuning, as they lye in the other; yet both absolutely bear the same Sence, as to Allowance in Composition; and also will satisfie fully, in giving the same Ayre to the Ear; which may be sufficient to Hint you to the Observation of the like, in several such Places, when as the Parts cannot lie in the same Order, yet may do as well (so Transpos'd.)

I will now proceed, and set you another Example of Translation, from the Theorboe, to the French Lute; or from the French, Lute to the Theorboe; as followeth.

[Page] The 2d. Table of Translation from the Theorboe to the Lute:

The First Note of the Theorboe is Gam-ut.

Theorboe. [...]

Gam-ut.

Flat Tuning. [...]

The Theorboe Basses.

Theorboe. [...]

French Lute Basses.

Flat Tuning. [...]

Here you may Note, That although in This Table, I have made the 7th. String Gam-ut, upon the Theorboe; yet you may make such another Table, and make your 6th. String Gam-ut, (which indeed is most proper for a Large, What String is most proper for Gam-ut, upon the Theorboe. and Full-Sciz'd Theorboe) or any other String you please; only take Notice, That These Two, viz. the 6th. and 7th. Strings, are most generally chosen in most Theorboe-Lutes, for the Gam-ut String.

What upon the French Lute.So likewise know, That the 8th. String, is the most Proper String for Gam-ut, upon most French Tunings, and Lutes of a Pritty Full-Scize; yet I say (for your Pleasure) you may make a Table, and set what String you please, for your Gam-ut String, there likewise.

Thus also may you make Tables, for all manner of Tunings, for the Viols, &c. and chuse what String, or Letter you please for your Gam-ut; yet with This Proviso, That you have Respect unto Lessons, Note well ☞ and Tunings of Sharp, and Flat Keys; which if you neglect, you will find your Work very Crabbid, and Vnnatural in your Play. That is, your Parts, and Stops will not lie easie, [Page] and familiar for the Hand; which is the Chief, and Main Thing Regardable, in any Composure in Tablature-Play.

Remember also to have Respect to the Scope of the Lessons; that is, to pitch It for such a Key, as you may have Liberty sufficient, for the Compass both of the Treble, and Bass.

I will now make you a Short Treatise, Concerning the Difference between These Two Tunings, and then proceed to the Theorboe.

CHAP. XL. Concerning the Two last French Tunings, and which is the Best.

THere is a Dispute among some,A Dispute, concerning the Difference betwixt the 2 last French Tunings, Determined. concerning the several Tunings upon the Lute: But the Generality Run after the Newest; which although It be (to my knowledge) at least 40 years old; yet It goes under the Name of the New Tuning still.

Now, because I have in This my Work preferred This Senior Tuning, (which is Generally known by the Name of the Flat Tuning) before That New One; and have also call'd This most Noble Tuning, the Best among the French Tunings: I shall endeavour to prove It so to be, by very Good Reason: And Thus I'le Argue, viz.

‘That Tuning upon any Instrument,A Sure Argument, to prove which is the Best Tuning upon any Instrument, from the Foundatition of the Art. But 7 Keys Distinct in Nature. which allows the Artist most Scope, Freedom, and Variety; with most Ease, and Familiarity; to Express his Conceptions most Fully, and Compleatly; without Limitation, or Restraint; throughout all the Keys; must needs be accounted the Best Tuning, Now I say, if This be granted, I desire no more: And Thus I proceed.’

‘Tis well known to all Masters in This Art, That in Nature, Naturally there are but 7 Keys Distinct, and Proper; by which we Express All Things, in Musick; for when we come to the Eight from any one Key, we have but (as it were) Rounded the Circumference, and come again to the same Point, where we first began; (as shall be Explain'd in This Book hereafter.) This cannot be denyed by any.’

‘Now I say, if This Flat Tuning will give me the Freedom, Naturally, Familiarly, and with Ease and Advantage, to Work, in Fullness of Parts, &c. in all Those 7 Keys; And That Other, (call'd the New Tuning) will not so Naturally, Familiarly, and with the like Ease, and Advantages, allow me the like Freedom, to Work with the same Fullness of Parts upon all the 7 Keys: It must needs be granted, That This Flat Tuning, (so call'd) is the Best Tuning, which is the Thing I shall endeavour to prove; and I doubt not, but very Plainly to do It, to Satisfaction.’

[Page]And because I will for ever cut off all Disputes, and Jangles about this Matter, I will take such a Course, that It shall be undeniably Plain to any Rational Knowing Person: And this shall be my way. As for Example.

I will set down, here following, (upon some Musick Lines) all the Full Stops, consisting of 3d's. 5th's, and 8th's, which can be performed upon every Key (Naturally) in both the Tunings; by which Device It will very obviously appear to the Eye of any Indifferent Performer, (much more to the Reason of a Judicious, and Shilful Artist) which of them affords (in the whole Scope, and Latitude of the Instrument) the most Variety, with most Ease, and Advantage to the Hand; and most Fullness of Parts; in Familiarity to each of the 7 Keys: And in Those Lines following take a view of the Differences betwixt the one, and the other. I will therefore begin with the Strings, as they lye in their Order, from the greatest String first, and so forwards to the Treble String.

And in your Observation, I pray take notice, that although I speake of setting down the Full Stops, consisting of 3d's, 5th's, and 8th's; yet you will meet with some, which have not above 2 Treble Strings joyn'd with the Bass, which in some places sound Vnisons to Themselves; However, They, and such like, in Lute-Play, pass for a Variety, and help to Fill up: There are not many of Those; but I could not well avoid Them, because of giving all the Variety I could, in the Breaking of the Full Stops; the which you'l see I have done Equally for both the Tunings.

An undeniable Device, to prove the Difference, and Best of Tunings.And also I desire, It be Noted, That I do not positively affirm, That I have thus given All the Varieties, which can be given, in either Tuning; (for indeed that would have been too Critical a Trouble to search for) yet I dare say, I have gone very near the matter; However, I am ascertain'd, that there can be no such Considerable Oversight in either Tuning; but that This Draught which I have Thus Drawn, may fully satisfie any Reasonable Person, that there is a Vast difference betwixt These 2 Tunings, and that the Advantage lies wholly in This very Excellent Flat Tuning, (so call'd.)

C-fa-ut-Key. Flat Tuning.

[...] [...]

[Page] In all of This C-fa-ut-Key 110.

[...]

C-fa-ut-Key, New way. In all Here but 38.

[...]

D-sol-re-Key, Flat Tuning. In All of This 46.

[...]

D-sol-re-Key, New Tuning. In All Here but 24.

[...]

E-la-mi-Key, Flat Tuning. In All Here 102.

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

Turn over for the New Tuning.

[Page] F-la-mi-Key, New Tuning. In All Here but 100.

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

F-fa-ut-Key, Flat Tuning. In All of This 51.

[...] [...]

F-fa-ut-Key, New Tuning. In All Here but 16.

[...]

Gam-ut-Key, Flat Tuning. In All of This 61.

[...] [...]

[Page] Gam-ut-Key, New Tuning. In All of This 67.

[...] [...]

A-re-Key, Flat Tuning. In All of This 168.

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

A-re-Key, New Tuning. In All Here but 51.

[...] [...]

[Page] B-mi-Key, Flat Tuning. In All Here but 31.

[...]

B-mi-Key, New way. In all Here 52.

[...] [...]

‘The Number of Alltogether in the Flat Tuning, Thus appearing, is 549.’

'And of the New Tuning but 350.

Near 200 Stops Difference betwixt These Two Tunings. ‘So that It appears, in the Flat Tuning, there are very near 200 Stops of Variety, (in such like Chordes as These, viz. of 3d's, 5th's, and 8th's, according to their Natural Flat and Sharp 3'ds) more than are in That, They call the New Tuning; and without all Question, It must needs follow, That the Proportion will answer alike in Those other Stops of Contrary 3d's, 6th's, and all other Varieties, in passing Handsomly, and Conveniently through Discords, and in making up of Cadences, or Closes, &c. as in the whole Scope of Composition there is a Vast Variety.’

‘And since I have thus far troubled my self, (and perchance some Readers in This Matter) I shall not think It Lost Labour, a little farther to Explain my self in This Particular Thing; because I have known very many to contend for the Credit of This New Tuning, with far Greater Zeal, (but much more Confidence) than True Skill, Examination, or Judgment; And indeed They do pass for very Skilful Men, and may be so, for ought I know; yet Overseen in This Particular; because They have not, (I dare say, in the least) Compar'd Them together, nor Observ'd the True Difference between Them; but have been more Ready, and Glad to follow the Modes, and Fashions, than Minding, or Caring for the Substantial Vse of their Art.’

Now I desire, for the better understanding of This Dispute, to have It consider'd upon, How many of the 7 Keys This New Tuning is straightned in; First, as to C-fa-ut-Key, (which is the most Noble, Heroick, Note well the most Principally-Eminent Key upon the Lute. and Majestical Key, in the whole Scale;) and, if there be any Preheminency to be given to any Key, certainly 'tis due to This, most Eminently; you may see, He is Extreamly Pent, and Straitned. I have a 106, most of Them are very Free and Familiar Stops, easie for the Hand; and he has but 36, and Pittifully Crowded-Bombast Things, in respect of the Flat Tuning, and most of Them Difficult.

[Page]See again for D-sol-re, which is likewise a very Stately, Noble, The Examination of the several Keys. and Majestick useful Key; I have 46, and he but 24, and very much more Intricate, in the use of them, than are those in the Flat Tuning.

Come we now to Ela-mi-Key, (which is the only, and Principal Key of the New Tuning) and there I do acknowledge, he has a very Handsom, Free, and Pleasant Scope; and I believe, If I would have troubled my self, to have found out a few more Varieties in It, I might have done so; but when I came to see they were both capable of 100 a piece, I thought it sufficient; they both having Latitude enough.

But now we are to view F-fa-ut-Key, which is an exceeding Brisk, Lofty, and Sparkling Key; and see, how Miserably he is Pinion'd: I protest, I have been very solicitous, for to augment the Number of 16 Stops for him, but cannot do It any way; whereas the Flat Tuning has, as you may see, 51, Liberal, and Free.

Now as for Gam-ut-Key, I must Vail-Bonnet a little for Number, he having 67, and I but 51; yet if It be truly considered, according to the Compleatness of the Well and Formal Lying of the Parts, in Reference to Composition; It will be found, that my small Number, will advantage me more in my Performances, than will his Greater, for matter of Compleatness; and that small difference in Number, is not considerable, in respect of what he looseth in the others, especially this next Key to be look'd into, viz. A-re-Key; in which I have (as you may see) 168;Cross-stopping, the hardest piece of Lute-play. he having but 51; and observe what Brave ones they be, viz. most of them Clutter'd, Crampish Stops, which must be performed with laying Cross your Fore-finger, which is the Hardest Piece of Play (for clear Stopping) that can be: In this he is (as it were) quite shut out of doors, or so Pen'd up, that he has scarcely any Scop at all. A-re is a Most Excellent Key.

Now come we to the last, viz. B-mi-Key;B-mi-Key Natural seldom us'd as the Key in Consort, &c. which may very well be put Hindmost; for It is a Key seldom, or never made use of, (as to be call'd the Key (except It were B-mi-Flat:) I cannot say, that I ever saw a Lute-Lesson set in This Key natural, in all my Life; yet I have attempted the setting of some in This Work, (as you may find:) And in This Key I must again Vail-Bonnet, and give him the Greater Number; but what signifies It? as much as comes to nothing, in regard that Little use is made of It: But that (in the whole) I have Advantage enough, I am sufficiently satisfied; and so I hope will all Vnbiassed Persons be, who will examine the Business aright; and not suffer themselves to be Abus'd, and led by the Swing of the Silly Modes and Fashions, who must needs forsake the Better for the Worse, and connot be therewith contented, except to cry down all besides what They like of; (which if It be New, no matter.)

And now I think I have Explain'd this Business, to the satisfaction of all Rational Men; and as for others, who are only for Fashions; the Fashions go with Them, and They with the Fashions.

[Page] A very Considerable Thing, as to the Compleatness of the Lute-Tuning.And as for the compleatness of any Lute-Tuning, there is one thing mainly considerable, which I perceive is not much regarded, and is, viz. the Formation of the Diapasons of the Instrument, to this purpose, viz. That they may Tone in a Natural Order, the True Proportionable Tones of the Scale, as they lye Naturally in their Ranks, or Orders; as you shall find in This Flat Tuning perfectly they do; and so likewise in the Theorboe-Tuning; Explained (for Example) Thus.

Or Thus.

[...]

The Order of the Diapasons, in the Flat Tuning,

[...]

This very thing adds so much Lustre, and Advantage, to the Tuning of an Instrument, and the Musick thereof, that I cannot but desire, it may be taken Notice of. Whereas upon the other, which they call the New Tuning, they want, and are forc'd at their last Diapason, (which should be the Chief Glory of their Lute, as to the Basses, in that kind) to make a Skip, or an Ill-favour'd kind of Halt, ☞ (as we use to say,) as if they were Lame; and indeed, what have they Halted unto, but to the most useless, and Improper Key, in the whole nature of Musick, to make a Period upon, (viz. B-mi; or a Half Note) as upon all Judicious Examinations, you will find to be very Silly: For who (in his Natural Recreation of Voice, when he would Please, or Refresh himself, in Toning, in a Pleasant way) will Sing Thus?

Who (for Recreation) will Sing Thus? [...] But rather Thus, which [...] is most Natural.

But if you were pleas'd, or could thus Cross-grain'dly be so contented to Sing, or Toy with your self after this first Order: I say, Examine that Tuning, (upon the New French way) which I speak of; and you will find It take very unhandsome pains, (as I may so say) to get to the last Note, viz. the Octave, or Diapason; and for to get to It, It must (as I said) make a Hop, or a Skip; as for Example, Thus.

[...]

A Great Blemish to a Tuning.And if this be not a Grand Blemish to the Tuning, let any one of a Musical Genius, or of Experience, Judge; It being so very Vnnatural, and (as to Signification) Nonsensical.

[Page]For in a Comparative way, A Comparison betwixt the 2 Tunings. (as I use to tell (and have so done in This Book) Musick, or Musical-Tones, Motions, Forms, or Shapes, are Significant, in reference to something in Language, viz. Conceits, Humours, Passions, or the like.

And here give me leave to be a little Merry, in the midst of Seriousness; (for I cannot chuse but Laugh, when I look upon, Sing, or Strike This Inharmonical Form, or Order of Notes, especially in the Period of Those Diapasons of That 40 Year-Old-New-Tuning, viz. Thus.

[...]

For me think, I Fancy strongly, the Relish, or Resemblance, of a Person sitting upon a Close-stool; which doubtless you cannot but likewise do, especially, if in Singing of Them, you will add a little Humour, and Conceit, in Nosing, and Toting out the 1st. Note, and Grooning, or Grunting at the last.

This Vncouth Form, or Order of Notes, is (I say) Thus Aptly, or Naturally Capable of such a kind of Ridiculous, or Humorous Conceit. Whereas That other Form of the Flat Tuning is such, that 'tis impossible for Envy, or the Wit of Man, to put any the least Slur, or Affront upon It, and is so Perfectly Harmonical, so Naturally Sweet, Noble, Generous, Free, and Heroick; Expressing so much of Bravery, Gallantry, Resolution, yea even Majesty [...] self; that (Really) I cannot but wonder, How such a Dispu [...] as▪ This, should be thus long undetermined, by the Right [...], viz. That the Flat Tuning, is Most Certainly the Best; [...] Excelling in many Respects.

But as an Old Master-Teacher upon the Lute ▪ (and one who has been all along very Zealous for That New Tuning) coming lately to my Chamber, (whilst I was attending the Pre [...] ▪) to see what Progress I had made in This My Work; After he had [...] over so much as was Printed, and seeing most of my Lessons were in the Flat Tuning, seem'd not to be well pleas'd at It, whereupon I took an occasion to Discourse the Business with him a little, and to Vindicate It; but still he seem'd to persist in his Former Humour, (of Opinion only; for he could give no Reason but only 'twas the Fashion, and the New-Tuning) Then I turn'd him to That Device, which I have set Here in Page 192 &c. which after he had Read, and a while Consider'd upon, he was still and quiet; whereupon I desired Him to tell me seriously what he had to say to It: His Answer was Quick, and Short, (in These very Words) viz. These Things were never look'd into Thus before; which was as much as a Perfect acknowledgment of the Thing which I stand up for. And doubtless All must do the like, when once They Truly look into the Right Reason of It, or else Renounce their own Reason.

I have likewise wondred sometimes, how It came to pass, They have stuck so very long, (viz. 40 Years, or more, and still call It the New Tuning (for shame call It not so) and not yet Chang'd It for another.

