An introduction to the skill of musick in two books : the first, the grounds and rules of musick, according to the gam-ut, and other principles thereof, the second, instructions & lessons for the bass-viol, and instruments & lessons for the treble-violin / by John Playford ; to which is added, The art of descant, or composing musick in parts, by Dr. Tho. Campion ; with annotations thereon, by Mr. Chr. Simpson.

An introduction to the skill of musick in two books : the first, the grounds and rules of musick, according to the gam-ut, and other principles thereof, the second, instructions & lessons for the bass-viol, and instruments & lessons for the treble-violin / by John Playford ; to which is added, The art of descant, or composing musick in parts, by Dr. Tho. Campion ; with annotations thereon, by Mr. Chr. Simpson.

Table of contents

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Title page

PREFACE To all Lovers of MVSICK.

Of MUSICK in General, And of its Divine and Civil Uses.

The TABLE.

An Introduction to the Skill of MUSICK.

CHAP. I. Of the Scale of Musick called the Gam-Ut.

CHAP. II. Of the Cliffs or Cleaves.

CHAP. III. A brief Rule for proving the Notes in any Song or Lesson.

CHAP. IV. Containing a plain and easie Rule for the Naming your Notes in any Cliff.

An exact Table of the Names of the Notes in all usual Cliffs, expressed in the Six several Parts of Musick.

TREBLE, G sol re ut Cliff on the second Line.

ALTUS, C sol fa ut Cliff on the first Line.

MEAN, C sol fa ut Cliff on the second Line.

COUNTER-TENOR.

TENOR.

BASSE.

A TABLE shewing the Comparison of the most usual Cliffs, how they agree together in the Naming the Notes.

CHAP. V. Of Tuning the Voyce.

Here followeth the three usual Plain Songs for Tuning the Voice in the Ascending and Descending of Notes.

CHAP. VI. Of Tones or Tunes of Notes.

CHAP. VII. The Notes; their Names, Number, and Proportions.

CHAP. VIII. Of the Rests or Pauses, of Pricks, and Notes of Syncopation.

A further Example of the Prick Notes, wherein the Measure of the Time is barred, according to the Semibreve, both by Prick Semibreves, Minims, and Crotchets.

Of the Tying of Notes.

CHAP. IX. Of the Keeping of Time by the Measure of the Semibreve or Master-Note.

CHAP. X. Of the Four Moods or Proportions of the Time or Measure of Notes.

Of the two first Moods.

Of the two last or most usual Moods.

CHAP. XI. Of the several Adjuncts and Characters used in Musick.

A Brief Discourse of the Italian manner of Singing; wherein is set down, the Vse of those Graces in Singing, as the Trill and Gruppo, used in Italy, and now in England: Written some years since by an English Gentleman, who had lived long in Italy, and being returned, Taught the same here.

The Proem to the said Discourse is to this effect.

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Of the five Moods used by the Grecians.

Short Ayres or Songs of Two Voices, Treble and Bass for Beginners.

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A. 2. Voc. TREBLE. W. L.

A. 2. Voc. BASSE. W. L.

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A. 2. Voc. TREBLE. I. P.

A. 2. Voc. BASSE. I. P.

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A. 2. Voc. TREBLE. T. M.

A. 2. Voc. BASSE. T. M.

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A. 2. Voc. TREBLE. B. R.

A. 2. Voc. BASSE. B. R.

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A. 2. V•c. TREBLE. H. L.

A. 2. Voc. BASSE. H. L.

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A. 2. Voc. TREBLE. I. G.

A. 2. Voc. BASSE. I. G.

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A. 2. Voc. TREBLE. T. B.

A. 2• Voc. BASSE. T. B.

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A. 2. Voc. TREBLE. W. L.

A. 2. Voc. BASSE. W. L.

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RULES and DIRECTIONS For SINGING the PSALMS.

The most usual Common Tunes Sung in Parish Churches, with the Bass under each Tune.

Psal. 4. Oxford Tune.

Psal. 69. Litchfield Tune.

Psal. 116. Windsor Tune.

Psal. 141. Westminster Tune.

Psal. 26. Worcester Tune.

Psal. 133. Hereford Tune.

Psal. 21. Cambridge Tune.

Psal. 39. Martyrs Tune.

Psal. 25. or 50,67,70,134. Cambridge short Tune.

Psal. 134. or 25. New Tune.

Psal. 23. Low-Dutch Tune.

Psal. 84. Winchester Tune.

Psal. 103. Hartfordshire Tune.

Psal. 145. Exceter Tune.

Psal. 73. York Tune.

Psal. 95. St. David's Tune.

Psal. Hackney Tvne.

Psal. 135. London New Tune.

Psal. 100.

Psal. 125. Ten Commandement Tune.

First Psalm.

Psal. 51.

Psal. 68.

Psal. 81.

Psal. 113.

Psal. 148.

Psal. 119.

2

A BRIEF INTRODUCTION To the Playing on the Bass-Viol. The Second BOOK.

An exact Table, directing the Places of the Notes, Flat and Sharp, to every Stop on the Bass-Viol, according to the Gam-ut; beginning at the lowest Note of the Bass on the Sixth String, and ascending to the highest on the Treble.

6 String.

5. String.

4 String.

2 String.

2 String.

1 String.

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TREBLE-VIOL.

TENOR-VIOL.

Some General Rules for the Viol.

Short Lessons for the Bass-Viol.

A BRIEF INTRODUCTION To the Playing on the TREBLE-VIOLIN.

The Scale of Musick on the four Strings of the Treble-Violin, expressed by Letters and Notes.

Some General Rules for the TREBLE VIOLIN.

A Table of Graces proper to the Viol or Violin.

Smooth Graces.

Shaked Graces.

Short Tunes for the Treble-Violin, by Letters and Notes.

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Title page

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THE ART of DESCANT: OR, Composing Musick in Parts.

I. Of Counterpoint.

A short Hymn, Composed after this form of Counterpoint, to shew how well it will become any Divine or grave subject.

THE ART of DESCANT: OR Composing Musick in Parts. PART II. Of Tones of Musick.

THE ART of DESCANT: OR Composing Musick in Parts. PART III. Of the taking all Concords, Perfect and Imperfect.

Of the lesser or Imperfect Third.

Of the greater or perfect Third.

Of the lesser Sixth.

Of the greater Sixth.

THE ORDER of PERFORMING THE DIVINE SERVICE IN Cathedrals and Collegiate Chappels.

These several Tunes of 4 Parts are proper for Quires to Sing the Psalms, Te Deum, Benedictus or Jubilate to the Organ, or sometime without it.

A. 4. Voc. Cante•bury Tune.

A. 4. Voc. Imperial Tune.

These six Tunes are sung in His Majesties Chappel with the Organ to the Psalms, Te Deum, &c. Com•osed by Mr. John B•ow and Mr. William Turner, Gentlemen of His Majesties Chappel.

A 4. Voc.