[Page] ‘But now I think on't, I verily believe I have Hit upon the Right and Perfect Reason, and I am confident, there can be no other possibly, which is This: for no doubt, but they (I mean the Modists) have been long enough Nibbling, Hammering, and Pumping at It, to find out some Other, and would rather than a Great deal they could hit upon One which should be cry'd up for New;The Reason why [...]o late New Tuning for the Lute. but they are at a Non plus ultra; that is, they are Outwitted; for except they should produce something that may carry a Plausible kind of show with It, they do nothing. And truly I believe, that the Wit of Man shall never Invent Better Tunings, either upon Lutes, or Viols, than are at this day in Being, and Use;No better can be Invented, than what we now Enjoy. for questionless, All Ways have been Tryed to do It, and the very Best is now in Being; so that let none expect more New Tunings, than now they have, except some Silly, and Inferiour Ones, (as several I have all along seen) but they dye quickly, and follow after their Inventors; but this of the Flat Tuning, and that of the Old-Lute-Tuning, viz. the Theorboe-Tuning, undoubtedly will remain so long as Lutes, and Musick remain upon Earth.’

‘And I am very subject to believe, That there are some Lute-Masters, ☞ who do well enough know the True Difference betwixt These Two Tunings; yet because they have, (Inconsiderately) either undervalued This, or Cry'd up That so strongly, are now Asham'd to return again unto It, and God knows, the General Ignorance of the People, is too much, to find out the Truth, &c. But Here 'tis Plainly laid Open, if they can but Believe It, when they See It. But one Main Injury by This, is fall'n upon the Simple Learners, who are made to Believe, that which is not in Nature, viz. That 'tis the Manner of Tuning of an Instrument, that causeth the Excellency of Musick: A Great Gullery to Young Scholars, who think, that New Tunings bring New Musick into the World. Now There lies a Great Gullery; for Musick is the same, (quasi Musick) upon all Instruments alike; only some Instruments have a Better Twang, than others have; and also some Tunings, are Better, than others; that is, are more Proper, and Apt, (as I have Sufficiently Demonstrated already) to perform some things upon, than are others: But this the Scholar understands not; but Thinks, That a New Tuning brings New Musick into the World.’

‘Now, that they shall be undeceived, who are thus Captivated for want of Skill, and Right Information, I have, (you see) set them down a Rule in Page 186. how They Themselves shall Translate any Lesson, from one Tuning to the other, and the Musick (they shall find) will be the very Same in all Punctilioes, (only as I said) in some Particular Cases, Stops, and Places, there may be a more Easie, or Familiar Way of Expressing such and such things in one Tuning, than in another, which alters not the Musick at all.’

‘Now to Conclude This Business in Few Words; Let both These Tunings be Examined, according to a Judicious, and Rational Account; and It shall be found, That the Flat-Tuning, is a most Perfect, Full, Plump, Brisk, Noble, Heroick-Tuning; Free and [Page]Copious; Fit, Aptly, and Liberally to Express any thing, in any of the 7 Keys. But That New Tuning is far short of These Accommodations, and is obviously subject to several Inconveniences, as before I have manifested, and made plain. Yet I do acknowledge, for some things, upon some Keys; it is very Fine, and Neat; but nothing so Substantial, as That Flat One; which most worthily ought to have the Preheminency, and which I doubt not, but It will again Re-assume, when These Things shall be once Examin'd, and Consider'd upon. Besides, view here but of a Common Toy, yet an Excellent Old Lesson, known by the Name of the Nightingal, which I have here set down on purpose, in That Incomperable Flat Tuning, for their Eternal Shame, who shall yet contend for the Preheminence between These 2 Tunings; and I only set It down Single, (without Its Translation) because I leave that to Themselves, or any other to do, (to the Best Advantage) lest I should be thought to do It Partially: And let them then tell me their Judgments, after they have made their Best Tryals to Translate It. It is (you see) in C-fa-ut-Key, and (which is yet more for the Credit of the Flat Tuning, it is Set to be Play'd without the Treble String, which is no Small Consideration.’

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

[Page] ‘And let Them do by This of Mine, as I have done by That (before) of Theirs, viz. Set It in the same Key: And Then Thus much I'le adventure to Say, and Promise, viz. That if they Equallize This Lesson, (Thus Set (by Their Translation) in Freeness, Fullness, Ease, Familiarity, and Compleatness; (and This Lesson is but (as I said) One of our English Toys, or Common Tunes.) I will be Bound to stand upon the Pillory, 3 Market Days, with my Book in my Hand, and make an open Recantation, and Beg Their Pardon; which will be but a Fit Punishment for Me, who have Thus Irreverently attempted, and Spoken against Their Great Idol, the Mode; and to Contradict the General-Swallow'd-down-Gobblet of the Inconsiderate Opinion, of the 40 Years-Old-New-Tuning.’

‘☞I must be pardon'd for This my Earnestness, (or rather Zeal) in This Particular Thing, viz. against the Humour of Invegling Learners to Hanker, What has been one main Cause of making the Lute Hard, and Troublesome to Learners. and long after New or Various Tunings, &c. because I am most Assured, It is, and has been (all along) one Grand Cause of making the Lute-Play Hard, and Troublesome; to the Great Discouragement, and Hindrance of most Young Vndertakers upon It; Whereas, if Masters would rightly Consider Their own Ease, and Profit; Their Scholars Benefit, and Content; and the Promotion, and Facilitating of the Art: They would Certainly Reduce All, or most of Their Performances to That One Only Copious, Easie, and Best of Tunings; which is most Sufficient, and least Troublesome; the which They might (with much Ease) do: and I am Confident, that where there is One now Learns, (in a Short Time) there would be 20, (yea very many more;) and the Lute brought into Deserved Esteem, and Request again; for It has no manner of Opposition,What is the Lute's Greatest Enemy. or Enemy, but only the Opinion of Hardness, or Difficulty; and by This Means, It would Certainly be much more Easie, as I have made sufficiently appear all along, in This Work; So that I will say no more to This Particular; but Proceed to the Dyphone.’

Concerning the DYPHONE: OR Double-Lute, The Lute of Fifty Strings.
CHAP. XLI.

[Page]

THE Figure of which Instrument, you may see in Page 32; which Figure doth so Perfectly Represent the Original, that if you mind It well, you may Fancy, you see the very Instrument It Self; and is (as yet) the One Only Instrument in Being of That Kind; and but Lately Invented, by My Self, and made with My own Hands, in the Year 1672.

The Occasion of Its Production, was My Necessity; viz.By what Occasion It came to be Inuented. My Great Defect in Hearing; adjoined with My Vnsatiable Love, and Desire after the Lute; It being an Instrument so Soft, and Past my Reach of Hearing, I did Imagine, it was possible to Contrive a Louder Lute, than ever any yet had been; whereupon after divers Casts, and Contrivances, I pitch'd upon This Order; the which has (in a Great Degree) answered my Expectation; It being absolutely the Lustiest or Loudest Lute, that I ever yet heard; for although I cannot hear the least Twang of any other Lute, when I Play upon It; yet I can hear This, in a very Good Measure; yet not so Loud, as to Distinguish Every Thing I Play, How a Deaf Person may Hear Musick; and the Unvaluable Benefit of It to the Author, being Deaf. without the Help of My Teeth; which when I lay Close to the Edge of It, (There, where the Lace is Fix'd) I hear All I Play Distinctly; so that It is to Me (I Thank God) One of the Principal Refreshments, and Contentments I Enjoy in This World; what It may prove to Others, in Its Vse, and Service, (if any shall think fit to make the Like) I know not; but I conceive It may be very Vseful;Two Great Avantages It has of all other Lutes, as to Augmentation of Sound. because of the several Conveniences and Advantages It has of All Other Lutes; as I shall here declare. First,

You may well conceive, It may have a Fuller, Plumper, and Lustier Sound, than any Other; because the Concave is almost as [Page] Long again, as most Ordinary Lutes; for 'tis clearly Hollow, from Neck to Neck, without any the Least Interruption; so that when you Play the One, you have the Advantage of the Other, at the same time, Turn which you will: This is One Augmentation of Sound; There is yet Another; which is from the Strange, and Wonderful Secret, which lies in the Nature of Sympathy, in Vnities;The wonderful Secret of Unities in Sound. or the Vniting of Harmonical Sounds; the One always Augmenting the Other: For let 2 Several Instruments lie asunder, (at any Reasonable Distance) when you Play upon One, the Other shall Sound; provided They be both Exactly Tuned in Vnisons, to Each Other; otherwise not. This is known to All Curious Inspectors into Such Mysteries.

If This therefore be True, It must needs be Granted, That when the Strings of These Two Twynns (Acchordingly) put on, and Tun'd in Vnities, and set up to a Stiff Lusty Pich, They cannot but much more Augment, and Advantage One the Other.

These are the 2 Main Advantages, as to Augmentation of Sound; which no Rational, or Vnderstanding Man can doubt of.

There are several other Benefits by This Instrument; as First, you are provided of Both the Most Compleat, Some other Considerable Benefits by This Instrument. and Vseful Lutes in the World; and you have Them Closely Ready, upon any Contrary, and Sudden Occasion; The Majestick Theorboe, either for Voice, Organ, or Consort, &c. and The High Improved French Lute, for Airy, and Spruce, Single or Double Lessons; and is also a Most Admirable Consort-Instrument, where They know how to make the Right Vse of It, and not suffer It to be Over-Top'd with Squaling-Scoulding-Fiddles; but to be Equally Heard with the Rest, &c. These I say are always at Hand, to Pleasure Friends Entreaties, &c. But for any Ones Private Practice, It is of Most singular Advantage for Differing Practices; and will most certainly make a Man both an Able Master, and gain Him an Able Hand: But These Things must be only Believed; very Few having Try'd it out by Experience, as I my self have done, with both Lute, and Theorboe.

Another Benefit by This Double-Strung-Lute, is; whereas other Lute-Bellies constantly Sink between the Knot, and the Bridge, by reason of the Great Force of the Strings Drawing; so that They are often to be taken off; This Belly will not so soon Sink there; because the Strings draw contrary ways; so that They may be said to Counterbuff one another: By which means This Belly of Mine has been kept Straight, and Tight, ever since It was made, and not any one Barr Sunk, or Loosned. And It always stands at a very Stiff, and High Pitch, and Strung very Round.

Another Convenience is, It will Endure a Lusty Strong Play, without Jarring, or Snarling; All which other Weaker Lutes will not do.

One only Objection against It, sufficiently Answered.Now against all These Conveniences, and Advantages, there may be One very Plausable, and Probable Objection, (and there can be no more) viz. It must needs be Cumbersome, or Troublesome in the [Page] Holding, and Vse. To which I Answer Thus. First, As to the Grasp of either Hand, I have taken such Care, that It is the very same, with All manner of True Sciz'd Lutes, both Theorboes, and French Lutes, nothing at all Differing.

Then as to the Holding of It betwixt the Arm, and Breast, the French Lute, (as I said) is the very Same; but the Theorboe much more Easie, than Most True-Consort-Pitch'd-Theorboes; because They are Commonly more Wide, or Broad in the Ribs, and Belly, than is This; For It is every way as Compendious, and Handy, as is the French Lute; there being scarcely any Difference in Their Scize, or Bulk; (as you may perceive by the Figure) the which I chose to do; because I did Consider, That what I might Loose, as to Fulness of Sound, (one way) in the Breadth, I knew I should gain much more in the Length (the Other.)

The Length of the 2 Necks, and Heads, is no Inconvenience at all, after you are a little us'd to the Holding of It; for neither of Them touch the Ground as you Play: So that for My own Part, I know no Inconvenience at all in It; but find many Great Conveniences by It.

Now as to Its other Dimensions, Concerning the Dimensions of This Instrument. It is in Its Body of a Perfect Pear-Mould, both Ways, (which is Judg'd the Best Shape for any Lute;) And indeed the Very Best Sounding Lutes are Pear-Mould.

It Carries Compleatly 50 Strings, viz. 26 upon the Theorboe-Part, and 24 upon the French-Lute-Part.

The Length of the Strings of Both, from Bridge to Nut, are Exactly Consort-Pitch: The Treble Strings of Both, to be Pitch'd to G-sol-re-ut: The Heads of the French Lute, the very same with Others: But the Head of the Theorboe is much Shorter, than most Theorboes; the which (upon a Judicious Examination, is still the More Compleat; but much more Naturally Vniform, Proportionable, and Even, (as to Sound;The Great Inconvenience of Disproportionable Heads to Lutes or Theorboes.) For Those very Extream long Heads, which usually are put upon Theorboes, are both Troublesome to Tune, and Inconsistent with the Punctilioes, and Criticisms in Art; They Rendring the Instrument Disproportionable within It self; for in the Vse of It, Those Extraordinary Long Basses commonly Over-Ring, and Drownd the Trebles, or if (to help the matter) you strike Them so much the Softer; yet They seem not to be of the same Kin-ship with the Shorter Strings, but as if They belong'd to another Instrument. Whereas This Instrument is so Proportionably made, that each Diapason Descends Gradually, Step by Step; by which means, the whole Number, both of Short, and Long, Strings, Speak Vniformly, and Evenly to Themselves; which is a very Considerable Matter, in any Instrument.

I have now done with the Description of This New Instrument; only I must needs Beg for It, and My Self, One, or Two Favours, in Reference to some Allowances, which It ought to be Consider'd in: As First, It is a New-made-Instrument; and therefore cannot yet Speak so Well, as It will do▪ when It comes to Age, and Ripeness; yet It gives forth a very Free, Brisk, Trouling, Plump, and Sweet Sound: But 'tis Generally known, That Age adds Goodness, and [Page] Perfection to All Instruments made of Wood: Therefore Old Lutes, and Viols, are always of much more Value, than New Ones; So that if an Instrument be Good, when New, there is no doubt but It will be Excellent, when It is Old.

Secondly, It was made by a Hand, that Never (before) Attempted the Making of Any Instrument; Therefore It must needs want Those Perfections, which a Skilful Practical Operator in such Things, would doubtless have Given It.

Concerning the In-side of This Instrument, in Reference to the Taking off the Belly, Concerning the In side of This Instrument, and Its Conveniences at any Time, upon Necessity; Know, It is so Contriv'd, that either Part of the Belly may come off Single, and the other may still stay on; For between the 2 Bridges, there is a Dividing Joynt, which may easily be Parted, with a Hot Iron, and a little Moist Cloath, &c. (as by Direction, in the Mechanical Part, Page 56. you may see how to do;) and It is much more Easie to Take off This Belly, and set It on again, than the Belly of any Other Lute; for there is a Strong Barr, Glewed to the very Edge of each Divided Part, in That Place, which will come off with each Belly, and is of Substantial Vse for strengthning the whole.

Let Thus much suffice to be spoken by Me, Concerning This New Instrument; but whosoever pleaseth, may Hear It Speak much Better for It Self.

Yet only, because It is My Beloved Darling, I seem'd (like an Old Doting Body) to be Fond of It; so that when I had Finish'd It, I Be-dect It with These Fine Rhimes, following; Fairly Written upon each Belly; viz. First, Round the Theorboe Knot, Thus.

A Recreative Fancy.

I am of Old, and of Great Brittain's Fame,

Theorboe was My Name.

(Then next, about the French Lute Knot, Thus.)

I'm not so Old; yet Grave, and much Accute,

My Name was the French Lute.

(Then from thence along the Sides, from One Knot to the Other, Thus.)

But since we are Thus Joyned Both in One,

Henceforth Our Name shall be The Lute Dyphone.

(Then again Cross-wise under the Theorboe-Knot, Thus.)

Loe Here a Perfect Emblem seen in Me,

Of England, and of France, Their Unity:

Likewise

Viz. When They United Both against the Dutch, and Beat Them Soundly.

That Year They did each other Aid,

I was Contriv'd, and Thus Compleatly made.

Anno Dom. 1672.

(Then (Lastly) under the French-Lute-Knot, Thus.)

Long have we been Divided; now made One,

We Sang in

Viz. Discords; for the 7th. and 2d. are the 2 only Hateful Discords in Nature.

7th's,; Now in Full Unison.

In This Firm Union, long may We Agree;

No Unison's like That of Lute's Harmony.

Thus in It's Body, 'tis Trim, Spruce, and Fine;

But in It's Sp'rit, 'tis like a Thing Divine.

Concerning the THEORBOE.
CHAP. XLII.

[Page]

THE Theorboe, is no other,The Description of the Theorboe. than That which we call'd the Old English Lute; and is an Instrument of so much Excellency, and Worth, and of so Great Good Vse, That in dispite of all Fickleness, and Novelty, It is still made use of, in the Best Performances in Musick, (Namely, Vocal Musick.)

But because, I said It was the Old English Lute, The Difference between It, and the Old English Lute. It may be ask'd, Why is It not then still so Call'd; but by the Name of the Theorboe?

I Answer, That although It be the Old English Lute, yet as to the Vse of It Generally, there is This Difference, viz. The Old Lute was Chiefly us'd, as we now use our French Lutes, (so call'd;) that is, only to Play Lone-Lessons upon, &c. But the Theorboe-Lute is Principally us'd in Playing to the Voice, or in Consort; It being a Lute of the Largest Scize; and we make It much more Large in Sound, by contriving unto It a Long Head, to Augment and Increase that Sound, and Fulness of the Basses, or Diapasons, which are a great Ornament to the Voice, or Consort.

Now by this little that I have said, it may well be ask'd, (if It be an Instrument of such Worth) Why is it not then made use of, as a Lute to perform such Lessons upon, Reasons, Why It may be call'd a Theorboe. 1st. Reason. as are performed upon the Lute? To which I Answer, for several Good Reasons.

First, This Great Lute, is of too large a Scize for such Performances; They being commonly of a Nimbler Agitation, than Those Things which are most usually performed in Consort, or to the Voice.

And admit that any the Most Nimble Things, which are us'd in Consort, come to be perform'd upon a Theorboe, you must know, that That Part has only the Ground, or Bass, Chiefly to Act in, which is (in All Consorts, or what Generally is made) the Slowest Part of Motion; yet if the Performer upon the Theorboe, has a Quaint, and Skilful Command, both of his Instrument, and the Theoretical Order of Musick, he will show you Agillity, and Nimbleness enough, for your Great Content.

[Page]But as It is Ordinarily used, It is not an Instrument of That Activity and Spirit, (appearing) as It is Really and Truly in It self, and Its Capacity, capable of.

Let This suffice for one Reason, why it is not Call'd a Lute, or not put to That use of a Lesser, or Well Sciz'd Lute, for such Nimble, and Active Performances.

2d. Reason.The 2d. is This, that by Reason of the Largeness of It, we are constrain'd to make use of an▪ Octave Treble-String, that is, of a Thick String, which stands Eight Notes Lower, than the String of a Smaller Lute, (for no Strings can be made so Strong, that will stand to the Pitch of Consort, upon such Large Sciz'd Lutes) and for want of a Small Treble-String, the Life and Spruceness of such Ayrey Lessons, is quite lost, and the Ayre much altered. Nay, I have known, (and It cannot be otherwise) that upon some Theorboes, they have been forc'd to put an Octave String in the 2d. String's Place; by reason of the very long Scize of the Theorboe, which would not bear a Small String to Its True Pitch; because of Its so great Length, and the Necessity of setting the Lute at such a High Pitch, which must Agree with the rest of the Instruments.

Truly I cannot tell, why It was so called Theorboe; but for These Reasons; the Distinction of Names, between It, and the Smaller Lute, may well enough be maintained, seeing It has Now got the Name. ( [...] in Greek, begins a very High Name.)

A 3d. Reason,Another Good Reason I shall give, (which is not considered of by many) Namely, That Those very Long, and Long-Sounding Diapasons, (before mentioned) are often Great Inconveniences to the Compositions of such Lessons, as are usually made for Lesser Lutes, which have their Diapasons in a Shorter, and more Proportionable Agreement with Those other Treble, and Tenor Strings.

For if you meet with a Lesson which runs much with Quick-Proportion'd Time, Inconveniencies, by Reason of too long Diapasons in a Lute, or Theorboe. upon Those Long Basses; you will find That Great Inconvenience before mentioned; which is, That the Former-Struck-Bass will Sound so Strong, and so Long, that the next immediately following, will be so harsh, (they Two Snarling together, as I may so say) that it will be as Bad, as False Dischording-Composition, and very Confounding.

This Inconvenience (Here) is found upon French Lutes, when their Heads are made too long; as some desire to have them; because (indeed) Length of String, in any Instrument, causeth Bravery, and adds Lustre to the Sound of That String; but if They did advisedly consider This Inconvenience which I have mentioned, They would forbear such Contrivances; and choose to make Their Lutes Artificially Proportionable, betwixt Their Basses, and Trebles; which as to Compleat Performance, is Extream Needful.

Now as to Directions for Playing This Instrument, you need none;Directions for the Playing upon the Theorboe. because I have sufficiently directed the Way thereunto in all Particulars, in my Former Discourse concerning the Lute; which Way and Order, you are to observe in This Exactly, in all Punctilioes; [Page] and you may Play Lessons upon It as Compleatly, as upon the French Lute; provided They be Lessons proper, and becoming the Gravity of This Instrument; (for it is very Improper to Play Light and Jiggish Things upon It) especially in regard of the Octave Treble, which will not give you the Liveliness of the Ayre, as your Smaller Lutes will do: Yet you may make very Excellent Things upon It, to Play alone, if you observe the Scope of the Instrument. And indeed I have taken so much Pleasure in This Instrument, in That Particular way, That I have made divers Things to It in That Nature; a Tast whereof I shall Hereafter set you down; the Playing of which will enable your Hand sufficiently for a better use of It, in Playing a Part in Consort off a Bass; which is no Ordinary Piece of Skill.

Directions unto which I shall likewise set down immediately after what here follows.

The Theorboe Tuning.

Vnisons.

[...]

Eights. Fifths.

[...]

And Here is That One Only Lesson for your Hand; which although It seem long, may be Divided (as it were) into 13 Several Strains; which you may perceive by the Pauses, and Double Barrs, I have made; and also set Figures at the Beginning of every Place: So that you may (if you please) leave off at any of Those Places; But I set It Thus, to show you the way and manner of Playing Voluntary, which you may Imitate,

This▪ Lesson alone will make your Hand Sufficiently for the whole Business of the Theorboe, be It what It will.

Therefore Practice It well; for I intend to set no more to That Purpose; for I Aim at Short Work: Therefore I'le proceed to the Directions of Playing a Part; your Hand being first made, there will be much Less Difficulty in That.

[Page] A Fancy-Praelude, or Voluntary; Sufficient Alone to make a Good Hand, Fit for All manner of Play, or Vse.

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

Turn over for the Next.

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

Turn over for the next.

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

Turn over for the next.

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

CHAP. XLIII.

I Remember, I promis'd some Directions for Playing a Part upon the Theorboe; which Here following are set down.

The first Thing therefore, (after the commanding of the Instrument, in some Tollerable way of Readiness; (the which I shall Advise you unto, &c.) you are to know your Notes upon every String, and Stop, according to the Scale of Musick, viz. the Gam-ut.

Therefore that you may know Them; Here (under) stand All the Notes of the Scale, (according to Song) in one Order; And beneath Them the same Notes, Letterwise; as we use Them upon the Theorboe.

[...] [...]

These are the Natural Notes of the Scale, the Sixth String being Generally us'd for Gam-ut, upon a Full-Sciz'd Lute; but upon Lutes of a Smaller Scize, which will not bear up to Speak [Page]Plumply, or Lustily, according to a Consort-Pitch; then we make the 7th. String Gam-ut, as here in This next Vnder-Line you may see.

[...]

Gam-ut, &c. for a Less Lute.

But because the Sixth String is most Generally us'd for Gam-ut; and also it is best for your Practice, to use a Large, and Full-Sciz'd Lute. I will pursue the Business in that Proper, and most Rightful way, making the 6th. String Gam-ut.

Now you must know,What is necessary for a Theorboe-man to know. That He who would be a Compleat Theorboe-man, must be able to understand Composition; (at least) so much of It, as to be able to put True Chordes together; and also False, in Their proper Times, and Places; and likewise to know, how to make all manner of Closes Amply, and Properly.

And to Assist you in That Particular, I shall only refer you to Mr. Christopher Simpson's Late, and very Compleat Works; where you may inform your self sufficiently in That Matter, who hath sav'd me a Labour therein; (for had It not been already so Exactly done by Him, I should have said something to It, though (it may be) not so much to the purpose;) But my Drift is not to Clog the World with any thing that is already done; especiall so Well.

My Business shall be, (to save you much labour in finding out all the Chords) and to give a Quick sight of Them, 1st. according to their Natural Agreement, in 3d's, 5th's 6th's, and 8th's, &c. And then to show you Examples of Closes, or Cadences for every Key; which when you can Readily perform, from off a Song-Note, you may be said to be a Tollerable Performer in a Consort, upon This Instrument. And some there are, who cannot Compose; yet by doing Thus, pass for very good Theorboe-Men.

But still you must further know,The Greatest Excellency in a Theorboe-man. That the Greatest Excellency in This Kind of Performance, lies beyond whatever Directions can be given by Rule.

The Rule is an Easie, Certain, and Safe Way to walk by; but He that shall not Play beyond the Rule, had sometimes better be Silent; that is, He must be able (together with the Rule) to Lend His Ear, to the Ayre and Matter of the Composition so, as (upon very many Occasions) He must forsake His Rule; and instead of Conchords, pass through all manner of Discords, according to the Humour of the Compositions He shall meet with.

This Thing will require a Quick Discerning Faculty of the Ear;Things Requisite in a Theorboe-man. an Able Hand; and a Good Judgment. The 1st. of which must be given in Nature; the 2 last will come with Practice, and Care.

[Page]I will now proceed, and 1st. let you see all the Chordes-Harmonical, upon every Key, viz▪ 3d's, 5th's, 6th's, and 8th's; To which purpose, take a View of These following Lines.

Gam-ut Sharp. [...] All the Natural Stops proper to Gam-ut, with Its Sharp-Third. [...]

All These Stops are proper to Gam-ut, consider'd in Its Sharp Third, Fifth, and Eighth; and you have Liberty to use which of Them you please, when Gam-ut requires no other Chordes;

Besides, to amplifie Gam-ut at any time; if It be a Long Note, you may put to It the Greatest Long Diapason; which we call Double-Gam-ut: Which String I have added to all my Theorboes; though very many, either want It, (as having but 24 Strings;) or else when they would have It, they are fain (to do as they do in the New Tuning of the French Lute) make an unhandsom Skip, or Halt unto It, by Tuning their last Bass a Note Lower; by which means they take away, and want Double Ayre ▪ which is a very Brave Ornament to the Theorboe.

A Theorboe is Incompleat, without It carries 26 Strings.Therefore I say, a Theorboe cannot be Compleat, if it have not 26 Strings; so, as that from the Gam-ut String, there may be a perfect Gradual Descent of a Compleat Eighth in Diapasons; which is very Ornamental, and Vseful in a Lute: Concerning which Thing, I have spoken more largely, in that Device I made, to Distinguish betwixt the Two French-Lute-Tunings, in p. 203.

Now see Gam-ut with Its Flat Thirds, with all Its Stops usual.

Gam-ut Flat. [...] Here They are, with Its Flat Third. [...]

All These are proper to Gam-ut Flat: That is, when Gam-ut has the Third above It, (viz. B-mi) Flat; (as It is Sharp, by reason of Its Third-Place-Sharp above It:) Which may in Compositions be either Flat, or Sharp, according to the pleasure of the Composer.

Therefore That is one of the Main Things you are to regard in your Play, A Flat or Sharp-Third, a Chief Thing to be regarded▪ viz. whether your Third (to any Key) be Flat, or Sharp; either according to the Nature of It, as It stands Fix'd in the Scale; or else according to the Liking, or Humour of the Composer, as he will Form It.

[Page]This next Line shall show you A-re, with all Its 3d's, 5th's, and 8th's, Natural.

[...] A-re Flat and Sharp.

Thus with Its Flat-Third. Thus with Its Sharp-Third.

[...]

The next Key is B-mi; which is a Key seldom or never Play'd upon, (as the Proper Key of the Song or Lesson;) however you will have occasion to use It in Its 3d's, 5th's, and 8th's sometimes. Therefore Here It is set you.

[...] B-mi Natural Flat and Sharp.

Thus with Its Flat-Third. Thus with Its Sharp-Third.

[...]

And because B-mi Flat is a Key, us [...]d for the Key of a Song, or Lesson, (and indeed is a very Brisk, and Sprightly Good Key to Perform in) I will here set It down, as I have done the others, with Its 3d's, 5th's, and 8ths.

B-mi Flat.

[...]

Thus with Its Sharp-Third. Thus with Its Flat-Third.

[...]

C-Fa-ut-Key is next, and is a Most Noble, Generous, and Heroical Key, fit to Express any thing of Magnanimity, and Bravery upon.

And therefore Turn over to It.

[Page] C-fa-ut Sharp and Flat.

[...]

Thus with Its Sharp-Third. Thus with Its Flat-Third.

[...]

D-sol-re Flat and Sharp.

[...]

Thus with Its Flat-Third. Thus with Its Sharp-Third.

[...]

E-la-mi Flat and Sharp.

[...]

Thus with Its Flat-Third. Thus with Its Sharp-Third.

[...]

F-fa-ut Sharp and Flat.

[...]

Thus with Its Sharp-Third. Thus with Its Flat-Third.

[...]

Thus I have given you a sight of the most Familiar Stops quite through the whole Instrument, proper for These 7 Chordes; which 7 Keys are all we have in the whole Nature of Musick Naturally; for as I said, in my Former Discourse, when you come to the Eighth, you are come but as to the 1st. Point, or Place where you began.

Now the adding a Diapason to any of All These, will both give a Greater Lustre, and also add more Variety; and be a Cause of [Page] Greater Freedom, and Advantage for the Hand, in many Cases, which you will meet with. As for Example, See in This next Line, what Bravery, and Variety there is, only in This Key of F-fa-ut, being the Last Line I Set you; And that the Addition of One Diapason has given you above a Double Number of Stops; and divers more could I find, which I forbear.

This is no small Consideration to the Ease and Advantage of Lute-Play.

F-fa-ut Augmented by Its Diapason.

[...]

Thus may you see,☜ what an Exceeding Great Advantage It is to have These Diapasons added unto Our Lutes; which as I said in the Beginning of This Book; is one Cause that the Lute is become far more Easie, than It was in Former Times, when they had but half so many Strings to Play upon.

Besides, the Instrument is made Thereby far more Illustrious, and Noble, than ever It was in the Old Time.

Now by the Example of This Last Line, you may your self Examine the whole Lute in all Its Varieties, with Ease; for it is too much trouble for me to go through the whole Number of Stops, through all the Keys in This manner: But I hope This Hint may suffice to set you to Work; which will be also much more Profitable for you; for what is Gain'd by your own Industry, Wherein lies the Greatest Profit, or Advantage for a Learner. and Experience, will be ten times more Advantagious to you, than Discourse, or seeing of a Business done to your Hand.

This last very Line may be a sufficient Argument, and Demonstration, A vast Difference, and Conveniency betwixt the Lutes of our Time, and Those of former Times. to prove the Vast Difference between the Lutes of This Our Time, and Those of Former Times; and that we have Infinite Advantages of Them, both for Scope, Ease, and Freedom; and Principally above all; Our Lutes, must needs Sound more Livelily, Brisk, and Clear, in regard we are not Pester'd through Necessity, to Stop such Difficult Cross Full-Stops, which They were Compelled unto, to produce Variety, by Reason of such a small Number of Strings.

The next Thing I'le set you down, shall be to show you the way of Amplifying your Play, by Breaking your Parts, or Stops, in way of Dividing-Play upon Cadences, or Closes;The Best way to Amplifie your Play. which is one of the most Compleat, and Commendable Performances upon a Theorboe in Playing of a Part.

And to make the whole Business Compendious, and Short, learn to do It upon This One Cadence well, and (by It) you may do the like your self (by Observation) upon all the other.

And Here It is in Gam-ut Close.

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

Turn over for the 17th. Variety.

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

A Right Observance of These 21 Varieties, will enable you to do the like upon all Closes, or Long Notes in any Key: Therefore I may save much labour in Exemplifying upon any other Key.

Now because I would have This Work Compleatly able to manage you to Play a Part upon the Theorboe, without the Vse, [Page] or Knowledge of any other; Take only These Few Following Observations; which with what I have already said, and you connot miss of It.

In the first place therefore you are to Take Notice of your Key, How to know your Key. which you must Examine for, and find from the Close-Note of the Bass ▪ for that is (or ought certainly to be) the Key.

Secondly, Observe whether It be a Sharp, or a Flat Key;How to know whether It be a Flat or Sharp Key. which you shall know by the Third above your Key. As for Example, If Gam-ut be the Key; and if no Flat be set in B-mi: then It is call'd a Sharp Key, in respect that the Third to the Key is Two Full Notes; but if the Third be but a Note and a Half; then 'tis call'd a Flat Key; and for That Cause is the General Custom of calling a Key Flat or Sharp.

3dly. How the Work will be made much Easier, than It is Imagined. Take notice what Chordes you are to put (Generally) to every Key; and bearing in your mind, that you have but 7 Keys to trouble you, your Work will be the more Easie, and Comfortable.

Those 7 Keys, or Distances, as they are us'd in Composition, go by the name of Chords, viz. a Vnison, 2d. 3d. 4th. 5th. 6th. and 7th. And whereas you have heard talk of an 8th. 9th. 10th. &c. They are but as the very same before Repeated, viz. an Eighth, is as an Vnison, the 9th. as a 2d. the 10th. as a 3d. So that your Business will be no more, than to understand the Right use of the 7 Chords.

Now you must know, that the same General Rules do not hold to all the Notes of every Bass for if Gam-ut be your Key, (or whatsoever be your Key) there will be Two of the Seven, at least, excepted from the General Rule; as Thus.

Your General Rule for Uniting of Parts, is This, That to every Note of your Bass, The General Rule for Uniting of Parts, in Composition. (except what you shall have excepted against) you may put a 3d. 5th. and 8th. or to some, but One, or Two of Them; (which Number 3 are all that Nature affords us Single, at the same time.) And there are Generally, 5 of the 7, which are Thus to be observed; but the other 2, most commonly, are not to have the 5th. but a 6th.