A 4. Voc.

A. 4. Voc.

A 4. Voc.

A 4. Voc.

A 4. Voc.

Musick Books Sold by John Playford at his Shop near the Temple Church.

Other Books.

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Iohannis Playford Effigies

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AN INTRODUCTION TO THE SKILL OF MUSICK.

IN TWO BOOKS.

THE FIRST: The Grounds and Rules of MVSICK, according to the Gam-vt, and other Principles thereof.

THE SECOND: Instructions & Lessons for the Bass-Viol: AND Instruments & Lessons for the Treble-Violin.

By IOHN PLAYFORD.

To which is added, The ART of DESCANT, or Composing MUSICK in Parts.

By Dr. THO. CAMPION.

With Annotations thereon, by Mr. Chr. Simpson.

The Seventh Edition, Corrected and Enlarged.

London, Printed by W. Godbid, for I. Playford at his Shop in the Temple near the Church. 1674.

PREFACE To all Lovers of MVSICK.

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MUSICK in ancient Times was held in as great Estimation, Reverence and Honour, by the most Noble and Virtuous Persons, as any of the Liberal Sciences whatsoever, for the manifold Uses thereof, conducing to the Life of Man: Philosophers accounted it an Invention of the Gods, bestowing it on Men, to make them better conditioned than bare Nature afforded; and concludes a special necessity thereof in the Education of Children, partly from its natural delight, and partly from the efficacy it hath in moving the Affections to Virtue; commending chiefly these three Arts in the [...]ducation of Youth, Grammar, Musick, and Gymnastick; this last is for the Exercise of their Limbs: Quintil. reports, in his time the same Men taught both Grammar and Musick. Those then who intend the Practice thereof, must allow Musick to be the Gift of God, yet (like other his Graces and Benefits) it is not given to the Idle, but they must reach it with the hand of Industry, by putting in practice the Works and Inventions of skilful Artists; for meerly to Speak and Sing are of Nature, and this double use of the Articulate Voice the rudest Swains of all Nations do make; but to Speak well, and Sing well are of Art: Therefore when I had considered [Page] [...]h [...] great want of Books, setting forth the Rules and Grounds of this Divine Science of Musick in our own Language, it was a great motive with me to undertake this Work, though I must confess our Nation is at this time plentifully stored with skilful Men in this Science, better able than my self to have undertaken this Work; but their slowness and modesty (being, as I conceive, unwilling to appear in print about so small a matter) has made me adventure on it, though with the danger of not being so well done as they might have performed it: And I was the rather induced thereunto, for that the Prescription of Rules of all Arts and Sciences ought to be delivered in plain and brief language, and not in flowers of Eloquence; which Maxim I have followed: For after the most brief, plain, and easie method I could invent, I have here set down the Grounds of Musick, omitting nothing in this Art which I did conceive was necessary for the Practice of young Beginners, both for Vocal and Instrumental Musick. The Work as it is, I must confess, is not all my own, some part thereof being collected out of other Authors which have written on this Subject, the which I hope will make it more approved. And if in the whole I gain your ingenious Acceptance, it will further encourage me to do you more Service in this Nature.

Iohn Playford.

Of MUSICK in General, And of its Divine and Civil Uses.

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MVSICK is an Art unsearchable, Divine and Excellent, by which a true Concordance of Sounds or Harmony is produced, that rejoyceth and cheereth the Hearts of Men, and hath in all Ages and in all Countries been highly reverenced and esteemed; by the Jews for Religion and Divine Worship in the Service of God, as appears by Scripture; By the Graecians and Romans to induce Virtue and Gravity, and to incite to Co [...]rage and Valour. Great Disputes were among Ethnick Authors about the first Inventor, some for Orpheus, some Lynus, both famous Poets and Mu [...]icians; others for Amphion, whose Musick drew Stones to the building of the Walls of Thebes; as Orpheus had by the harmonious touch of his Harp, moved the Wild Beasts and Trees to Dance: But the true meaning thereof is, that by virtue of their Musick, and their wise and pleasing Musical Poems, the one brought the Savage and Beast-like Thracians to Humanity and Gentleness; the other perswaded the rude and careless Thebans to the fortifying of their City, and to a civil Conversation: The Egyptians to Apollo, attributing the first Invention of the Harp to him, and certainly they had an high esteem of the Excellency of Musick, to make Apollo (who was the God of Wisdom) to be the God of Musick: But the People of God do truly a [...]knowledge a far more ancient Inventor of this Divine Art, Jubal the sixth from Adam, who, as it is recorded, [Page] Gen. 4. 27. was the Father of all that handle the Harp and Organ, St. Augustine goeth yet farther, shewing, that it is the gift of God himself, and a Representation or Admonition of the sweet Consent and Harmony which his Wisdom hath made in the Creation and Administration of the World. And well it may be termed a Divine and Mysterious Art, for among all those rare Arts and Sciences, with which God hath endued Men, this of Musick is the most sublime and excellent for its wonderfull Effects and Inventions: It hath been the study of Millions of Men for many thousand years, yet none ever attained the full scope and perfection thereof; but after all their deep Search and laborious Studies, there still appeared new matter for their Inventions; and which is most wonderful, the whole Mystery of this Art is comprised in the compass of three Notes or Sounds, which is most ingeniously observed by Mr. Christopher Simpson, in his Division Violist, pag. 18. in these words,Tria sunt Omnia. [...] Benedicta sit Sancta & Individua Trinitas. All Sounds that can possibly be joyned at once together in Musical Concordance, are still but the reiterated Harmony in Three; a significant Emblem of that Supreme and Incomprehensible Trinity, Three in One, Governing and Disposing the whole Machine of the World, with all its included Parts in a perfect Harmony; for in the Harmony of Sounds, there is some great and hidden Mystery above what hath been yet discovered. And Mrs. Katherine Phillips in her Encomium on Mr. Henry Laws his second Book of Ayres, hath these words:

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Nature, which is the vast Creation's Soul,

That steady curious Agent in the whole,

The Art of Heaven, the Order of this Frame,

Is only Musick in another Name.

And as some King, Conquer'ing what was his own,

Hath choice of several Titles to his Crown;

So Harmony on this score now, that then,

Yet still is all that takes and Governs Men.

Beauty is but Composure, and we find

Content is but the Concord of the Mind;

Friendship the Vnison of well tun'd Hearts;

Honour's the Chorus of the Noblest Parts:

And all the World, on which we can reflect,

Musick to the Ear, or to the Intellect.

Nor hath there yet been any Reason given of that sympathy in Sounds, that the Strings of a Viol being struck, and another Viol laid at a distance, and tuned in Concordance to it, the same Strings thereof should sound and move in a sympathy with the other, though not touch'd: Nor that the sound of a Sackbut or Trumpet, should by a stronger Emission of breath, skip from Concord to Concord, before you can force it into any Gradation of Tones or Notes. More Observations of the mystery of Sounds is learnedly discoursed by the Lord Bacon in his Nat. Hist. 2 Cent. Chap. 1. Ath. Kercherus, a learned Writer, reports, that in Calabria, and other parts of Italy, there is a poysonous Spider, called the Tarantula, by which such as are bitten fall into a frensie of madness and laughter; to allay the immoderate passion thereof, Musick is the speedy Remedy and Cure, for which they have solemn Songs and Tunes.

The first and chief Vse of Musick is for the Service [Page] and Praise of God, whose Gift it is. The second Vse is for the Solace of Men, which as it is agreeable unto Nature, so is it allowed by God, as a temporal blessing to recreate and cheer men after long study and weary labour in their Vocations. Eccles. 40. 20. Wine and Musick rejoyceth the Heart, as the Philosopher adviseth, Musica Medicina est molestiae illius per labores suscipitur. AEli [...]nus in his Hist. Animal. l. 10. c. 29. writeth, That of all Beasts, there is none that is not delighted with Harmony, but only the Ass. H. Stephanus reports [...] that he saw a Lion in London leave his Meat to hear Musick. My self, as I travelled some years since near Royston, met a Herd of Stags, about twenty, u [...]on the Road, following a Bag-pipe and a Violin, which while the Musick plaid they went forward, when it ceased th [...]y all stood still; and in this manner they were brought out of York-shire to Hampton-Court. If irrational Creatures so naturally love and are delighted with Musick, shall not rational Man, who is endued with the knowledge thereof? A learned Author hath this Observation, That Musick is used only of the most Aerial Creatures, loved and understood by Man: The Birds of the Air, those pretty Winged Choristers, how at the approach of the Day do they Warble forth their Makers Praise; among which [...] observe the little Lark, who by a natural instinct doth very often mou [...]t up the Sky, as high a [...] his Wings will bear him, and there Warble out his Melody as long as his strength enables him, and then descends to his flock, who presently send up another [...]horister to su [...]ply this Divine Service The Philosopher s [...]ys, not to be Animal Musicum, is not to be Animal Rationale. And the Italian Proverb is, God loves not him, whom he h [...]th not m [...]de to love Musick. Nor [Page] doth Musick only delight the Mind of Man, and Beasts, and Birds, but also conduceth much to bodily health by the exercise of the Voice in Song, which doth cleer and strengthen the Lungs, and if to it be also joyned the Exercise of the Limbs, none need fear Asthma or Consumption; the want of which Exercise is often the death of many Students: Also much benefit hath been found thereby, by such as have been troubled with defects in Speech, as Stammering and bad Vtterance. It gently breaths and vents the Mourners Grief, and heightens the Ioys of them that are cheerful: It abateth Spleen and Hatred; the valiant Souldier in Fight is animated when he hears the sound of the Trumpet, the Fife and Drum: All Mechanick Artists do find it cheer them in their weary Labours Scaliger (Exercet. 302.) gives a reason of these Effects, Because the Spirits about the Heart taking in that trembling and dancing Air into the Body, are moved together, and stirred up with it; or that the Mind, Harmonically Composed, is roused up at the Tunes of the Musick And farther, we see even young Babes are charm'd asleep by their Singing Nurses; nay the poor labouring Beasts at Plow and Chart are cheer'd by the sound of M [...]sick, though it be but their Masters Whistle. If God then hath granted such benefit to Men by the Civil exercise, sure the Heavenly and Divine Vse will much more redound to our eternal comfort, if with our Voices we joyn our Hearts when we sing in his Holy Place. Venerable Bede writeth, That no Science but Musick may enter the Doors of the Church. The Vse of which in the Worship and Service of God, that it hath been anciently used, and should still be continu'd [...] may be easily proved from the Evidence of Gods Word, and the Practice of the Church in all [Page] Ages: You shall seldom meet Holy David without an Instrument in his Hand, and a Psalm in his Mouth; Fifty three Holy Meters or Psalms he Dedicated to his Chief Musician Jeduthun, to Compose Musick to them: He was on [...] in whom the Spirit of God delighted to dwell, for no evil Spirit will abide to tarry where Musick and Harmony are lodged; for when he played before Saul, the evil Spirit departed immediately. This Power of Musick against evil Spirits, Luther seemeth to think that it doth still remain, Scimus (saith he) Musicam Daemonibus etiam invisam & intolerabilem esse. We know that Musick is most dreadful and intolerable to the Devils. How acceptable Divine Harmony was to God in his Worship, appears in 2 Chron. 5. 12, 13. Also the Levi [...]es which were the Singers, all of them of Asaph, of Hemon, of Ieduthun, with their Sons and their Brethren, being arrayed in white linnen, having Cymbals and Psalteries, and Harps, stood at the East end of the Altar, and with them an hundred and twenty Priests sounding with Trumpets: It came even to pass, as the Trumpeters and Singers were as one, to make one sound to be heard in Praising and thanking the Lord: and when they lift up their Voice with the Trumpets and Cymbals, and Instruments of Musick, &c. that then the House was filled with a Cloud, even the House of the Lord. The Vse of Musick was continued in the Church of the Jews, even until the Destruction of their Temple and Nation by Titus. And the Vse thereof also began in the Christian Church in our Saviour and his Apostles time. If you consult the Writings of the Primitive Fathers, you shall scarce meet with one that doth not write of the Divine Vse of Musick in Churches; and yet true it is, that some of [Page] them did find fault with some Abuses thereof in the Service of God; (and so they would) now if they were alive;) but that condemneth the Right Vse thereof no more than the Holy Supper is condemned by St. Paul, while he blameth those who shamefully profaned it. The Christian Emperours, Kings, and Princes, in all Ages have had this Divine Science in great Esteem and Honour: Constantine the Great, and Theodosius, did both of them begin and sing Divine Hymns in the Christian Congregations; and Justinian the Emperour Composed an Hymn to be sung in the Church, which began, To the only begotten Son and Word of God: Of Charles the Great it is reported, that he went often into the Psalmody and sung himself, and appointed his Sons and other Princes what Psalms and Hymns should be sung. But to come nearer home: History tells us, that the ancient Britains of this Island had Musicians before they had Books; and the Romans that Invaded them (who were not too forward to magnifie other Nation [...]) confess what power the Druyds and Bards had over the Peoples Affections, by recording in Songs the Deeds of Heroick Spirits, their Laws and Religion being sung in Tunes [...] and so (without Letters) transmitted to Pos [...]erity; wherein they were so dextrous, that their Neighbours of Gaul came hither to learn it. Alfred a Saxon King of this Land was well skill'd in all manner of Learning, but in his Knowledge of Musick took most delight. King Henry the Eighth did much advance Musick in the first part of his Reign, when his Mind was more intent upon Arts and Sciences, at which time he invited the best Masters out of Italy, and other Countries; whereby he grew to great Knowledge therein; of which he gave Testimony, by Composing with his own hand two entire [Page] Services of five and six Parts, as is recorded by the Lord Herbert, who writ his Life. Edward the Sixth was a Lover and Encourager thereof, if we may believe Dr. Tye, one of His Chappel, who put the Acts of the Apos [...]les into Metre, and Composed the same to be sung in four Parts, which he Printed and Dedicated to the King; his Epistle began thus:

Considering well, most Godly King,

The Zeal and perfect Love

Your Grace doth bear to each good Thing,

That given is from above:

That such good Things your Grace might move,

Your Lute when you assay,

Instead of Songs of wanton Love,

These Stories then to Play.