Now that you may know which Those Two are certainly; you are to take notice, they are Those Two in the Scale-Natural, Concerning the 6th. when It is to be used Generally. which are immediately under the 2 Half Notes, viz. B-mi is the one, and E-la-mi is the other. Yet also, if at any time, you meet with an Artificial, or Forc'd Half Note, (that is) which is only made so, by reason of a Sharp added unto It; as for Example, If Gam-ut be your Key, and F-fa-ut shall be made Sharp; then that Sharp Note is properly capable of a 6th. as well as those other 2 Naturals; and so of all other such Forg'd Sharp Notes of your Bass, at any Time.

Nor do I mean, that upon necessity you must always use the Fifth in all other Notes, excepting such as These; but sometimes you will have occasion to use the Sixth in any Key; but your Eye and Ear must be your Chief Guide: Yet you must never begin nor end a Strain with a Sixth, nor make any Full Close with It, in [Page] the midst of any Strain; but ever in Passing-wise; yet I find▪ that it is many times very Pleasant to Pause upon a Sixth, in the Nature of a False Close; but all that while of the Pause, you may observe, there is still an Expectation of something to follow, as an Appendix to the foregoing Matter; which when it comes in, is the more wellcom, by reason of that Seeming Defraud, or Long Absence; and (to my Content) it is one of the most Handsom Cheats, (as I may so say) or Cozenings in Performances: That is, to Insinuate, or make you believe you shall hear a full Close; but with a Fall-off into a Six, or sometimes some other way, (as I shall show you by Example, when I come more Particularly to Explanation) you deceive Their Expectations, (which is often very Taking, and Handsom.)

There is One Observation more, for the General use of the Sixth, viz. It is proper, and Vsual to put It to the 3d. Note above the Key, whether That Note be Flat or Sharp; yet with Reference to your Intended Ayr.

The meaning of the Figures over the Notes of the Bass.4thly. You are to take Notice, That (if a thorow Bass be Rightly Ordered) you shall find in all Places of Exception, certain Figures set over the Heads of the Bass-Notes, viz. from 3 to 7; which are to inform you, That to such a Note there must be such a Chord or Chords put, as Those Figures Hint unto, viz. If the Figure 7, then a Seventh; if the Figure 6, then a Sixth; If 7 6, then a Seventh, and a Sixth; and so of all the Rest.

And sometimes Those Figures shall have a Flat or Sharp set with them; which show, that such Chords must be likewise Flat or Sharp.

These Observations being well Noted, you may go forwards towards your Work.

The meaning of a Flat or a Sharp over the Note of a Bass. Note further, That a Single Flat or Sharp set above any Note of your Bass, without a Figure, signifie, that such a Third is required to That Note.

The Flat Third is only One Note and a Half, as is betwixt A-re, and C-fa-ut, D-sol-re, and F-fa-ut.

The Sharp Third is always 2 Full Notes, as is betwixt Gam-ut, and B-mi; C-fa-ut, and E-la-mi; and F-fa-ut, and A-la-mi-re; and you may use which of Those you please in your Composition.

But take Notice, That no Half Notes will agree together; so that although I said, you might use which of Those Thirds you pleas'd; you must know, that you are ever to observe the Natural Order of the Scale, both for Sharp and Flat Thirds; and you must never Clash, so as to put a Flat Third, and a Sharp Third together at the same time, or of any other Chord, in their Octaves.

The Consecution of 2 5th's, and 2 8th's to be avoided.You will do well also to avoid the Consecution of Fifths and Eighths; which although they be very True Chords, (and indeed the most Lushious ones; for which cause They are called the Perfect Chords) yet we account it not compleat, to let 2 of the same Kind move together in any 2 Joyning Notes. The Reason is, They are too Lushious, or Cloying, like too much of any Sweet Thing.

Concerning the Cadence.The next Thing shall be to inform you concerning the Cadence; which is always us'd at the Conclusion of a Song, or Strain, and [Page] oftentimes in the Midst; and known certainly by the Falling of the Bass a Fifth, or Rising a Fourth; both which Signifie the same Thing: They both passing into the same Key, or Letter of the Scale.

Now This Cadence, is as it were the Summing up, Sweetning, or Compleating of the whole Story, or Matter foregoing;The meaning of a Cadence, or Close. or Period of some Sentence Intended; and indeed is the very Choicest, and Most Satisfactory Delight in all Musick, (nothing so Sweet and Delightful, as a Sweet Close or Cadence.

And that you may not be Deficient at That, take Notice Here, how It is to be Performed.

In which Performance, are always a Mixture of Conchords, and Dischords together; as you may perceive by That Example of Closes, a little before set you, where the 4th. is Bound In with the 3d. and 5th. Thus.

The 3d. coming in after the 4th. must always be Sharp, at a Close.

[...] [...]

You may likewise make This Close or Cadence, by Joyning to the Fourth and 3d, a 7th. 6, and 5; or 6, and 5.

Thus for Example.

[...] [...]

Remember always, when you use a Sharp Third, A General Rule for the Flat or Sharp Sixth. if you then make use of the Sixth following, let it be Sharp; so likewise a Flat Third, and a Flat Sixth.

These 7th's and 6th's, in a Binding way, as I do here set Them, are only proper, when you have Notes of Gravity, and Long Closes, viz. Semibreves, or Minims; but seldom upon Short Crochet-Closes.

See These Two last Examples. The Former I have given you with a great deal of Variety; your self do so by These.

Thus may you see what a Cadence is. And after This Manner may you perform It upon any of the Keys. But lest That Trick [Page] should be too long in finding out, I'le give you These Two last Examples upon another Key; which when you see the manner of doing, all others will be the more Easie.

The same upon another Key. [...]

This last Line is the very same in Chords and Sence, as is that other above, only 'tis in C-fa-ut-Key; That being in Gam-ut.

So that you may perceive, It is an Easie Thing to find out the Chords, as well in one Key, as in another; and Good Order of Play.

Here follows the most usual manner of taking the Sixths to any Note, when Notes Ascend or Descend, in This Gradual Manner, as you see the Bass doth.

I will set you Two Several Ways of Breaking your Parts upon It; for your Better Experience; the 1st. is not so much Broken, as the 2d.

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

A Second Variety upon the same Notes.

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

There is likewise another way of using the Sixth, when your Notes fall after This Manner, as is set you in This next Example. But in all such, or other Various Cases, as shall happen, your Chief Director must be your Ear; for without a Diligent Regard to the Parts, That way, your Rules will often deceive you.

[...] Another usual way of using the Sixth. [...]

However, These Rules which I have Thus Set, will stand you in very great stead; nor can you be without the Knowledge of Them, to be steady in your Performances.

I think I need not say much more to This Business, but leave you to Experience and Practice: And Truly I am Confident, by These Short Directions, you may be enabled to Play a Part, with Credit, and Applause enough, upon a Theorboe.

I might Trouble you with several other Observations; but They are all Couch'd in These which I have already set down: Only one Thing I think Necessary to let you know, That whensoever you meet with any Passages in your Bass, of a Nimble and Quick Motion, (as often you will do) viz. Quavers in a Continuation for some Semibreves together; know, That you need not strive to put Parts to every Quaver; only let it suffice, that (taking Notice of the order of Them) you put a Full Stop, or Part only, of a Full Stop, to the 1st. Quaver of every Four, or sometimes, of every Two, as your Judgment shall Direct you, and pass away with Striking the Rest Single; and if you find it convenient, you may here and there Easily Clap along with them, 3d's, 5th's, or 6th's, as the Descant requires; which will be Sufficient, and very Compleat.

[Page]Yet Note One Thing more, That (when we Talk of 3d's, 5th's, and 8th's) we are not Precisely Tyed to give just Those the very Notes to our Bass; but still according to our Best Conveniency, upon the Instrument; sometimes 10th's, 12th's, or 15th's; as you may perceive, I have done in some of Those Examples I Set you; which are as the same Thing in Composition: For sometimes you will be very much put to It, to find your Parts Conveniently; especially when the Bass moves in the Lower Sphear; nor will your Parts be so Pleasant to It, if taken Near; but far Better Above, in Their Eights.

The End of the Directions for the Theorboe.

The Third Part: CONCERNING The VIOL, AND MUSICK in General. Giving some Particular Directions towards a Righter Vse of That Instrument, than is Commonly Known and Practiced.

[Page]

CHAP. I.

HAVING said so much in my Former Discourse, concerning the Lute; as also taken so much Pains in Laying Open All the Hidden Secrets Thereof, (as to Its Rightest Vse,) &c. It may be thought, I am so great a Lover of It, that I make Light Esteem of any other Instrument, besides; which Truly I do not; but Love the Viol in a very High Degree; yea close unto the Lute: And have done much more, and made very many more Good and Able Proficients upon It, than ever I have done upon the Lute.

And this I shall presume to say, That if I Excel in Either, it is most certainly upon the Viol.

And as to other Instruments, I can as truly say, I Value every One that is in Use, according to Its due Place; as Knowing, and often Saying, That All Gods Creatures are Good; And all Ingenunities done by Man, are Signs, Tokens, and Testimonies of the Wisdom of God Bestowed upon Man.

Yet This One Thing I shall not forbear to say, (in Regard of the Great Inconsiderateness, which Generally Bears Sway among Men) That It would be very well, (not only in Musick, but in Every Thing else, which is Our Humane Concern) If there were a Reasonableness, and Examination always attending upon Our Actions, by which They might be Govern'd and Guided; And not like Ignorants, take Things upon [Page]Trust, as Generally too Many do; and confirm Themselves with a Belief of such Things upon too Slight, or rather no Examination at all, and Violently Pursue, Magnifie, and Cry up Things, so or so, meerly because it is the Mode or Fashion, as They say.

Concerning Modes and Fashions.Now as to Modes and Fashions, I willingly grant a Due Observance unto, in such Things, as are Reasonably Proper for Modes and Fashions; especially where, or when They are not Incongruous to Right Reason; or that we do not forsake a Better, or more Convenient Fashion, for a Worse, or more Inconvenient; as might Easily be Instanc'd in the Modes and Fashions of Apparel, or the like Slight and Trivial Things; which are only (or should be) the Proper Business (if it ought to be a Business at all) of Modes and Fashions.

Arts and Sciences, not subject to Modes and Fashions.But I cannot understand, how Arts and Sciences should be subject unto any such Phantastical, Giddy, or Inconsiderate Toyish Conceits, as ever to be said to be in Fashion, or out of Fashion.

I remember there was a Fashion, not many Years since, for Women in their Apparel to be so Pent up by the Straitness, and Stiffness of their Gown-Shoulder-Sleeves, that They could not so much as Scratch Their Heads, for the Necessary Remove of a Biting Louse; nor Elevate their Arms scarcely to feed themselves Handsomly; nor Carve a Dish of Meat at a Table, but their whole Body must needs Bend towards the Dish.

This must needs be concluded by Reason, a most Vnreasonable, and Inconvenient Fashion; and They as Vnreasonably Inconsiderate, who would be so Abus'd, and Bound up.

An Abuse put upon Women, by the Roguish Taylors.I Confess It was a very Good Fashion, for some such Viragoes, who were us'd to Scratch their Husbands Faces or Eyes, and to pull them down by the Coxcombes.

And I am subject to think, It was a meer Rogery, in the Combination, or Club-council of the Taylors, to Abuse the Women in That Fashion, in Revenge of some of the Curst Dames their Wives, who were too Lofty, and Man-keen.

For Those Taylors can make the Fashionists Believe, and Wear whatever Fashion they inform them unto: But whatever the Original of It was, I am sure It could never be accounted a Good-Housewives Fashion; However, It was then the Fashion, and People of Fashion would have It so, though with never so many Inconveniences.

Now in such Things as These, I could set forth a vast deal of Inconsiderateness, which People constantly run into; yet They are nothing Considerable, in Comparison to such Inconveniences, as commonly attend (pretended) Modes and Fashions in Arts and Sciences: The very Naming of which, was always so Nautious unto me, that I confess It was ever attended with a Secret Vndervaluing of the Judgment of That Person, who would tell me, This sort, or That sort of Musick, or Instrument, was in Fashion; and I still am of that mind, nor will I Stop my Pen, but let It Run Freely, and Publish Boldly, No Good Fashion to take a New, and leave an Old much Better. That It can be no Good Fashion in Musick, to bring up any Way, Thing, or Instrument, and Cry It up for the Mode, and leave a Better, and Cry It Down.

[Page]Such Things as These, are too frequent at This Day, as I shall make appear; and because I have begun to speak of the Sprightly, Generous, and Heroick Viol; which Instrument I Love, and Highly Value; and indeed, is an Instrument of such Excellent, and Admirable Vse, (were It not too much Abus'd) but Rightly Vs'd) that It deservedly takes the Next Place to the Incomparable Lute; and Therefore, for Its sake, and the Lovers thereof, I shall take a little more than Ordinary Pains to Illustrate, and give That Brave Instrument Its Due: But first I will Instance from It, How Musick is Injur'd, and very Eminently too; as Thus, How Musick is Injur'd.

‘For, what is more Reasonable, than if an Artist upon the Composition of a Piece of Musick (suppose) of 3, 4, 5, 6, or more Parts,; (but hold there; the Moads has cut off most of the Greater Numbers: Well I'le say 3 or 4, (yet most commonly 2 Parts) suppose what Number you will;) I say is it not Reasonable, yea Necessarily Reasonable, That all Those Parts should be Equally Heard? sure it cannot Reasonably be Deny'd.’

‘Then, what Injury must it needs be,By Unsuitable, or Unequal Instruments, and Numbers. to have such Things Played upon Instruments, Vnequally Suited, or Vnevenly Numbred? viz. One Small Weak-Sounding-Bass-Biol, and 2 or 3 Violins; whereas one (in Reason) would think, that One Violin would bear up Sufficiently against 2 or 3 Common-Sounding-Basses; especially such as you shall Generally meet with, in their Ordinary Consorts.’

‘This is a very Common Piece of Inconsiderate Practice, at This Day.’

‘But It has been Objected, There has been an Harpsicon, or an Organ with It; what then? Has not the Harpsicon, or Organ, Basses and Trebles Equally mixt? and must not still the Vnequalness be the same? or suppose a Theorboe-Lute; the Disproportion is still the same. The Scoulding Violins will out-Top Them All.’

‘Nay, I have as yet but suppos'd a Small matter of Vnequalness, in respect of what I have heard, and is still very Magnanimously Endeavoured to be Daily Performed, viz. Six Violins; nay Ten; nay Twenty or more, at a Sumptuous Meeting, and scarce Half so many Basses; which (as I said before) were more Reasonable, sure, to be the Greater Number.’

‘Now I say, If This be not an Injury both to Musick, the Composer, and the Compositions, let any Judicious Person Judge.’

‘What is the Musick of Parts Compos'd for, if not to be Heard?’

‘But I cry you Mercy, I had almost forgot; It is the Fashion.’

‘But I remember what I said before, viz. That It is no Good Fashion to bring up a New, and cry down an Old, which is far Better.’

Now I will suppose I hear it as'kd me, What is a far Better? why here I'le tell you.

And for your Information, (Young Gentleman, or Young Lady (for Young and Vnskilful I must needs suppose you to be, who ask me such a Question;) And 'tis much Pity of your Want of Skill) Know, That in my Younger Time, What Musick was Better than now is. we had Musick most Excellently Choice, and most Eminently Rare; both for Its Excellency[Page]in Composition, Rare Fancy, and Sprightly Ayre; as also for Its Proper, and Fit Performances; even such, as (if your Young Tender Ears, and Fantacies, were but truly Tinctur'd therewith, (and especially if it possibly could but be cry'd up for the Mode, or New Fashion) you would Embrace, for some Divine Thing,

And lest It should be quite Forgot, for want of Sober Times; I will set down (as a Remembrancer, and Well-willer to Posterity; and an Honourer of the Memory of Those most Emenent, Worthy Masters, and Authors, who some of Them being now Deceased, yet some Living) the Manner of such Musick as I make mention of, as also the Nature of It.

‘The manner, and Effects of our Musick in the late former Times, to be Imitated as the Best in the World. VVe had for our Grave Musick, Fancies of 3, 4, 5, and 6 Parts to the Organ; Interpos'd (now and then) with some Pavins, Allmaines, Solemn, and Sweet Delightful Ayres; all which were (as it were) so many Pathettical Stories, Rhetorical, and Sublime Discourses; Subtil, and Accute Argumentations; so Suitable, and Agreeing to the Inward, Secret, and Intellectual Faculties of the Soul and Mind; that to set Them forth according to their True Praise, there are no Words Sufficient in Language; yet what I can best speak of Them, shall be only to say, That They have been to my self, (and many others) as Divine Raptures, Powerfully Captivating all our unruly Faculties, and Affections, (for the Time) and disposing us to Solidity, Gravity, and a Good Temper; making us capable of Heavenly, and Divine Influences.’

‘'Tis Great Pity Few Believe Thus Much; but Far Greater, that so Few Know It.’