Queen Elizabeth was not only a Lover of this Divine Science, but a good Proficient herein; and I have been informed by an ancient Musician and her Servant, that she did often recreate her self on an Excellent Instrument called the Poliphant, not much unlike a Lute, but strung with Wire: And that it was her care to promote the same in the Worship of God, may appear by her 49th Injunction. And King James granted his Letters Patents to the Musicians in London for a Corporation.

Nor was his late Sacred Majesty, and Blessed Martyr, King Charles the First, behind any of his Predecessors in the promotion of this Science, especially in the Service of Almighty God, which with much Zeal he would hear reverently performed, and often appointed the Service and Anthems himself, being by his Knowledge in Musick a competent Iudge therein.

[Page]Of whose Virtues and Piety (by the infinite mercy of Almighty God) this Kingdom now enjoys a Living Example in his Son and our Gracious Soveraign Charles the Second, whom God long preserve, whose Love of this Divine Art appears by his Encouragement of it, and the Professors thereof, especially in his bountiful Augmentation of the Annual Allowances of the Gentlemen of His Chappel; which Example if it were followed by the Superiours of our Cathedrals in this Kingdom, it would much encourage Men of this Art (who are there employed to Sing Praises to Almighty God) to be more studious in that Duty, and would take off that Contempt which is cast upon many of them for their mean performances and poverty; but it is their and all true Christians sorrow, to see how that Divine Worship is contemned by blind Zealots, who do not, nor will not understand the use and excellency thereof.

But Musick in this Age (like other Arts and Sciences) is in low esteem with the generality of people, our late and Solemn Musick, both Vocal and Instrumental, is now just led out of esteem by the new Corants and Iigs of Foreigners, to the grief of all sober and judici [...]s V [...] derstanders of that formerly solid and good Musick: Nor must we expect Harmony in Peoples Mi [...]ds, so long as Pride, Vanity, Faction, and Discords, are so predominant in their Lives: But I conclude with the Words of Mr. Owen Feltham in his Resolves [...] We find that in Heaven there is Musick and Hallelujah [...]s Sung, I believe it is an helper both to Good and Evil, and will therefore honour it when it moves to [...]irtue, and beware of it when it would flatter into Vice.

J. P.

The TABLE.

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FISRT BOOK.

Of the Scale of Musick, called the Gam-ut, pag. 1

Of the several Cleaves or Cliffs, pag. 8

A Rule for the proving your Notes, pag. 10

A Rule for Naming your Notes in any Cliff, pag. 11

A Table of the Comparison of Cliffs, pag. 18

Of the Tuning the Voyce, pag. 19

Of Tones or Tunes of Notes, pag. 22

The Notes their Names, Number, and Proportions, pag. 24

Of the Rests and Pauses, and Notes of Syncopation, pag. 26

A Rule for Keeping Time, pag. 29

Of the four Moods or Proportions of Time pag. 30

Of the Adjuncts and Characters used in Musick, pag. 35

Directions for Singing after the Italian manner, pag. 37

Of the five Moods used by the Grecians, pag. 57

Short Ayres or Songs fit for Beginners, pag. 62

Directions for Singing of Psalms, with the several Tunes, and the Bass under each Tune, pag 73

SECOND BOOK.

A brief Introduction for Playing on the Bass-Viol, pag. 91

Several Lessons for Beginners on the Bass-Viol, pag. 105

Instructions for Playing on the Treble-Violin, pag. 109

Several Lessons for Beginners on the Violin, pag. 117

THIRD BOOK.

The Art of Descant, or plain way for Composing of Musick in Two, Three, or Four Parts.

The Manner and Order of Singing the Divine Service in Cathedral-Churches.

An Introduction to the Skill of MUSICK.

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CHAP. I. Of the Scale of Musick called the Gam-Ut.

THe Gam-ut is the Ground of all Musick, both Vocal and Instrumental; and (as Ornithoparcus reporteth) it was composed by Guido Aretinus, about the year 960, who (out of six Syllables in the Saphick of the Hymn of St. Iohan. Baptista,) framed his Musical Scale set down in those six Syllables, as Names for the six Musical Notes.

VT queant laxis REsonare fibris

MIra gestorum FAmuli tuorum,

SO Lve poluti LAbii reatum.

VT RElivet MIserum FAtum SOLitum (que) LAborem.

[...]

VT RE Mi Fa Sol La VT RE Sol La.

These Six Notes were thus used for many years past in that order, ascending and descending; but in these latter times, Four are only in use, the which are Sol, La, Mi, Fa; so that Ut and Re are now changed into Sol and La, four being found sufficient for expressing [Page] the several sounds, and less burthensome for the memory of Practitioners.

Besides the Names of these Notes, there is used in our Scale of Musick, called the Gam-ut, seven Letters of the Alphabet, which are set in the first Column, at the beginning of each Rule and Space, as G. A. B. C. D. E. F. And of these there are Three Septenaries ascending one above the other, G being put first, which is according to the third Letter in the Greek Alphabet, called Gamma, and is made thus [...], (the first derivation thereof being from the ancient Greeks) as you may see in the Scale at the end of this Chapter.

These seven Letters of the Alphabet are called seven Cliff's, or more properly Cleaves, the other Names and Syllables adjoyned to them are the Notes; and by these three Septenaries are distinguish'd three several Parts of Musick, into which the Scale is divided; first, the Bass, which is the lowest part; secondly, the Mean, or middle part; and thirdly, the Treble, or highest part; so that according to these three Septenaries, Gam-ut is the lowest Note, and E la the highest. And this the usual Gamuts in Mr. Morley and others, did not exceed; but it is well known that there is many Notes in use, both above and below, which [Page] exceed that compass, and that both in Vocal and Instrumental Musick, which ought not to be omitted; for the Compass of Musick is not to be confin'd: And though there be but three Septenaries of Notes in the Example of the Gam-ut, which amount to the Compass of One and Twenty Notes or Sounds; yet in the Treble, or highest part, as occasion requires, you may Ascend more Notes, for it is the same over again, only eight Notes higher: Or in your Bass, or lowest part you may Descend the like Notes lower than Gam-ut, as the Compass of the Voyce or Instrument is able to extend, the which will be the same, and only Eights to those above. And these Notes of Addition are usually thus distinguished:

Those above E la are called Notes in Alt, as F fa ut, and G sol re ut, &c. in Alt. And those below Gam-ut are called double Notes, as Double F fa ut, Double E la mi, &c. as being Eights or Diapasons to those above Gam-ut. I have therefore in the Table of the Gam-ut in this Book, expressed them with double Letters in their right places.

The Gam-ut is drawn upon fourteen Rules and their Spaces, and doth comprehend all Notes or Sounds usual in Musick; either Vocal [Page] or Instrumental, yet when any of the parts which it is divided into, viz. Treble, Mean, or Tenor and Bass, shall come to be prick'd out by it self in Songs or Lessons, either for Voyce or Instrument, five lines is only usual for one of those Parts, as being sufficient to contain the compass of Notes thereto belonging: And if there be any Notes that extend higher or lower, it is usual to add a line in that place with a Pen.

But all Lessons for the Organ, Virginals, or Harp, two staves of six lines together are required, one for the left hand or lower Keys, the other for the right hand or upper Keys.

Therefore he that means to understand what he Sings or Plays, must study to be perfect in the knowledge of the Scale or Gam-ut, and to have it perfect in his memory without book, both forward and backward, and to distinguish the Cliffs and Notes as they be in Rule or Space; for knowing the Notes Places, their Names are easily known.

Also, on the right side of this following Table of the Scale or Gam-ut, there is set four Columns: In the first is the Alphabetical Letters, or Cliffs: The other three shew the Names of the Notes, ascending and descending, according to their several Names and Keys [...]

[Page]In the second Column is set the Names of the Notes as they be called, which is B duralis or B sharp, as having no flat in B mi; and then your Notes are called as they are set there on the Rules and Spaces ascending. The third Column is B proper or B naturalis, which hath a B flat in B mi only, which is put at the beginning of the line with the Cliff, and there you have also the Names as they are called on Rule and Space. The 4th Column is the Notes, call'd B fa or B mollaris, having two B flats, the one in B mi, the other in E la mi, placed as the other; by observing of which, you have a certain Rule for the Names of the Notes in any part, be it Treble, Mean, Tenor, or Bass.

In these Three observe this for a General Rule, that what Name the Note hath, the same Name properly hath his Eighth above or below, be it either in Treble, Mean, Tenor, or Bass.

There is an old Metre, though not very common, yet it contains a true Rule of the Theorick part of Musick, which is necessary to be observed by young Beginners, and as it falls in our several Chapters I shall insert it: It begins thus,

TO attain the Skill of Musicks Art,

Learn Gam-Ut up and down by heart,

Thereby to learn your Rules and Spaces,

Notes Names are known, knowing their places,

[Page]

THE GAM-VT, OR SCALE OF MUSICK.

[Page]A Second Table of the Scale of MUSICK called the GAM-VT, in which every Key or Note is put in its proper place upon the Five Lines, according to the two usual signed Cleaves or Cliffs, viz. the Bass and the Treble, ascending from the lowest Note of the Bass to the highest in the Treble.

[...] D la sol, E la, F fa ut, G sol re ut, A la mi re, [...] F fa ut, G sol re ut, A la mi re, B fa b mi, C sol fa, [...] A la mi re, B fa b mi, C sol fa ut, D la sol re, E la mi, [...] B mi, C fa ut, D sol re, E la mi, F fa ut, G sol re ut, [...] C [...] fa ut, DD sol re, EE la mi, FF fa ut, Gam-ut, A re.

CHAP. II. Of the Cliffs or Cleaves.

[Page]

IN this Gam-ut (as I said before) is contained three Septenaries of Letters, which are G, A, B, C, D, E, F. These seven Letters are set at the beginning of each Rule and Space, and are called seven Cleaves; of these seven four is only usual, one of which is usually placed at the beginning of every Line of the Song or Lesson, either Vocal or Instrumental. The first is called the F fa ut Cleave or Cliff, which is only proper to the Bass or lowest part, and is thus marked [...] on the fourth Line, at the beginning of Songs or Lessons. The second is the C sol fa ut, which is proper to the middle or inner pars, as Tenor, Counter-Tenor, or Mean, and it is thus signed or marked [...]. The third is the G sol re ut Cleave or Cliff, which is only proper to the Treble, or highest, and is signed or marked thus [...] on the second Line of the Song or Lesson.

These three Cliffs are called the three signed Cliffs, because they are always set at the beginning of the Lines on which is prickt the [Page] Song or Lesson; (for Cleave is derived from Clavis which signifies a Key.) From the place of this Cliff, the places of all the other Notes in your Song or Lesson are understood, by proving your Notes from it, according to the Rule of the Gam-ut.

The fourth Cliff is the B Cliff, which is proper to all parts, as being of two natures or properties, that is to say, Flat or Sharp, and doth only serve for that purpose for the flatting and sharping of Notes, and therefore it is called B fa, B mi; the B fa signifies flat, the B mi sharp: The B fa, or B flat, is known on Rule or Space by this mark [ [...]]; and the B mi, which is sharp, by this [ [...].]

But these two Rules you are to observe of them both: First the B fa, or B flat, doth alter both the name and property of the Notes before which it is placed, and is called Fa, making it half a tone or sound lower than it was before.

Secondly, the B mi, or B sharp, alters the property of the Notes before which it is placed, but not the Name; for it is usually placed either before Fa or Sol, and they retain their Names still, but their Sound is raised half a tone or sound higher.

Note, That these two B Cliffs are placed [Page] not only at the beginning of the Lines with the other Cliff, but is usually put to several Notes in the middle of any Song or Lesson for the Flatting and Sharping of Notes, as the Harmony of the Musick requires.

CHAP. III. A brief Rule for proving the Notes in any Song or Lesson.

FIrst observe with which of the three usual Cliffs your Song or Lesson is signed with at the beginning, if it be with the G sol re ut Cleave, then if the Note be above it, whose name and place you would know, you must begin at your Cliff, and assign to every Rule and Space a Note, according to the Rule of your Gam-ut, ascending till you come to that Rule or Space where the same Note is set: But if the Note be below your Cliff, then you must prove downwards to it, saying your Gam-ut backwards, assigning to each Rule and Space a Note, till you come to its place. So that by knowing in what place of your Gam-ut the Note is set, you will easily know its name, the next Chapter directing you an infallible Rule for it, and that by an easie and familiar Example.

CHAP. IV. Containing a plain and easie Rule for the Naming your Notes in any Cliff.

[Page]

HAving observed the foregoing Direction of proving your Notes, to know their Places, you may easily know their Names also, if you will follow this Rule: First, observe that Mi is the principal or master Note, which leads you to know all the other; for having found out that, the others follow upon course; and this Mi hath its being in four several places, but it is but in one of them at a time; its proper place is in B mi, but if a B fa, which is a B flat (as is mentioned in chap. 2.) be put in that place, then it is removed into E la mi, which is its second place; but if a B flat be placed there also, then it is in its third place, which is Alamire; if a B flat come there also, then it is removed into its fourth place, which is D la sol re; so that in which of these it is, the next Notes above it ascending are Fa sol la, Fa sol la, twice, and then you meet with your Mi again, for it is found but once in Eight Notes: In like mannear, [Page] the Notes next below it descending are L sol fa, La sol fa, and then you have your Mi again: For your better understanding of which, I have here inserted the aforementioned old Metre, whose Rules are plain, true, and easie.