The Names of many of our Best Authors Deceased.The Authors of such like Compositions, have been divers Famous English Men, and Italians; some of which, for Their very Great Eminency, and Worth, in that Particular Faculty, I will here name, viz. Mr. Alfonso Ferabosco, Mr. John Ward, Mr. Lupo, Mr. White, Mr. Richard Deering, Mr. William Lawes, Mr. John Jenkins, Mr. Christoper Simpson, Mr. Coperanio, and one Monteverde, a Famous Italian Author; besides divers, and very many others, who in Their Late Time, were All Substantial, Able, and Profound Composing Masters in This Art, and have left Their Works behind Them, as sit Monuments, and Patterns for Sober, and Wise Posterity, worthy to be Imitated, and Practiced: 'Tis Great Folly they are so soon Forgot, and Neglected, as I perceive they are amongst many.

What Instruments were us'd, and how in the Best Old Musick.And These Things were Performed, upon so many Equal, and Truly-Sciz'd Viols; and so Exactly Strung, Tun'd, and Play'd upon, as no one Part was any Impediment to the Other; but still (as the Composition required) by Intervals, each Part Amplified, and Heightned the Other; The Organ Evenly, Softly, and Sweetly Acchording to All.

VVhereas now the Fashion has Cr'd These Things Down, and set up others in their Room; which I confess make a Greater Noise; but which of the Two is the Better Fashion, I leave to be Judg'd by the Judicious.

[Page]We had (beyond all This) a Custom at Our Meetings, that commonly, after such Instrumental Musick was over, we did Conclude All, with some Vocal Musick, (to the Organ, or (for want of That) to the Theorboe.

The Best which we did ever Esteem, were Those Things which were most Solemn, and Divine, some of which I will (for their Eminency) Name, viz. Mr. Deering's Gloria Patri, and other of His Latin Songs; (now lately Collected, and Printed, by Mr. Playford, (a very Laudable, and Thank-worthy Work) besides many other of the like Nature, Latin and English, by most of the above-named Authors, and Others, Wonderfully Rare, Sublime, and Divine, beyond all Expression.

But when we would be most Ayrey, Jocond, Lively, and Spruce; Then we had Choice, and Singular Consorts, either for 2, 3, or 4 Parts, but not to the Organ (as many (now a days) Improperly, and Vnadvisedly (perform such like Consorts with) but to the Harpsicon; yet more Properly, and much better to the Pedal, The Organ not a proper Instrument for Consorts. (an Instrument of a Late Invention, contriv'd (as I have been inform'd) by one Mr. John Hayward of London, a most Excellent Kind of Instrument for a Consort, and far beyond all Harpsicons or Organs, that I yet ever heard of, (I mean either for Consort, or Single Vse;) But the Organ far beyond It, for Those other Performances before mentioned.

Concerning This Instrument, (call'd the Pedal (because It is contriv'd to give Varieties with the Foot) I shall bestow a few Lines in making mention of, in regard It is not very commonly used, or known; because Few make of Them Well, and Fewer will go to the Price of Them: Twenty Pounds being the Ordinary Price of One; but the Great Patron of Musick in His Time, Sir Robert Bolles, (who, in the Vniversity, I had the Happiness to Initiate, in This High Art) had Two of Them, the one I remember at 30 l. and the other at 50 l. very Admirable Instruments.

This Instrument is in Shape and Bulk just like a Harpsicon;The Description of the Pedal. The Best of Consort Instruments. only It differs in the Order of It, Thus, viz. There is made right underneath the Keys, near the Ground, a kind of Cubbord, or Box, which opens with a little Pair of Doors, in which Box the Performer sets both his Feet, resting them upon his Heels, (his Toes a little turning up) touching nothing, till such time he has a Pleasure to employ them; which is after this manner, viz. There being right underneath his Toes 4 little Pummels of Wood, under each Foot 2, any one of Those 4 he may Tread upon at his Pleasure; which by the Weight of his Foot drives a Spring, and so Causeth the whole Instrument to Sound, either Soft or Loud, according as he shall chuse to Tread any of them down; (for without the Foot so us'd Nothing Speaks.)

The out-side of the Right Foot drives One, and the In-side of the same Foot drives another; so that by treading his Foot a little awry, either outward or inward, he causeth a Various Stop to be heard, at his Pleasure; and if he clap down his Foot Flat, then he takes Them both, at the same time, (which is a 3d. Variety, and Louder.)

[Page]Then has he ready, under his Left Foot, 2 other Various Stops, and by the like Order and Motion of the Foot, he can immediately give you 3 other Varieties, either Softer or Louder, as with the Right Foot before mentioned, he did.

So that thus you may perceive he has several Various Stops at Pleasure; and all Quick and Nimble, by the Ready Turn of the Foot.

And by This Pritty Device, is This Instrument made Wonderfully Rare, and Excellent: So that doubtless It Excels all Harpsicons, or Organs in the World, for Admirable Sweetness and Humour, either for a Private, or a Consort use.

I caus'd one of Them to be made in my House, that has 9 several other Varieties, The Theorboe Stop in the Pedal. Thus 24 Varieties at least. (24 in all) by reason of a Stop (to be Slip'd in with the Hand) which my Work-man calls the Theorboe-Stop; and indeed It is not much unlike It; But what It wants of a Lute, It has in Its own Singular Prittiness.

We had in those days Choice Consorts, fitted on purpose to suit with the Nature of This Instrument,

The Truth is, The Great Grace which Musick receives by the Right Ordering of This Instrument, to Compositions and Performances suitable thereunto, is such, that It far Exceeds any Expressions that can be made of It.

We always Added to This Consort, the Theorboe Lute; which likewise could Humour the Consort, Properly, and Evenly, with the Pedal.

Very little of This so Eminent Musick do we hear of in These Times, (the Less the Greater Pity.)

Concerning the Consorts, with Viols, and their Rare use.Then again, we had all Those Choice Consorts, to Equally-Sciz'd Instruments, (Rare Chests of Viols) and as Equally Perform'd: For we would never allow Any Performer to Over-top, or Out-cry another by Loud Play; but our Great Care was, to have All the Parts Equally Heard; by which means (though sometimes we had but indifferent, or mean Hands to Perform with; yet This Caution made the Musick Lovely, and very Contentive.

The Great Idol in Musick, of late Years, set up.But now the Modes and Fashions have cry'd These Things down, and set up a Great Idol in their Room; observe with what a Wonderful Swiftness They now run over their Brave New Ayres; and with what High-Priz'd Noise, viz. 10, or 20 Violins, &c. as I said before, to a Some-Single-Soul'd Ayre; it may be of 2 or 3 Parts, or some Coranto, Serabrand, or Brawle, (as the New-Fashion'd-Word is) and such like Stuff, seldom any other; which is rather fit to make a Mans Ears Glow, and fill his Brains full of Frisks, &c. than to Season, and Sober his Mind, or Elevate his Affection to Goodness.

Now I say, Let These New-Fashion'd Musicks, and Performances, be compar'd with Those Old Ones, A Comparison betwixt the Old and New Musick, to be Judged. which I have before made mention of; and then let It be Judg'd, whether they have not left a Better Fashion, for a Worse. But who shall be the Judges? If Themselves; then All's Right.

[Page]Now I apprehend I hear some say, I like This New-fashion'd Musick the Best; so does a Child a Rattle, or an Oaten Pipe, &c. which must needs be, because they never Heard any Better.

‘There is another Great Injury,A Common, and main Injury occasioned unto the Art, by some Great Persons▪ being unskilful in It. very Pernitious to the Substantial Support of This Art; which is, that oftentimes Great Persons, (Lords or Ladies) not having Skill; yet) spend Their Judgments in the High Commendation of Things, which come before Them, (Commending This, or Disliking That) according to that Humour which They Possess, &c.’

‘Now look whatsoever Judgment They give, the same presently is swallow'd down by the Multitude, Doted upon, and Strongly Cry'd up for Orthodox, (viz. the Mode or Fashion;) and presently spreads abroad; and Fame (the Great Dame of Lies, as well as of Truths) Toots it all over; and what is Stronger than the Great Multitude?’

‘This I say, is a cause of much Error, and Wrong done to Our Art; for by this means; many a Confident Young Vp-start (through the Vnskilfulness, of such, or such a Great Person; who is taken, with This, or That Pritty Gingle or Toy, proceeding from That fore-mentioned Youngster) becomes Famous; for the Great Person (seeming to Admire Him, in This, or That Thing, Toy, or Gingle) sets him up, as it were upon a Pinacle; and whether It be Right or Wrong, presently comes others, (of the same form of Greatness, and Vnskilfulness) and Joyns Applause to the former; so that This Young Man is All-to-be-Dignified, and Noted for a Wonder amongst others. Then, whatsoever he Performs, becomes Imitable, and Fashionable; (several such have I observ'd in my Time) whereas let him be brought to the True Touch-stone, or Right Examination, by Judicious Persons, he will be found a very Weaklin, in the Art which he Professeth; only he may (as many of them) have a Particular Singularity, or Twang, upon some one Instrument, or other; It may be the Violin, or the Flagilet, or the Guittar, (a Bit of the Old Lute) the Jews Trump, &c. or some such Slight Business.’

‘Now This Brave Young Man assumes to himself a Great Presence, Looks Big, and Magnifies Himself; and (though Ignorant in the Main) thinks himself really to be The Thing, which he is Cry'd up for; though nothing Nothing so; and presently falls to give Laws, and Rules, in the Art; making Determinations in his Judgment of This, or That Work, of Profound Learned Able Masters, which he himself (understands little or nothing of. But his Name being Thus got up, he may (as the old saying is) Lie in Bed; and his Work shall go forwards.’

‘Then with much Confidence, he daily spreads his Humours,The Common Occasion of Modes, and Fashions in Musick. and Conceits, which must (forsooth) still be Highly Priz'd, though never so Silly. By which means, and the like, there becomes a General Over-spreading of Errours, and Ignorance; and a Crying-down, and Neglecting the Best Things in True Art and Worth, and Crying up the Gingles, &c.’

This I have Seen, and Noted, all along my Time, in This Our Art of Musick; and therefore thought fit Thus much to declare of It, as a Main Injury done unto the Art.

[Page]But I shall cut off This Discourse, and Here give you some certain Directions, for Procuring, and Maintaining the Best Musick Imaginable.

Concerning a Proper▪ and Fit Musick Room; the 1st. Thing considerable.The 1st Thing to be consider'd, as to the Advantage of Good Musick, should be a Convenient, and Fit Place to Perform It in; such I would call a Musick Room; and is considerable in a 4 Fold Respect, 1st. in Respect of the Instruments, 2d. the Musick, 3d. the Actors, and 4th. the Auditors.

4 Chief Inconveniences, for want of It.1st. The Instruments; be they never so Good, will not show half so good in an Improper, Stuffed, or Clogg'd-up Room, either with Household-stuff, or Company.

2d. The Musick very oftentimes is much hindred, by Crowding, and Noise.

3dly. The Performers as often, are so interrupted and hindred, that they cannot Act as They might.

4thly. The Auditors cannot receive such Ample Satisfaction, as otherwise they might do; besides their uneasie, and unhandsom Accommodation, which too often happens to Persons of Quality, being sometimes Crowded up, Sqweez'd, and Sweated among people of an Inferiour Rank, &c. and cannot be avoided. These Things, I say, should be consider'd,

Again; 'tis observable, That all Persons who pursue Musick, do endeavour to procure the Best Instruments that can be gotten. Now let the Instruments be what they will, a Good Room will make Them seem Better, and a Bad Room, Worse, as I said before: Therefore It is of a Great Concern, to have a Room, which may at least, Advantage your Instruments, if no other Conveniency were gain'd thereby.

Now as to the Right Contrivance of a Musick Room, there are several Considerations depending, as I shall make appear in the Description and Explanation of one Hereafter following, which I wish might be (by some Good, and Worthy Benefactor to Our Vniversity) Bestowed, A Worthy Benefactor to the University wished for. and Erected There, for a Publick Benefit, and Promotion of the Art, and Incouragement of the True Lovers of It; there being likewise a Great Need of such a Thing, in Reference to the Compleating, and Illustrating of the Vniversity-Schools; such a School, or Room, being greatly wanting with Them There.

And in hopes, that (at one time, or other) there may arise some Honourable, and Truly Noble-Spirited Person, or Persons, who may consider the Great Good Vse, and Benefit of such a Necessary Convenience; and also may find in his Heart to become a Benefactor, to such an Eminent Good Work; I will here give a Description of a Most Excellent Musick Room, together with Its many Great Conveniences, as Here in This Next Page you may see.

[Page]

The Description Of a Musick-Roome, Vniforme With Conveniency for Severall Sorts of Auditors, Severally plac'd in 12 Distinct Roomes▪ besides the Musick-Roome▪ wch would haue none in It besides the Performers.

Supposing the Roome to be Six Yeards Square
The 12 Galleryes would be 3 yeards-long, and
Better▪ The 4 Middle Galleryes Somthing
Broader then the Rest▪ as Here they are.

CHAP. II.

[Page]

A further Explanation; and the Meaning of This Musick Room.THe Room It self to be Arch'd; as also the 4 Middle Galleries, (at least) if not All Twelve; and Built one Story from the Ground, both for Advantage of Sound, and also to avoid the Moisture of the Earth, which is very bad, both for Instruments, and Strings.

The Room would be One Step Higher, than the Galleries, in the Floor; the better to conveigh the Sound to the Auditors.

The Height of the Room not too High, for the same Reason.

In the Building of This Room, there may be Respect had to the Lower Rooms, for Advantage of Dwelling, &c. And no doubt, but upon the Contrivance of such a Room, many Pritty Advantages may be thought upon; which in This Sudden Glance, I cannot reach unto.

Yet take but This One Caution, in your Contrivance; and then Add, or Alter what you will, viz. That Nothing he Added to, or Altered from; which may be any Hindrance to the Free, and Glib Passage of the Sound, to All Places intended; but rather Advantage.

The Scituation of the Room.The Room to be Built in a Clear, and very Delightful Dry Place, both free from Water; the Over-Hanging of Trees; and Common Noises.

1st. Let the Arched Seiling be Plain, and very Smooth.

The Wainscoting of the Room.2dly. Let the Lower Walls be all Wainscotted, Hollow from the Wall, and without any kind of Carv'd, Boss'd, or Rugged Work; so that the Sound may Run Glib, and Smooth all about, without the least Interruption.

3dly. Let there be several Conveyances out of the Room, through that Wainscot, by Groves, or Pipes, to certain Auditors Seats, where (as they sit) they may, at a small Passage, or little Hole, receive that Pent-up-Sound, which (let It be never so weak in the Musick Room) he shall (though at the furthest end of the Gallery) Hear so Distinctly, as any who are close by It.

If such a Room as This, were to be Built at a Publick Charge; and for a Publick Benefit, and Promotion of the Art; this Little Model might be Amplified, and Enlarged, several ways, upon more Deliberate Consideration.

Considerable Reasons, why a Musick Room should be so contrived. And the many Conveniences Thereby.The Reasons for such a Musick Room, are Divers, and very Considerable; as First.

The Room being Thus Clear, and Free from Company, all Inconveniences of Talking, Crowding, Sweating, and Blustering, &c. are taken away.

2d. The Sound has Its Free, and Vn-interrupted Passage, &c.

3d. The Performers are no ways Hindred, &c.

4th. The Instruments will stand more steadily in Tune, (for no Lutes, Viols, Pedals, Harpsicons, &c. will stand in Tune at such a Time; No, nor Voices Themselves;) For I have known an Excellent [Page]Voice, well prepared for a Solemn Performance, who has been Pent up in such a Crowd, that (when he had been to Perform his Part) could hardly speak; and by no other Cause, but the very Distemper, received by That Crowd, and Over-Heat.

5thly, The Musick will be Equal to all alike.

Many other Inconveniences might be taken off, viz. Particular Persons being Ill at Ease, or Vnhandsomly Accommodated, and Mixt, &c. All which are not only Clearly Remedied, by such a Room as This, but your Musick far more Illustrated, The Conveniences of It. by the Instruments shewing Themselves, and the Auditors infinitely more satisfied.

Note, That the In-lets into Those Groves, or Pipes abovesaid, should be pritty Large, viz. a Foot Square at least, yet the Larger, the Better, without all doubt; and to begin in the Wainscot, within the Musick Room; and so the Conveyances to Run Proportionably Narrower, till They come to the Ear of the Auditor; which Hole at the End, need not to be above the Wideness of ones Finger End.

It cannot be easily Imagin'd, what a Wonderful Advantage such a Contrivance must needs be, for the Exact, and Distinct Hearing of Musick; without doubt far beyond all that ever has yet been used. For there is no Instrument of Touch, be It never so Sweet; and Touch'd with the most Curious Hand that can be; but in the very Touch, if you be near unto It, A Good Note. you may perceive that Touch to be heard; especially of Viols, and Violins; but if you be at a Distance, that Harshness is Lost, and Conveyed into the Ayre, and you receive nothing but the Pure Sweetness of the Instrument; so as I may properly say, you loose the Body, but enjoy the Soul, or Spirit thereof.

Those 4 Double Doors into the 4 Middle Galleries, The Doors. would be so made, that they might shut at Pleasure; so that the Musick Room might be private at any time, for any other Occasion.

The meaning of These Narrow Galleries is,The meaning of the 12 Galleries. In that Experience tells, Any Sound, forc'd into a Narrow Place, is Heard much more Strongly, than Sounds Dilated, and Spread abroad.