No man can sing true at first sight,

Unless he names his Notes aright;

Which soon is learnt, if that your Mi

You know its place where e're it be,

1.

If that no Flat be set in B,

Then in that place standeth your Mi.

Example. [...] Sol la Mi Fa Sol la fa Sol

2.

But if your

B fa B mi.

B alone be Flat,

Then

E la mi.

E is Mi be sure of that.

Example. [...] Sol la fa Sol la Mi fa Sol

[Page]

3.

If both be Flat, your B and E,

Then

A la mi re.

A is Mi here you may see.

Example. [...] La Mi fa Sol la fa Sol la

4.

If all be Flat, E, A, and B,

Then Mi alone doth stand in

D la sol.

D.

Example. [...] La fa Sol la Mi fa Sol la

The first three Notes above your Mi

Are fa sol la, here you may see;

The next three under Mi that fall,

Them la sol fa you ought to call.

Example. [...] Sol la Mi fa sol la fa sol fa la sol fa Mi la sol fa

If you'll sing true without all blame,

You call all Eights by the same name.

[Page]Example. Sol la fa sol sol fa la s [...]l [...] Sol la fa sol sol fa la sol

These Rules and Examples being seriously perused by the Learner, will infallibly direct him in the right naming of his Notes, which is a very great help to the Singer; for there is nothing makes him sooner mistake his tune in Singing, than the misnaming of his Notes: Therefore for the better understanding the Rule of naming your Notes, by finding your Mi in its several places, cast your eye on another Example, for the like naming your Notes in any Cliff whatsoever, be it Bass, Trebl [...], or any Inward Part. For there is no Song pricked down for any part, but it doth imploy some of those Five Lines in this following Example. The which several Parts are demonstrated by those little Arches, or Columns, on the right side of the following Example.

[Page]Example. Mi in B. Mi in E. Mi in A. [...]

This Example expresses the Names of the Notes as they are called in the three removes of your Mi. I have seen some Songs with four flats, as is before-mentioned, that is to say, in B mi, E la mi, A la mi re, and D la sol re; but this fourth place of D la sol re, is very seldom used, and such Songs may be termed irregular, as to the naming the Notes (being rather intended for Instruments than Voices) and therefore not fit to be proposed to young Beginners to sing. And because I will omit nothing that may be useful to Practitioners, I have set down a third Example of the naming of the Notes in all Parts and Cliffs, as the Flats are assigned to all Cliffs.

An exact Table of the Names of the Notes in all usual Cliffs, expressed in the Six several Parts of Musick.

[Page]

TREBLE, G sol re ut Cliff on the second Line.

[...] Sol la mi fa sol la fa sol sol la fa sol la mi fa sol [...] la mi fa sol la fa sol la la fa sol la mi fa sol la

ALTUS, C sol fa ut Cliff on the first Line.

[...] Fa sol la fa sol la mi fa sol la mi fa sol la fa sol [...] sol la fa sol la mi fa sol la mi fa sol la fa sol la

MEAN, C sol fa ut Cliff on the second Line.

[...] mi fa sol la fa sol la mi fa sol la mi fa sol la fa [...] fa sol la fa sol la mi fa sol la mi fa sol la fa sol

COUNTER-TENOR.

[Page]

[...] Sol la mi fa sol la fa sol sol la fa sol la mi fa sol [...] la mi fa sol la fa sol la la fa sol la mi fa sol la

TENOR.

[...] La fa sol la mi fa sol la mi fa sol la fa sol la mi [...] fa sol la mi fa sol la fa fa sol la fa sol la mi fa

BASSE.

[...] Sol la mi fa sol la fa sol sol la fa sol la mi fa sol [...] la mi fa sol la fa sol la fa sol la mi fa sol la fa

First learn by Cliffs to Name your Notes,

By Rules and Spaces right;

Then Tune with Time, to ground your Skill

For Musicks sweet Delight.

A TABLE shewing the Comparison of the most usual Cliffs, how they agree together in the Naming the Notes.

[Page]

[...] SLFSLMFS SLFSLMFS SLFSLM [...] LMFSLFSL LMFSLFSL [...] LFSLMFSL LFSLMFSL [...] FSLMFSLF FSLMFSLF FSLMFS [...] FSLFSLMF FSLFSLMF FSLFSLM [...] SLMFSLFS SLMFSLFS SLMFSLF [...] MFSLFSLM MFSLFSLM

CHAP. V. Of Tuning the Voyce.

[Page]

THus having briefly given you plain and familiar Rules for the understanding the nature and use of the Gam ut, it will be necessary, before I set down your first plain Songs, to insert a word or two concerning the Tuning of the Voyce, in regard none can attain the right guiding or ordering their Voyce in the rising and falling of several Sounds which are in Musick (at first) without the help of another Voyce or stringed Instrument. They are both of them extraordinary helps, but some Voyces are best guided by the sound of an Instrument, and better, if the Learner have skill thereon to express the several sounds, so that his Voyce may go along with the Instrument, in the ascending and descending of the several Notes or Sounds. And (if not) if an Instrument be sounded by another who is an Artist, so the Learner hath a good Ear to guide his Voyce in unity to the sound of the Instrument, it will with a little practice, by sometimes singing with, and sometimes without) guide his Voyce into a perfect Harmony, to sing any plain Song with exactness; [Page] I mean by Tuning his Notes perfectly, Ascending and Descending, and also in the rising or falling of a Third, a Fourth, or Fifth, and Sixth, &c. as in the following Plain Songs are set down. At the first guiding the Voyce therein, it will much help if you observe this Rule; for a Third ascending, which is from Sol to Mi, at your first Tuning sound by degrees all three Notes, as Sol La Mi, then at second Tuning leave out La, the middle Note, and so you will Tune from Sol to Mi, which is a Third. This Rule serves for the rising of Fourths or Fifths, &c. as your third Plain Song in the next page directs.

1. Observe that in the Tuning of your Voyce you strive to have it cleer.

2. In the expressing of your Voyce, or Tuning of Notes, let the Sound come clear from your throat, and not through your teeth, by sucking in your breath, for that is a great obstruction to the clear utterance of the Voyce.

Lastly, observe that in Tuning your first Note of your plain Song, you equal it so to the pitch of your Voyce, that when you come to your highest Note, you may reach it without Squeaking, and your lowest Note without Grumbling.

Here followeth the three usual Plain Songs for Tuning the Voice in the Ascending and Descending of Notes.

[Page]

[...] SLMFSLFS SFLSFMLSLS [...] SMLFMSFL LFSMFLMSLS [...] SLMSMSLMFSFSLMFSSS [...] SLMFSLSLSLMFSLFSF [...] SLMFSLFSSS SFLSLS [...] FLSSSSFLSFSFSFLSFM [...] SMSFLSFMLSLSFLSFM [...] LSSSFSLSSSFSMSLS

CHAP. VI. Of Tones or Tunes of Notes.

[Page]

OBserve that the two B Cliffs before mentioned are used in Song for the flatting and sharping Notes. The property of the B flat is to change Mi into Fa, making that Note to which it is joyn'd a Semitone or half a Note lower; and the B sharp raiseth the Note before which it is set a Semitone or half a sound higher, but alters not its Name; so that from Mi to Fa, and likewise from La to Fa, is but a Semitone or a half Note, between any two other Notes it is a perfect Tone, or sound, as from Fa to Sol, from Sol to La, from La to Mi, are whole Tones, which is a perfect Sound. And this may be easily distinguished, if you try it on the Frets of a Viol or Lute, you shall perceive plainly that there goes two Frets to the stopping of a whole Note, and but one Fret to a half Note; so that it is observed that Mi and Fa do only serve for the flatting or sharping all Notes in the Scale, and they being rightly understood, the other Notes are easily applyed to them; for if G sol re ut have a sharp set before it, it's the same in sound with A la mi re flat; and B fa B mi flat, is the [Page] same with A la mi re sharp; and C fa ut sharp, is D sol re flat, &c. as being of one and the same sound, or stopped upon one and the same Fret on the Viol or Violin. For Example: Vnisons. Octaves. [...]

For a Discourse of the Cords and Discords, I shall only name them in this part of my Book.

PErfect Cords are these, a Fifth, an Eighth, with their Compounds or Octaves.

Imperfect Cords are these, a Third, a Sixth, with their Compounds,, all other distances reckoned from the Bass are Discords.

A Diapason is a perfect Eighth, and contains 5 whole Tones, and 2 half Tones, that is in all the seven natural Sounds or Notes besides the Ground, what flats or sharps soe're [...]here be. But for a further Discourse, I shall refer you to the Second part of this Introduction, entitituled, The Art of Descant, or Composing of Musick in Parts; my purpose in this Book being only to set down the Rules for the Theorick part of Musick, so far as is necessary to be understood by young Practitioners in Musick, either Vocal or Instrumental. I shall therefore proceed to the next Rules for the Notes, their Time and Proportions.

CHAP. VII. The Notes; their Names, Number, and Proportions.

[Page]

Large. Long. Breve. Semibreve. Minim. Crotchet. Quaver. Semiq. [...]

MEasure in this Science is a Quantity of the length and shortness of Time, either by Natural Sounds pronounced by the Voyce, or Artificial, upon Instruments; which Measure, is by a certain motion of the hand or foot expressed in variety of Notes. These Notes in Musick have two Names, one for Tune, the other for Time or Proportion of Notes to certain Sounds. The Names of Notes in Tuning I have set down in the former Chapter, being Four, Sol, La, Mi, Fa. Those in the Proportion of Time are Eight, as a Large, Long, Breve, Semibreve, Minim, Crotchet, Quaver, and Semiquaver, expressed at the beginning of this Chapter: The four first are Notes of Augmentation or Increase, the four last of Diminution or Decrease. The Large is the first of Augmentation, [Page] being longest in sound; and the Semibreve the last of Augmentation, being shortest in sound: In Time, it is called the Master-Note, being of one certain Measure by it self. All the other Notes, both of Augmentation and Diminution, are measured by or proportioned to its value: The Large contains eight Semibreves, the Long four, and the Breve two. The Notes of Diminution, viz. Minim, Crotchet, Quaver, and Semiquaver, are reckoned to, as the others were measured by the Semibreve; and, according to the ordinary proportion of Time, two Minims are accounted to the Semibreve, two Crotchets to the Minim, two Quavers to the Crotchet, and two Semiquavers to the Quaver.

Example.

Notes of Augmentation. Notes of Diminution.

CHAP. VIII. Of the Rests or Pauses, of Pricks, and Notes of Syncopation.

[Page]

Large. Long. Breve. Semibreve Minim. Crotchet. Quaver. [...]

PAuses or Kests are silent Characters, or an artificial omission of the Voyce or Sound, proportioned to a certain Measure of Time, by motion of the hand or foot (whereby the Quantity of Notes and Rests are directed) by an equal measure, the signatures and characters of which are placed over each Note in the Example at the beginning of this Chapter.

To these Notes appertain also certain other Rules, as Augmentation, Syncopation, Pricks of Perfection or Addition; of which, I shall only set down what is necessary to be understood by the Practitioner; as first, of the Pricks of Perfection or Addition; next, of Syncopation, or breaking of the Time, by the Driving a Minim through Semibreves, or Crotchets through Minims, which is the beating the Time in the middle of such Notes.

[Page]First, this Prick of Perfection of Addition is ever placed on the right side of all Notes thus,

[figure]

for the prolonging the sound of that Note it follows to half as much more as it is: For Example, the Prick which is placed after a Semibreve is in proportion a Minim, and makes that Semibreve which before was but two Minims to be three Minims, in one continued Sound; and so the like proportion to other Notes. Example.

Prick Long. Breve. Semibreve. Minim. Crotchet. Quaver. [...]

A further Example of the Prick Notes, wherein the Measure of the Time is barred, according to the Semibreve, both by Prick Semibreves, Minims, and Crotchets.

[...] [...] [...] [...]

[Page]Secondly, Pricks of Perfection are used for perfecting of Notes, and are only used in the Triple-Time; of which, I shall speak more at the latter end of Chap. 10.

Thirdly, Syncopation is when the beating of Time falls to be in the midst of a Semibreve or Minim, &c. or, as we usually term it, Notes driven till the Time falls even again. Examp.

[...] [...]

Of the Tying of Notes.

[...] [...]

This Example shews, that many times in Songs or Lessons, two, four, or more Quavers or Semiquavers, are Tyed together by a long stroke on the top of their Tails: And though they be so, they are the same with the other, and are so tyed for the benefit of the sight, when many Quavers or Semiquavers happen together, not altering the Measure or Proportion of Time.

CHAP. IX. Of the Keeping of Time by the Measure of the Semibreve or Master-Note.