Those 12 Galleries, though but little, will (I believe) hold 200 Persons very well, without Crowding; which Thing alone, having such convenient Distinct Reception, for Persons of Different Qualities, must needs be accounted a Great Conveniency; besides all Those others before Specified.

The 4 Pair of Stairs, 4 Pair of Stairs (if for a Publick use such a House were Built) will be Necessary, that Persons may come, and go, without disturbing the Rest of the Company.

But if for a Private use, one Pair of Stairs; though much better with Two Pair.

I have here said but a little of a great deal, that might be said in Reference to such a Good Work; yet, I suppose sufficient to give a Light, or a Hint to Better Inventions, according to that Saying, Old, and True, Facile est Inventis addere.

'Tis no great Matter of Difficulty to have It done,How easie it is to have such a Room made. by almost any Ingenious Work-men, where they are to make New Erections, [Page] and have Room enough, if they cast for It in their first Contrivances.

It may become any Noble, or Gentlemans House; and there may be Built together with It, as Convenient and Necessary Rooms for all Services of a Family, as by any other Contrivance whatever, and as Magnificently Stately.

Having thus describ'd the way to such a Necessary, Ample, and most Convenient Erection, I shall only add my Wishes, that It might be once Experimented; and then no doubt, but the Advantages, and Benefits would apparently show Themselves, and be Esteemed, far beyond what at the present They can conceive, or I have Writ.

CHAP. III.

THere is yet one Thing more, which I will Propose, in Reference towards a more Absolute Exactness, A Table Organ to stand in the midst, much better, than an Upright Organ. and Compleatness, in setting off the Musick; and in making It more Even, and Distinctly Equal, viz. Suppose the Organ to be so Contriv'd, as to be Plac'd in the midst of the Room, and serve instead of the Table,; also I conceive, (nay I know, in that I have made Experience of the Thing) It would be far more Reasonable, and Proper, than an Vpright Organ.

Because the Organ stands us in stead of a Holding, Vniting-Constant-Friend;The Chief Office of the Organ in Consort. and is as a Touch-stone, to try the certainty of All Things; especially the Well-keeping the Instruments in Tune, &c.

And in This Service the Organ should be Equally Heard to All; but especially to the Performers Themselves, who cannot well Perform, without a Distinct Perceivance Thereof.

The Organ standing in the midst, must needs be of a more certain and steady use to Those Performers, than if It stood at a Distance; They all Equally Receiving the same Benefit, no one more than another; whereas according to the constant Standing of Vpright Organs (at a Distance from the Table, and much Company usually Crowding between the Organ, and Table of Performers) some of Those Performers, who sit farthest off, are often at a loss, for want of Hearing the Organ, so Distinctly as they should, which is a Great Inconvenience. And if It be so to the Performers, It must needs be alike Inconvenient, or more, to Those Auditors, who sit far from the Organ.

But This Device of a Table Organ, sends forth Its Notes so Equally alike,The Great Advantages of the use of a Table Organ in Consort. that All, both Performers, and Auditors, receive their just, and due Satisfaction, without the least Impediment; the Organ in This Service not being Eminently to be Heard, but only Equal with the other Musick.

Now as to the Description of This Table Organ, I cannot more conveniently do It, than first in giving you a View of It, by This Figure here Drawn, and then by telling you all the Dimensions, and the whole order of It, (I mean my Second, which is the Largest, and the Best.) And take as Here followeth.

[Page]

A Table Organ.

[Page] The Description of the Table Organ fit for such a Room. Two of such Organs only, (I believe) are but as yet in Being, in the World ▪ They being of my own Contrivance; and which I caus'd to be made In my own House, and for my own Vse, as to the maintaining of Publick Consorts, &c.

I did also Design the Erecting of such a Musick Room, as I have described; But it pleas'd God to Disappoint, and Discourage me, by Disabling me several ways, for such a Work; as chiefly by the Loss of my Hearing, and by that means the Emptiness of my Purse, (my meaning may easily be guess'd at) I only wanted Money enough, but no Good Will thereunto.

It is in Its Bulk, and Height, of a very Convenient, Handsom, and Compleat Table-Scize; (which may Become, and Adorn a Noble-Mans Dining Room) All of the Best sort of Wainscot.

The Length of the Leaf 7 Foot, and 5 Inches.

The Breadth 4 Foot, and 3 Inches.

The Heighth 3 Foot, Inch, and Better.

Beneath the Leaf, quite Round, is Handsom Carv'd, and Cut-Work, about 10 Inches Deep, to let out the Sound: And Beneath the Cut-Work, Broad Pannels, so Contriv'd, that they may be taken down at any time, for the Amending such Faults as may happen; with 2 Shelv'd Cubbords at the End ▪ behind, to Lock up your Musick Books, &c.

The Leaf is to be taken in 2 Pieces at any time for conveniency of Tuning, or the like, Neatly Joyn'd in the Midst.

The Keys, at the upper End, being of Ebony, and Ivory, all Cover'd with a Slipping Clampe, (answerable to the other End of the Table) which is to take off at any time, when the Organ is to be us'd, and again put on, and Lock'd up; so that none can know it is an Organ by sight, but a Compleat New-Fashion'd Table.

The Leaf has in It 8 Desks, cut quite through very Neatly (answerable to that Vp-standing One, in the Figure.) with Springs under the Edge of the Leaf, so Contriv'd, that they may Open, and Shut at Pleasure; which (when Shut down) Joyn Closely with the Table-Leaf; But (upon occasion) may be Opened, and so set up, (with a Spring) in the manner of a Desk, as your Books may be set against Them.

The meaning of the 8 Desks, and their Excellent use.Now the Intent of Those Desks, is of far more Excellent use, than for meer Desks; For without Those Openings, your Organ would be but of very Slender use, as to Consort, by Reason of the Closeness of the Leaf; But by the Help of Them, each Desk opened, is as the putting in of another Quickning, or Enlivning Stop; so that when all the 8 Desks stand open, the Table is like a Little Church Organ, so Sprightfully Lusty, and Strong, that It is too Loud for any Ordinary Private use: But you may Moderate That, by opening only so many of Those Desks, as you see fit for your Present use.

There are in This Table Six Stops.

The Number of Stops in It. and what they are.The first is an Open Diapason; The Second a Principal; The Third a Fifteenth; The Fourth a Twelfth; The Fifth a Two and Twentieth; And the Sixth a Regal.

[Page]There is likewise (for a Pleasure, and Light Content) a Hooboy Stop, which comes in at any Time, with the Foot; which Stop, The Humane Voice in This Instrument. (together with the Regal) makes the Voice Humane.

The Bellow is laid next the Ground; and is made very Large, and driven either by the Foot of the Player, or by a Cord at the far end.

Thus I have given you a Short Description, of This most Incomparable, and Super-Excelling Instrument; not doubting, but when It is well Ponder'd, and Consider'd upon, It will be approv'd of, and brought into Vse.

And,An Advertisement. if any Person (upon the Reading of This Description) shall be Desirous to Purchase such an Instrument; I believe, I can Procure for him the Very Same, which I have Thus Described, &c. For my Vnhappiness has been such, (by Reason of my Deafness) that I have (of Late Years) parted with It; and It is (at This Time, I think) to be Sold;☜ so that if any Person send to me about It, I shall do him the Best Service I can in It: And indeed It is a Very-Very-Jewel.

Your Pedal, and Organ, being Thus Well Fix'd, the next is,Note well, How to order your Press for Instruments. to Furnish your Press with Good Instruments: But first see, that It be Conveniently Large, to contain such a Number, as you shall Design for your Vse; and to be made very Close, and Warm, Lyn'd through with Bayes, &c. by which means your Instruments will speak Livelily, Brisk, and Clear.

CHAP. IV.

YOur Best Provision, (and most Compleat) will be,The Best Provision for Viols, and of what Authors. a Good Chest of Viols; Six, in Number; viz. 2 Basses, 2 Tenors, and 2 Trebles: All Truly, and Proportionably Suited.

Of such, there are no Better in the World, than Those of Aldred, Jay, Smith, (yet the Highest in Esteem are) Bolles, and Ross, (one Bass of Bolles's, I have known Valued at 100 l.) These were Old; but We have Now, very Excellent Good Workmen, who (no doubt) can Work as well as Those, if They be so well Paid for Their Work, as They were; yet we chiefly Value Old Instruments, before New; for by Experience, they are found to be far the Best.

The Reasons for which, I can no further Dive into, than to say; I Apprehend, that by Extream Age, the Wood, Age Adds Goodness to Instruments, and the Reason why. (and Those Other Adjuncts) Glew, Parchment, Paper, Lynings of Cloath, (as some use;) but above All, the Vernish; These are All, so very much (by Time) Dryed, Lenefied, made Gentle, Rarified, or (to say Better, even) Ayrified; so that That Stiffness, Stubbornness, or Clunguiness, which is Natural to such Bodies, are so Debilitated, and made Plyable, that the Pores of the Wood, have a more, and Free Liberty to Move, Stir, or Secretly Vibrate; by which means the Air, (which is the Life of All Things) both Animate, and [Page] Inanimate) has a more Free, and Easie Recourse, to Pass, and Re-pass, &c. whether I have hit upon the Right Cause, I know not; but sure I am, that Age Adds Goodness to Instruments; therefore They have the Advantage of all our Late Work-men.

Now, suppose you connot procure an Intire Chest of Viols, Suitable, &c. Then, Thus.

Endeavour to Pick up (Here, or There) so many Excellent Good Odd Ones, as near Suiting as you can, (every way) viz. both for Shape, Wood, Colour, &c. but especially for Scize.

A certain Rule to make a True Scizable Chest of ViolsAnd to be Exact in That, take This Certain Rule, viz. Let your Bass be Large. Then your Trebles must be just as Short again, in the String, (viz.) from Bridge, to Nut, as are your Basses; because they stand 8 Notes Higher than the Basses; Therefore, as Short again; (for the Middle of Every String, is an 8th. The Tenors, (in the String) just so long as from the Bridge, to F Fret; because they stand a 4th. Higher, than your Basses; Therefore, so Long.

Let This Suffice, to put you into a Compleat Order for Viols, (either way;The True Place for the Bridge.) Only Note, That the Best Place for the Bridge, is to stand just in the 3 Quarter Dividing of the Open Cuts Below; though Most, most Erroniously suffer them much to stand too High, which is a Fault.

After all This, you may add to your Press, a Pair of Violins, to be in Readiness for any Extraordinary Jolly, or Jocund Consort-Occasion;A Proviso, as to the use of Violins. But never use Them, but with This Proviso, viz. Be sure you make an Equal Provision for Them, by the Addition, and Strength of Basses; so that They may not Out-cry the Rest of the Musick, (the Basses especially) to which end, It will be Requisite, you Store your Press with a Pair of Lusty Full-Sciz'd Theorboes, always to strike in with your Consorts, or Vocal-Musick; to which, That Instrument is most Naturally Proper.

And now to make your Store more Amply-Compleat; add to all These 3 Full-Sciz'd Lyro-Viols;3 Lyro-Viols, the Compleating of the Store. there being most Admirable Things made, by our Very Best Masters, for That Sort of Musick, both Consort-wise, and Peculiarly for 2 and 3 Lyroes.

Let Them be Lusty, Smart-Speaking Viols; because, that in Consort, they often Retort against the Treble; Imitating, and often Standing instead of That Part, viz. a Second Treble.

They will serve likewise for Division-Viols very Properly.

And being Thus Stor'd, you have a Ready Entertainment for the Greatest Prince in the World. An Entertainment for a Prince.

I will now give you some Directions for the General Vse of the Viol, and are as followeth, in This Next Chapter.

CHAP. V.

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THe Viol is an Instrument so very much in use,Concerning the Right use of the Viol. and so many Profess'd Teachers upon It, that It may seem Impertinent to give Directions concerning It; especially since that Excellent Master, Mr. Christopher Simpson, has done It so very well already; yet because some may Haply meet with This of Mine, who may not have That of His, and that I shall Exemplifie something, which He has not done in the General; I will therefore (to make This my Work useful to the Lovers of the Viol) set down (in short) That Way, which (according to my Long Experience, I have found most Advantagious, both to My Scholars, My Self, and the Promotion of the Art in General.)

‘First therefore, Let the Young Beginner enter into Its use,The very Best Prae-directions for the Young Beginner. in That way, which we call the Plain-way, viz. Viol-way, or Lute-way, (which is all one) and is the Very Best of Tunings; and Infinitely Best for the Learners Profit.’

‘2dly. Let him Learn to Play by Notes, viz. according to the Old Substantial Rule of the Scale; and not by Letters, or Tablature, (the which is to begin at the wrong End First.)’

‘3dly. Let him have Patience, (yet, for one Week, or Fortnight) to make himself throughly Perfect, in Those Notes, or Rudiments, by the Book; and also upon the Instrument, before he Hanker after any Lessons.’

‘4thly. Let him undertake an Exact Performance of his Time-keeping, Dayly, as he goes on,By which his whole Work shall be made very Short, and certain. (which may likewise be gain'd in One Fortnight more;) the which being done, with a Diligent Care of Right Order, Exact Postures, and True Fingering, the Difficulty of the Whole Work will be Over. For then he will have little or nothing to trouble himself with, but only to Practice, and Gain a Ready Hand; the which likewise in a Short Time▪ (by These Rules only) will follow. But if They be neglected, his Work will be Shabby, and Lame, for ever after, and never Perfect, and Compleat.’

‘Therefore take Good Heed, to This Good Councel.’

CHAP. VI.

NOw that you may know how to Act All This.

First, make Choice of a Viol fit for your Hand;What Sciz'd Viol is Best to begin upon. yet rather of a Scize something too Big, than (at all) too little, (especially if you be Young, and Growing.)

Then Enter into your Posture; which is Thus.

Having Plac'd your self in such a Convenient Seat for Height, The Posture. and in a Comely, Vpright, Natural-Posture; so, as your Knees may not hinder the Motion of the Bow, by Bending; set your Viol Down, between the Calves of your Legs, and Knees; so, as by Them, It may stand steadily, without Help of your [Page]Left Hand, and so fast, that a Stander by, cannot easily take It Thence.

Let the Head of It be Directed over your Left Shoulder; yet some small matter Inclining towards your Elbow: The Bow-Holding. Then take your Bow betwixt your Right Thumb, and 2 Fore-fingers, near the Nut; the Thumb and 1st. Finger Fastning upon the Stalk, and the 2d. Finger's-End Turned in Shorter against the Hairs; by which you may Poyze, and keep up the Point of your Bow; but if that Finger be not Strong enough, joyn the 3d. Finger in Assistance to It; but in Playing Swift Divisions, 2 Fingers, and the Thumb, is Best.

This is according to Mr. Simpsons Directions.

Yet I must confess, that for my own Part, I could never Vse It so well, as when I held It 2 or 3 Inches off the Nut (more or less) according to the Length or Weight of the Bow, for Good Poyzing of It: But 'tis possible, that by Vse I might have made It as Familiar to My self, as It was to Him.

So likewise, for the Exact Straitness of the Bow-Arm, which some do Contend for, I could never do so well, as with my Arm, (Straight enough, The Straitness of the Arm. yet) something Plying, or Yielding to an Agile Bending: and which I do conceive most Familiarly Natural.

For I would have no Posture, Vrg'd, Disputed, or Contended for; that should Cross, or Force Nature.

A Good Stroak above All Things.Now being Thus far ready for Exercise, attempt the Striking of your Strings; but before you do That, Arm your self with Preparative Resolutions to gain a Handsom-Smooth-Sweet-Smart-Clear-Stroak; or else Play not at all: For if your Viol be never so Good, if you have an Vnhandsom-Harsh-Rugged-Scratching, Scraping-Stroak, (as too many have) your Viol will seem Bad, and your Play Worse.

Now the way to gain This Right Stroak, is from your Intent-Care (at First) in the Order, and Right Motion of the Bow; and although, as concerning the Holding the Viol; the Bow; Order of the Arm; and Vse of the Wrist; several Very Excellent Masters do something Differ; yet All Perform Rarely Well; because They Agree in the Main and Principal Thing, viz. The Care in Gaining the Good Stroak; (as aforesaid) which is done after This Manner, viz.

The Surest way to gain a Sweet Stroak. Only to draw your Bow just Cross the Strings in a Direct Line, endeavouring to Sound one Single String, with a Long Bow, wellnigh from Hand to Point, and from Point to Hand Smoothly, and not Dripping, or Elevating the Point in the least.

This is the First, and Best Piece of Practice you can follow; and till you have gain'd This, think of Nothing else.

And as to the Place, where your Bow must Move, you are to regard 4 Things, The Right Place for the Bow to move in. viz. The Scize; The Stringing; The Pitch; and also the Various Vses of the Viol.

1st. If It be a Large Consort-Viol, your Bow must Move about 2 Inches and an Half from the Bridge; if a Treble-Viol, about an Inch and a Half; and so upon all Others, according to This Suitable Proportion.

[Page]2dly. According to Its Stringing, viz. If It be Stiff Strung, or Stand at a High Pitch, (which is both as one) then Play a little Further from the Bridge.

3dly. According to Its Vse, viz. If for Comfort Vse, Play nearer the Bridge, than when you Play Alone; which although It be not so Sweet, yet It is more Lusty, and that little Ruffness is Lost in the Crowd; so likewise you may do, if you be to Play at a Great Distance from the Auditors, for the same Reason; for the Roughness will be Lost before It come at Them: But if you be to Play very near your Auditors, especially unto Curious Ears, Play a little too far off, rather than too near; for by that means, your Play will be the more Sweet, &c.

The next Thing is, to gain the Motion of the Wrist, How to gain the Motion of the Wrist. (which with the Former is the Accomplishment of the Right Arm;) and is Thus gain'd, viz. only by causing the Hand, at the very Turning of the Bow (either way) to incline to a Contra-Motion; the Arm (as it were) leaving the Wrist behind It, seems to draw It again after It; Explained otherwise Thus, viz.

Let your Stroak be at what Length. It will; before you would leave the Motion of your Bow, (if It be a Long Stroak) Stop the Motion of your Arm Suddenly: yet Jet your Wrist still onwards, 3 or 4 Inches, and It is done: But if It be a Shorter Stroak; then according to Discretion, a Shorter Jet of the Wrist, Performs It.

I cannot Explain It Better, nor need I; for Ingenuity, and Practice, will get It in one Quarter of an Hour.

Thus far may be Performed, without the use of the Left Hand.

And Thus much may be Sufficient for Directions for Viol-Play, in This my Work; because in the 1st Part, Turn back, for further Directions, to the Lute Part. the same Order and Directions, which I have given for the Lute, must be Exactly Performed upon the Viol: Therefore Turn to Those Directions about the 12, 13, or 14 Chapters, &c. and you cannot fail of a Right Order for your Left-Hand-Fingering; Exact Time-keeping; and all other Particulars.

Therefore I will save much Labour, Two Gross▪ Faults Generally Committed in Play, Explained, and Rectefied. and Proceed to something else more Needful, and show how to Rectefie 2 Very Grand Faults; Generally committed in Viol-Play, by most Scholars, and some Masters also, (or at least such as go for Masters.)

The One Fault is in the Right Hand, the other in the Left.

That of the Right Hand is,The First of the Right Hand. that whenever They should strike a Full Stop, They seldom Hit the Lowest String, which is the very Substantiality of That Stop; It being the Ground to all Those Vpper Parts; and without which the rest of That Stop is (Generally) all False Musick.

‘Therefore I Advise, ever when you come to a Full Stop, be sure to give the Lowest String a Good Full Share of your Bow, (Singly, by It self, before you Slide It upon the Rest) and Leave It likewise with a little Eminency of Smartness, by Swelling the Bow a little, when you part with That String. This will make your Play very Lovely.’

[Page] ‘This very Observation, whoever shall take Notice of, so, as to put It into a Constant Practice, shall find far Greater Content, and Satisfaction, in Their Play, than at the present They can Imagine.’

The 2d. is no less Gross, yet more Commonly Committed, and is of the Left Hand, The 2d. Gross Fault of the Left Hand. viz. They seldom Hold their Holds according to the Propriety, and Necessity of the Composition.

Now This is a Mystery to all Common Performers; and (to my Knowledge) to several, who go for (or serve the Turn instead of) Very Good Master-Teachers, to their Own Great Disgrace; The Abuse of Good Lessons; The Authors of Them; and Their Scholars; as I shall make very Plain, by Example.

And I will take the more Pains to Explain This Error, because It is the Grosest that can be Committed in the Kind.

‘And that you may know the Right meaning of a Hold, Observe; the Best Lessons of the Best Masters are often so Compos'd, as They shall seem to be Single, and very Thin Things, viz. All Single Letters, without any Full Stops, &c. Yet upon a Judicious Examination, there will be found a Perfect Composition, of an Intire Bass, and Treble; with Strong Intimations of Inner Parts.’

‘And whosoever shall undertake the Management of a Viol, and shall not in his Play, or Composition, be able to show such a Piece of Mastery, must needs be accounted beneath a Master-Composer: But he who shall Neglect, or be Ignorant in the Way of Right Playing such Compositions of other Men, whereby Those Perfections ought to be Express'd, which are mainly Considerable, as to the Propriety,Who not fit to be own'd as a Master, upon a Lute, or Viol. and Support of such Compositions; He, I say, must needs be counted Deficient in Judgment, and Skill; and not fit to be owned, as a Master, or Teacher.’

And All This I will Explain by an Example Here following; which is a Lesson I have so Contriv'd; that if It be well understood, and Rightly made use of, will Teach Exact Fingering, and Perfect Good Play, in All Lessons whatever; and therefore of Great Good Vse.

‘So that I shall Advise All, who intend to come to any Good Proficiency upon This Instrument, to take Great Notice, of This Lesson, and not only to Play It well, according to Those Mark'd Holds, set quite through: But also, to observe the Reason of That Discourse which follows, concerning the same Lesson; and so to lay It into his Vnderstanding, as to be made Master of This One Thing; which shall Amplifie, and Compleat his Play for ever after.’

‘Here is the Lesson following, together with the Tuning.’

The Tuning Viol-Way.

[...]

CHAP. VII.

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[Page] The Former Lesson Explain'd in Scores, in which appears a Perfect Bass, and Treble, quite through.

The Treble of the Lesson.

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The Lesson.

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The Bass of the Lesson.

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

This Last is a Product, or a Third (Forc'd) Part, of the 1st. Lesson, and may be Play'd upon another Viol, together with That Bass and Treble ▪ though I intended It not for any such use; but only to show how Familiarly ▪ and Naturally a Third Part might be put to such a like Contrivance; which is all I intended It for.

That Lesson, The Authors Reasons for setting This Lesson Thus. (which you see set by Scores) is rendred Exactly to be 2 Parts, quite through; and I have set It Thus (in Notes, with the Tablature between) On purpose, that you may the more clearly see the True Nature of such Things; The Right Way of Composing such Things; and the Absolute Necessity of Playing such Things Thus, according to This Rule of Holds.

[Page]I will yet further, for your Satisfaction, make It more Particularly Plain; as Thus.

You see, that every 1st. Note of a Barr, in the Tablature (excepting the Closes) is but a Quaver; yet, look into the Score-Notes underneath Them, and you will find, That every such 1st. Note, is much more, viz. Some 2, 3, 4, 5, or 6 Quavers; as for Example.

The 1st. Note of the Tablature is an ( [...]) upon the Sixth, and but a Prick-Quaver.

But the 1st. Note of the Score under It (being Double D-sol-re) is a Prick-Crochet, and Sounds all That Time, till you come to the Letter ( [...].Note the Necessity of a Clear-Smart-Stroak, especially upon a Bass.) And the which must be done, by giving That ( [...]) a Strong-Clear-Stroak; and leaving It Smartly, at Its Fare-well.

Now because That ( [...]) is an Open String, It will continue Its Sound, till taken off, by some Stop'd Letter, (as you see the Letter ( [...]) takes It off.

But then the Letter ( [...]) being a Prick-Quaver; yet) by the Rule of Composition) a Prick-Crochet, (for the aforesaid Reason.) If you Stop It Close, and Hold It steadily so Stopt, It will Sound Its Full Due.

And This is the True Meaning, Explanation, and Necessity of a Hold; which in all such Cases must be so Performed; or else you both Injure the Lesson; and want That Great Benefit of Its Vertue, &c.

The whole Lesson through, is Thus to be Performed; which by the Explanation of this 1st. Barr only, may certainly be done; and is sufficient for General Directions, in All such Cases.

There is one Curiosity more depending upon Holds, viz. that at any time,A Singular Curiosity, not much regarded by many. when (by the Rule of Composition) a Letter is to be Held Longer, than 'tis possible you can Hold It, by Reason of some Cross, or Skipping Passages; in such Cases, Hold That Letter so long as you can; but at the Release, be sure you take off That Finger, so cunningly, as you cause not, That (so sudden-Open'd) String to Sound, (which is a Hard Matter to avoid in Quick Play.

This is a Piece of very Commendable Skill, and Activity; but not regarded by many.

The Last, and Great Advantage, (by This Rule of Holds) will most certainly Prompt, or Teach the Player, Right, Proper, and True Fingering, in all Lessons whatever. For by Experience, he will find a Necessity of Stopping, such or such Stops, with the Proper Finger; otherwise he cannot Perform It according to This Vn-erring Rule.

I might trouble my self, and you, with many common Things belonging to Viol-Play; But It being an Instrument known, and so Generally in Vse, it needs not.

But These Things which I have mentioned, are so Singularly useful, and so Generally Neglected; but not commonly understood, that I thought Them needful, and worthy your Knowledge.

[Page]I shall conclude all with some certain Things Profitable to your Practice, and in Reference to what Rules I have thus far laid down; and so Conclude This Work.

This First Long, and New Fashion'd kind of Praelude, or Fancy, (being Plain-Way-Tuning, in the Nature of Voluntary-Play) may seem to be several Short Ones Joyn'd together; but is not so: For I Compos'd It all as one; yet for the Better Information of the Learner, and the Greater Lustre of his Play, I thus Contriv'd It, that It might seem to be a kind of Extemporary Business, making several Periods, and beginning again; each seeming to have some Relation to the Praecedent.

The Strains are all various for Humour; and you may Play so many, or so few of Them as you please, at any Time.

The whole would be Play'd in a Slow Proportion of Time; observing strictly all the Pauses, with Soft, and Loud Play.

CHAP. VIII.

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Turn over for Another.

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Turn over for the Next.

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This (with the Former) may suffice for the Best Directions in Viol-Play, both as to the Gaining Exact Knowledge, for the Best Performances upon That Instrument; and for the Gaining of a Tollerable Good Hand. Yet because I will Gratifie you a little further Herein, I will Set you one more Masterly, and Large, in the Harp-Tuning-Sharp; which shall Compleat the whole Business, and so Conclude This Work.

And Here It is, with Its Tuning Express'd.

CHAP. IX. Harp-Way-Tuning Sharp.

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Turn over.

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Turn over.

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Here Ends all the Directions for the Practick Part.

CHAP. X.

Three Reasons, why the Author has set so Few Viol-Lessons.BUt whereas I have not Amplified This Viol Part, with such Store of Lessons, as I did the Lute Part; take These several Reasons for It.

1st.First, There is no such need in the General; because there are Great Store of Viol-Lessons to be had (almost) every where; and but Few for the Lute; and Those Generally Corrupted in the Pricking, &c.

2d.Secondly, These (Here Set) are Fully Sufficient, both to Explain my Rules, and also to make an Exact, Able, and Good Hand fit for any Vndertaking; without the Help of any other.

3d.Thirdly, and Lastly, If (by what I have Here Publish'd) I shall find a Further Encouragement, by Its being well Accepted; I do intend (God willing) to put forth another Piece, in which shall be Store of Viol-Lessons, of all sorts of Forms, and Shapes; Suited to the Five Best of the Viol-Tunings, now in use, viz. Viol-way; Harp-Way-Sharp; Harp-Way-Flat; High-Way-Sharp; and High-Way-Flat. These being Chiefly Set for your Profit; Those will be more for your Pleasure.

The Conclusion of the Work; with some Divine ConsiderationsI will therefore Now Conclude This Work, as I First began It, viz. with some Divine Considerations, and give some Hints or Glances, Worthy your High Regard; manifesting thereby, the Great Excellency of Musick, in Reference to the Contemplating Part Thereof; in which you will find there are 3 Great Mysteries lye couch'd, yet made Clearly Discernable, by the Practick Part.

[Page]The 1st. is, concerning the Two Differing, or Contra-Qualities, 3 Great Mysteries in Musick, apparently Discernable by the Art. in whole Nature, viz. The Good, and the Evil; Love, and Hatred; Joy, and Sorrow; Pleasure, and Pain; Light, and Darkness; Heaven, and Hell; God, and the Devil; Plainly Perceived, by the Conchords, and Dischords; Agreements, and Disagreements, betwixt the 7 Distinct Tones.

Two of the which are so Horridly-Hateful, and Vnpleasing;The 2 Hateful Dischords in Nature. that no Harmonical Ear is able to endure them; Those are the 2d. and the 7th; both which (in a manner) are the same; For if we will admit an Eighth, to be the same with an Vnison, (as we must do; both from the Nature, and Vse of It) the 7th. being a 2d. to the 8th.) They must needs be both of the same Nature.

The 2d. That Profound Mystery of Mysteries, viz. of the Holy Trinity, is Perspicuously made Plain, by the Connection of Those 3 Harmonical Conchords, viz. 1, 3, 5, (more than which Number,The 3 Lovely Conchords. cannot (by all the Wit, or Art of Man) be put together at the same time, (in Counter-point;) Any one of Them, Sounding Alone, (or with Its Vnities, or Octaves, (never so many) is very Pleasant, and Delightful; but all 3 Sounding together, is much more; yea Vnutterably-Contentive.

The 3d. is the (no less Strange, than) Stupendious Mystery of an Octave, or Eighth; the which, although you seem to Absent, or go far off from the Vnity; yet in Its Center Line, you Marvilously, and Mysteriously Vnite, and Harmonize, even as It were in Vnity It self.

I will speak a Little, of a Great Deal, that might be said of These 3 Wonderful Mysteries; and so Finish This my whole Work.

And in the Contemplation of These 3 so very Notable, High, Concerning the 1st viz. Dis-unity. and Sublime Speculations; First take Notice, that in This Art, the very Least Imaginable Degree of Departure, or Seperation from Vnity, is Irksome, and unpleasing to the Ear of any Harmonical, and Well-Tun'd Soul. As for Example; We will suppose, that the Distance of a whole Note in Musick, may Consist of 10, 20, or an 100000 Parts, or Degrees; or as many as you can Imagine, or Number up, (with Pen, Ink, and Paper) in so many Years, &c. (for so It may be very, Easie to give a Lively Demonstration Thereof.)

I say, the Least Departure, or Distance Imaginable, of any of Those Degrees, from the True Central-Point of Vnity, is That Dis-satisfaction before Specified; the which may be perceiv'd as well by the Eye, (in the Vibration of a False String, where there may be discern'd a kind of Restlesness, or Vnquietness, by Reason of Its Vnequal Weight, or Poysing) as by the Ear, in the Dis-unity, or Vntunableness, either of Voices, or Strings; for there cannot be in either, any True Satisfaction, or Content; but there will seem to be an Vnquiet Snarling, and Jarring, little or much, according to the Distance from the True Center of Vnity; yet when They Meet just in That Central-Point, there will be discern'd, a Perfect Quietness, or Stillness; a Pleasure unexpressible: This is apparent to All Experience, and may easily be Try'd, and Prov'd Thus: As for Example.

[Page]Let any 2 Voices, endeavour to Sing (strongly) together, Gam-ut, and A-re; A-re, and B-mi; or any other 2 of the Scale, (next adjoyning) and there will quickly be perceiv'd That Tormenting Vnsufferable Horrour before mentioned; even such, as a True Harmonical Ear, is no more able to endure the noise of, than the cutting of his own Flesh.

And This is that we call a Dischord in Musick; and is a most Exact, A Lively Simile of the Bad Nature. and Lively Simile of the Bad Nature, viz. Perplexity, Vexation, Anxiety, Horrour, Torture, Hell, Devilishness; yea, of the Devil It self; so Abominably Hateful, and Contrary is It, to Perfect Vnity, or Goodness: And is the True Nature of Those 2 Distances in Musick, viz. the 2d. and the 7th. so that although they be (of all other Distances) the nearest to Vnity; yet are They the Most Remote in their Nature; Contrary, and Hateful; so that That Old Common known Proverb, (The Nearer the Church, the further from God) may Here be said, to find Its Original; and It may as Aptly be said of This Experiment, viz. The Nearer to Vnity, the farther from Agreement; except involv'd into the very Heart, or Center Thereof.

Concerning the 4th. which is both Concord or Discord; or neither.There is yet another Distance, call'd a Discord, viz. the 4th. but nothing of the Nature, or Kind with Those other Two; But (as I use to say) a very Favourable Discord; Its Hurts not like to the other; and there is a way in Art found out, (yet indeed is Natural) to make the 4th. a Perfect Harmony; and for my part, I cannot call It a Discord; but shall rather call It a Newter, viz. neither Concord, nor Discord; but as It may be us'd, It is both, and of very Eminent Good Vse, in the Mixture of Parts; But to Strike It, or Sound It Bare, or Single, to Any one Part, It is a Hard-Staring-Note.

Let Thus much suffice, for the setting forth the Bad Quality in Nature; Plainly Discernable, Thus, in This Art of Musick.

Concerning the Good Nature, and the 2d. Great Mystery.Now as to the Good Quality in Nature, before made mention of, (and the Contrary to This) It will as Plainly show It self, by the very Single Vnity (or Vnison) alone, viz. the Central-Vniting together of any 2 Voices, or Sounds, at the same time; but is more wonderfully apparent in the Connexion, or Vniting together of the 3 Parts; from whence likewise This Old Proverb, (Tria sunt Omnia) may as properly be said to take Its Rise; and will as significantly Explain, That fore-mentioned 2d. Great Mystery, which is a kind of Trinity in Vnity, and Vnity in Trinity, (with Reverence be It spoken) in the Consenting, and Agreeing Chords among Those 7 before spoke of, viz. that in That whole Number, there are but only Three, which may, or can be Joyned together at the same time, in Harmonical Agreement; which Three (in the Expression of Them) are All, so at Vnity, and Consent, that we receive Them, (though All Various) into our Capacities, as one Intire Vnity. And They please us Much More so Vnited, than any one of Them Single, or any 2 together. And there is such an Amplitude, or Fullness of Satisfaction, in Those 3 Conchords, that no Expression of Words is sufficient to [Page] declare the Height of Pleasure, and Satisfaction received from Them. Much less unfold the Secret, or Occult Mystery which lies in Them.

Thus much of the 2 First Mysteries, Explain'd from the whole Number of the 7 Chords, or Keys in the Art, beyond which (according to the very Nature of It) we cannot Pass; yet we are said to Exceed, into the 8th. 9th. 10th. 11th. 12th. 13th. 14th. 15th. &c. which is the Double Eighth: All which are no more, (Indeed) than to Repeat over, the very same Chords again; for the 8th. is as an Vnison, the 9th. as a 2d, the 10th. as a 3d. &c.The 3d. Stupendious, and most Admirable Mystery. But This is still more a Stupendiously-Strange-Mystery; for although you seem to Absent, or go farther off, from the Vnity; yet in the End, you Marvilously Harmonize, Accord, and Agree, even as It were in the Vnity It self.

Now Reason in all These Things, is at a perfect Stand; can say Nothing Satisfactorily unto It; How, or by what Means, It should Thus come to pass; But that It is so, is Plain by All Experience.

I will a Little Demonstrate the Wonderfulness of an Eighth, in Musick, according to my best Conceptions, (though very weak Abilities) yet doubt not, by what I shall say, but to give you some such Lively Apprehensions of the Truth, and Reality of This Vast Mystery, that you shall certainly be touch'd with Admiration, in a Due Consideration Thereupon.

As First, take Notice of the Ground, and Certainty of an Eighth, What is the Certainty, or Ground of that Mystery of an 8th. in Musick. Thus.

‘By Experience, we find, that in any String, be It of what Length soever, (Short, or Long) the very midst of That String, will produce an 8th. So that (to come quickly to discern This Wonder) you may suppose a String to be 10000 Miles Long; or so Long, as would Encompass the whole Earth, or Heavens; That String divided in the midst, would produce but Only One Octave, or Eighth; (but you must suppose, by some Art, or Power, that That String may be Stretch'd, and made to Sound:) Then again, the other Half, in Its Midst, would as certainly do the like; and so on, in Sub-division, till you come to the Length of a Lute, or a Bass Viol▪ String, which we see, does the like; so also does the Half Thereof, viz. the Treble-Viol String; so again, Diminute-Less-Instruments, viz. the Little Kitts, &c. The Halfs of all which, produce their Eighths: Then still you must run down (Thus) in Subdividing, till you come to a String of an Inch Long; and There, the Half Inch, will still be an Eighth; and from thence, unto the very Least Imaginable Diminuteness, viz. an Attome; which although, by Reason of Our Bounded Limitation, as to Our Natural, and Corporial Organical-Capacities, we are made Incapable of either Expressing, or Distinguishing such Invisible-Littlenesses; yet by our more Capacious, Rational, and Apprehensive Faculties, we must needs grant a Consent unto,A most Infinite Strange True Thing. viz. that still an Attome-Length of a String, may be Infinitely Divided; and so consequently produce Its Eighths.’

[Page]This is an Vndeniable, and Vnutterable Mystery, viz. Infinity of Infiniteness; both of an Vnlimited, and Wondrous Vastness; and likewise a kind of Boundless Interminated-Littleness; both which, in the Mystery, signifie the same Thing to me, concerning the Wonderfulness of the Almighties Mystical Being; which is the Thing, I would have Well Noted, from This last mentioned Mystery, so Discernable Plain in Musick; and is a Most Worthy, and High Consideration, becoming the Highest Divine Philosophers, and the Largeness, and Capaciousness of our Souls and Minds.

And from hence, I cannot but Apprehend some sort of Analogy, relating to the Manifestation of some Significant (though Vnexpressible) Conception, of the Infinite, and Eternal Being; the Center, and the Circumference, have such an Absolute Vniform Relation, and Dependance the One to the Other, that Both are Equal Mystery, and Wonder.

And Thus by Musick, may both of Them be Contemplated, and made perceptible so, that whosoever shall Experiment, what I have here writ, as being Himself made Master of it, by His own Observation, and Vnderstanding; He shall not only believe what I Thus say, concerning These Mysteries of Musick; but shall say, He Knows It to be True, and together with It, find such an Instance, (yea Confirmation) of the Wonderful Working Power, and Wisdom of the Almighty God; that His Faith shall be so far strengthned Therein,A Security against Atheism. that He shall never after Degenerate into That Gross Sub-Beastical Sin of Atheism.

Thus I hope Musick may be conceiv'd, and allow'd to have a near Affinity to Divinity, in reference to the Deep, and Vndeterminable Mysteries of Both, after This way of Comparison.

Much-much more could I say, of the Admirable, and Sublime Effects: The Vnexpressible, and Vnvaluable Benefits of This Divine Art; the which (I thank God) I have found to my Internal Comfort, and Refreshments; but my Book is Swell [...]d to too great a Bulk, and Therefore I must Conclude.

I will only set you Here, for the use of your Contemplation, concerning This last Mention'd Mystery, the best Explanation I can conceive of the Reason of an Eighth in Musick; and so commit you to your own Pious, and Divine Conceptions, concerning the Infinite, and Eternal Being.

And Here It is.

[Page]

[figure]

Great GOD.

MYsterious Center of All Mysterie;

All Things Originate Themselves in Thee;

And in Their Revolution, wholly tend

To Thee, Their Octave, Their Most Happy End.

All Things (what e're) in Nature, are Thus Rounded,

Thus Mystically Limited, and Bounded;

Some Harmonize in Diapasons Deep,

Others again, more Lofty Circles Keep.

But Thou, the Moving Cause in every Thing;

The Mystick Life, from whence All Life doth Spring.

That Little Spark of Life, which I call Mine,

It came from Thee; (a Precious Gift of Thine)

I Bless Thy Name, I Daily feel It move,

And Circulate towards Thee, Its Highest Love.

I've almost Run my Round; 'tis well nigh past,

I Joy to think of Thee, (My First; My Last ▪)

A Unison (at First) I was in Thee;

An Octave (now at Last) I hope shall be,

To Round Thy Praises in Eternity,

In th' Unconceiv'd Harmonious Mystery.

A Perswasive Adjunct, Directed to All Sober, and Serious-meaning Christians, who are in a Mistake, concerning the True, and High Worth, of Musick, if Rightly made use of.

[Page]

THE Great Benefit arising from These Sublime, and Transcendent Speculations, will be an undoubted means to Raise, and Elevate, Sober, and Pious Minds, beyond All Inferiour, Low, and Common Things; so as They may be Fix'd, only upon (That Proper, and True Object of Souls) the Being of Our Beings; who although Invisible, as to our Outward Bodily Eyes, yet Nothing is more Certainly, and Clearly Obvious to our Internal True Sight.

How Musick would be made use of, to the Best Advantage.Thus would I have Musick to be made use of,; there being Nothing of Art, and Science, under Heaven, more Properly, Significantly, and Powerfully fit for Divine, and Contemplative Good Christians, than It; by Reason of Its Acchording, or Sympathizing Faculty with our Souls, and Minds, if Rightly understood, and us'd. But if Abus'd, (as Divinity It self, together, with It, is most Grosly) It works to Vanity, Lycenciousness, and the Intoxicating of our Minds, with Folly, and Madness; even as may be seen in the mis-use of Divinity, according to another Old Proverb, (Corruptio Optimi est Pessima) viz. The Best Things Corrupted, are the Worst.

Now, if in This My Discourse I have said any Thing which may not Sound Pleasing in the Ears of Any; especially Those of the Sober Sort, under any Form of Religion, Sect, or way of Divine Worship whatever, &c. I desire to be Excus'd, in regard I have Writ Nothing, in This Book, taken up upon Trust, either by Hear-say, or from any other Author, much less out of any Humorous, or Conceited Fancy; but Really, and Sincerely, what I have Experimented in my own Soul; and therefore think It very Fit, and Worthy to be Related.

The Principal Argument that I could ever yet hear spoken against Musick, (by Those who pretend most to Zeal, and Piety) and none more speak against It, or sleight It, than many such (which is Greatly to be Lamented) was occasion'd, by Reason of the Great Abuse of Musick, which It daily suffers; and I do acknowledge, with much Sorrow, that It is Generally Abus'd, even as Divinity It self is, (than the which, Nothing is more) and very justly might, and may they still say, that It is us'd (by too many) to stir up, [...] Cause, why Musick is so much Sleighted, or Dis-regarded by Sober Good People. and Excite Lightness, Vainness, Jocundity, and Folly; and nothing more True; which is the Great Cause, why so many Hundreds, or Thousands, of Sober, and Well Disposed People do Avoid It, as being Afraid to meddle with It, though (indeed) It is Most Proper, and Fit, even for such Disposed People, of Grave Serious Considerations, Who only can find the True Benefit of Musick. and Inclinations, for None but Such, can use Musick, so, as to find the Right Vse, and True Benefit of It.

Therefore to such Sober People, I thus much say, It would be very well worth Their Examination, to try, whether They Themselves do not Erre on the One Hand, in the Neglect, and Contempt [Page] of It; (being an Ordinance of God) whilst others do mis-use It, and Erre on the Other: And likewise to consider,Good Counsel for Sectarians▪ who despise Church-Musick. of what Eminent Vse ▪ It has been all along, both by the Authority of the Old and New Testament, in the Church of God; And if They will be Rul'd by Example (as Most Religionists are, who Generally follow their Leaders, like so many Harmless Silly Sheep; so that if one Leap Over-Board, all the Rest immediately follow, be It Right or Wrong) Let them make Choice of the Best, and most Infallible Examples; and such as have been assuredly Inspired with the True Spirit of God; (which too many now adays pretend unto, to very sad purposes.) To which end, let them Search the Bible, and see if any such may there be found; and if so, then to follow Them. To which purpose Read These certain Texts of Scripture, here following; and there they will find a most Eminent Example: One that was Infallibly Inspir'd; a Chosen Vessel of God, and Highly Beloved of Him; Read 2 Sam. Chap. 7. V. 17. a Prophet, and a Great King, whose Throne is Establish'd for ever.

That Chapter is very Notable, in Expressing Gods Everlasting Love to David, and His Seed, of whom came Christ, the King of Kings; who likewise gave Exhortations sufficient Himself, for This Duty of Singing Praises in His Assemblies, as you may find in my Former Discourse concerning Psalms-Singing.

Read again concerning Davids Great Diligence for the House of God, in 1 Chr. 22. and so forward to the End of That Book; yet more especially Read Chap. 23. v. 5. where you may find, that 4000 Praised the Lord, with Instruments which I made (saith David) to Praise therewith. Again Ch. 25. See what care was taken to Separate Persons Fit for That Service, and Who should Prophesie with Harps, Psalteries, and Symbols, (such Instruments of Musick as They had in Those Times) and the Number of Them, (as in the 7th. Verse) that were Instructed in the Songs of the Lord, (even all that were Cunning) was 288.

This was the Great Care of Prophet King David, That Holy Good Man (after Gods own Heart) He knew not how to Praise God Better, than in such Expressions, which were All Harmony, Lands, and Praises, Witness his whole Book of Ps.—Some Particular Places only I will here name, (for It would be too Teadious to set them all down.) — Ps. 9.2. Mind the Joyful Expressions (surely as well of His Soul, as) of His Voice, viz. I will be Glad, and Rejoyce in Thee; I will Sing Praises unto Thy Name, O Thou Most High. Again, Ps. 30.4. Sing unto the Lord, O ye Note, who may properly be called Saints, and who not. Saints of His; and give Thanks at the Remembrance of His Holiness. And from This Place It may be Noted, That there are Properly Saints of God, and Improperly Saints so called.

His Saints will not Refuse to Sing His Praises, Sure. Yet let us take Great heed, when we take upon us That Sanctified Work, that we be not Vnholy, in Its Performance, and do It Hypocritically, Sleightly, or Scurvily, or for any By-End, or Respect whatsoever, but only for the Glory of God.

Read again Ps. 33.1. Rejoyce in the Lord O ye Righteous, for Praise is comely for the Vpright. And then V. 2. He shews them in what manner they should Praise Him, viz. Praise the Lord with [Page]Harp; Sing unto Him with the Psaltery; and an Instrument of 10 Strings, V. 3. Sing unto Him a New Song, Play Skilfully with a Loud Voice: And then in the whole Psalm through, he gives the Reasons for so doing, as so many Strong Arguments; which will be well worth your Reading, and Noting.

Again Ps. 47. O Clap your Hands together all ye People, Shout unto Him with the Voice of Trumpets; The Reasons again follow, till V. 6. where It is Thus, Sing Praises unto God, Sing Praises; Sing Praises unto our King,☞ Note well.Sing Praises: Thus 4 Times in This Short Verse It is Repeated; and as if It were not sufficient, He still Adds in the 7th. V. For God is King of All the Earth; Sing ye Praises with understanding.

Again Ps. 66. Make a Joyful Noise unto God; Sing forth the Honour of His Name; Make His Praise Glorious, V. 4. All the Earth shall Worship Thee, and shall Sing unto Thee, They shall Sing unto Thy Name.

Again Ps. 81. Sing Aloud unto God Our Strength, make a Joyful Noise unto the God of Jacob; Take a Psalm, and bring hither the Timbrel; the Pleasant Harp, with the Psaltery; Blow up the Trumpet in the New Moon, in the Time Appointed, on Our Solem Feast Day; For This is a Statute, for Israel, and a Law of the God of Jacob.— Mark ye That; It is a Law.

Again Ps. 92. It is a Good Thing to Sing Praises unto the Name of the Most High, V. 3. Vpon an Instrument of 10 Strings, with the Psaltery and Harp; with a Solemn Sound.

Thus is the Ferventness, and Great Devotion of This Good Man of God, Seen. And to This Purpose, He may be Trac'd, almost quite through His Whole Life; as by Abundance of Places more I might Instance in; which I suppose needless at This Time.

Now were Musick a Low Inferiour Despicable Thing, as most of the Great Zealots of This Our Age, An undeniable Argument, to prove Musick Highly Valuable. on the One Hand do Esteem It; And the Abusers, or Sleighters of It on the Other, cause It so to be thought, by their Prophanation, or Neglect of It; Certainly, (This Prophetical King) was some Silly-Conceited-Idle-Headed-Intoxicated-Brainsick-Inthusiast; or one that stands in Scripture-Story, for a meer Fixion, or a Lye; (and the Scripture It self must needs be judg'd the Same,) or else They do not believe That Book; some of These Consequences must needs follow; or else, most assuredly, Musick is (as Ever It must, and ought to be Esteemed) a Thing of High Value; and of Principal Regard, and Vse, in the Church, and Service of God. ‘And the which, (from what has been already said, or from whatsoever to the contrary can be said, against It, by the Peevishness, and Ignorance of the Worst of Its Enemies) will be a Lasting Monument, and a Glorious, and the Most Becoming Ornament, for the Purest of Divine Souls, and the Most Worthy Worthies in Divinity, and in Gods True Church.’

‘And I am subject to Believe, (if in Eternity we shall make use of any Language, or shall not understand One Another, by some More Spiritual Conveyances, or Infusions of Perceptions, than by Verbal Language) That Musick (It Self) may be That Eternal, That Musick may be the Language of Eternity. and Coelestial Language.’ Allelujah, Allelujah, Allelujah.

FINIS.

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Title statement

Musick's monument, or, A remembrancer of the best practical musick, both divine and civil, that has ever been known to have been in the world divided into three parts ... / by Tho. Mace ...Musick's monument

Mace, Thomas, d. 1709?

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1676

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2005-03 (EEBO-TCP Phase 1).

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A50198

ID [STC]

Wing M120

ID [STC]

ESTC R21066

ID [EEBO-CITATION]

12359734

ID [OCLC]

ocm 12359734

ID [VID]

60190

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(EEBO-TCP ; phase 1, no. A50198)

Transcribed from: (Early English Books Online ; image set 60190)

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Source

— Musick's monument, or, A remembrancer of the best practical musick, both divine and civil, that has ever been known to have been in the world divided into three parts ... / by Tho. Mace ..., Musick's monument, Mace, Thomas, d. 1709?.

Extent

[21], 272 p. : ill., music, port.

Printed by T. Ratcliffe and N. Thompson for the author, and are to be sold by himself ... and by John Carr ...,. London :: 1676.. (Contains music in tablature.) (Reproduction of original in Harvard University Libraries.) ((from t.p.) pt. 1. Necessity of singing psalms well. How they may be well sung. How cathedral musick may be much improved and refined -- pt. 2. Treats of the noble lute -- pt. 3. The generous viol.)

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