[Page]

OBserve that to the Measure of the Semibreve all Notes are proportioned, and its Measure is expressed (by a Natural Sound of the Voyce, or Artificial on an Instrument) to the moving of the hand or foot up and down when its measure is whole; in Notes of Augmentation, the Sound is continued to more than one Semibreve; but in Notes of Diminution, the Sound is variously broken into Minims, Crotchets, and Quavers, or the like: So that in keeping time your hand goes down at one half, which is a Minim, and up at the next. For the more ease at first, if you have two Minims, or four Crotchets, as in the Example following, in one Bar, which is the proportion of a Semibreve; you may, in Minims, pronounce one, two, your hand being down at your first sounding one, lift it up leisurely, and when it is up a small distance pronounce two, and then laying your hand down again begin the third Minim, lifting it up at the fourth, and down at the fifth, &c. Also when you have four Crotchets, pronounce one, two, [Page]three, four, that is, the hand is down at one and up at three, and down when you begin the next Bar of four Crotchets, as in this Example. This Rule observe, according to the Measure of those Notes your Semibreve is divided into, be it either Triple, Duple or Common Time.

Example. [...] 1 2 1 2 1 2 1 2 1 2 1 [...] 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1

CHAP. X. Of the Four Moods or Proportions of the Time or Measure of Notes.

The usual Moods may not here be mist,

In them much cunning doth consist.

THere are four Moods, the which are divided into four Tables, that is to say,

Moods.

Great.

1. The Perfect of the More. [...]

2. The Perfect of the Less. [...]

Less.

3. The Imperfect of the More. [...]

4. The Imperfect of the Less. [...]

These four Moods were used in former times, but of late years, those of our Nation that have Composed Musick, either Vocal or Instrumental, have made use only of the two latter; that is to say, the Imperfect of the More and Imperfect of the Less, one being called the Triple Time, the other the Duple or Common Time, these two being sufficient to express much variety of Musick: However, because the Italians do at this day use in their Musick all four, I will not omit to give you the Definitions and Proportions of them in their order, and be more large upon the two latter, because most used by the Practitioners of Musick in this our Nation.

Of the two first Moods.

[Page]

1. THe Perfect of the More is when all go by three, as three Longs to a Large, three Breves to a Long, three Semib [...]eves to a Breve, three Minims to a Semibreve; except Crotchets, &c. which go by two; Mark'd thus,

The Perfect of the More [...].

2. The Perfect of the Less is when all go by two, except the Semibreves, as two Longs to a Large, two Breves to a Long, three Semibreves to a Breve, two Minims to a Semibreve, &c. and its Sign or Mark is made thus,

The Perfect of the Less [...]

Of the two last or most usual Moods.

3. THe Imperfect of the More is when all go by two, except the Minims, which go by three, as two Longs to a Large, two Breves to a Long, two Semibreves [Page] to a Breve, three Minims to the Semibreve, with a Prick of Perfection, which makes the whole proportion of three Minims, and is called a Time: Its Mood is thus signed [...], and this is usually called the Triple Time.

The Imperfect of the More [...]

This Mood is much used in Airy Songs and Galiards, and is usually called Galiard or Triple Time; and is of two Motions, the one slow, the other more swift.

The first is, when the Measure is by three Minims to a Semibreve with a Prick, which Prick is for Perfection, to make it a perfect Time, and is usually called Three to One.

[...]

The second Measure of this Triple Time is to a swifter motion, and is measured by three Crotchets, or a Minim with a Prick for Perfection. This swifter Measure is appropriated or used in light Lessons, as Corants, Sarabands, Iigs, and the like.

[...]

[Page]This swifter Triple Time is sometimes prick'd in Black Notes, which Black Note is of the same Measure with the Minim in the foregoing Example, but is seldom used, because the Minims are the same and serve as well.

For Example: [...]

4. The fourth or last Mood, which is called the Imperfect of the Less, is when all go by two, as two Longs to a Large, two Breves to a Long, two Semibreves to a Breve, two Minims, to a Semibreve, two Crotchets to a Minim, &c. and this is called the Dupla or Semibreve Time, (but many call it the Common Time, because most used;) its Mood is thus marked [...], and is usual in Anthems, Fantasies, Pavans, Almans, and the like; whose Measure is set down in this following Example.

The Imperfect of the Less [...]

Note, That when this Common Mood is reversed thus [...], it is to signifie, that the Time of that Lesson or Song, before which it is so set, is to be Play'd or Sung as swift again as the usual Measure.

CHAP. XI. Of the several Adjuncts and Characters used in Musick.

[Page]

1. A Direct is usually at the end of a Line, and serves to direct to the place of the first Note on the next Line, and are thus made, [...]

2. Bars are of two sorts, single and double. The single Bars serve to divide the Time, according to the Measure of the Semibreve: The double Bars are set to divide the several Strains or Stanzaes of the Songs and Lessons, and are thus made, [...]

3. A Repeat is thus marked [...], and is used to signifie that such a part of a Song or Lesson must be Played or Sung over again from that Note over which it is placed.

4. A Tye is of two uses; first, when the Time is broken or struck in the middle of the Note, it is usual to Tye two Minims, or a Minim and a Crotchet together, as thus, [...]

[Page]The second sort of Tye is, when two or more Notes are to be Sung to one Syllable, or two Notes or more to be plaid with once drawing the Bow on the Viol or Violin, as thus: [...] Thou art not Kind but Cruel.

5. A Hold is thus made [...], and is placed over the Note which the Author intends should be held to a longer Measure than the Note contains, and over the last Note of a Lesson.

6. The Figures usually placed over Notes in the Thorough-Bass of Songs or Ayres, for the Organ or Theorbo, is to direct the Performer to strike in other Parts to those Notes, as Thirds, Sixths, and the like, to the Ground, as thus: [...]

I shall here conclude the First Part, wherein I have set down what is needful to be understood of the Theorick Part of Musick, in the plainest and easiest Method that I could; not doubting but by it, and a little assistance of some already skill'd in Musick, to guide you to the Practick.

A Brief Discourse of the Italian manner of Singing; wherein is set down, the Vse of those Graces in Singing, as the Trill and Gruppo, used in Italy, and now in England: Written some years since by an English Gentleman, who had lived long in Italy, and being returned, Taught the same here.

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The Proem to the said Discourse is to this effect.

HItherto I have not put forth to the view of the World, those Fruits of my Musick Studies employed about that Noble manner of Singing, which I learnt of my Master the famous Scipione del Palla in Italy; nor my Compositions of Ayres, Composed by me, which I saw frequently practised by the most famous Singers in Italy, both Men and Women: But seeing many of them go about maimed and spoil'd, and that those long winding Points were ill performed, I therefore devis'd to avoid that old manner of running Division, which has been hitherto [Page] used, being indeed more proper for Wind and Stringed Instruments than for the Voice. And seeing that there is made now a days an indifferent and confused use of those excellent Graces and Ornaments to the good manner of Singing, which we call Trills, Grupps, Exclamations of Increasing and Abating of the Voice, of which I do intend in this my Discourse to leave some foot-prints, that others may attain to this excellent manner of Singing: To which manner I have framed my last Ayres for one Voice to the Theorbo, not following that old way of Composition, whose Musick not suffering the Words to be understood by the Hearers, for the multitude of Divisions made upon short and long Syllables, though by the Vulgar such Singers are cryed up for famous. But I have endeavoured in those my late Compositions, to bring in a kind of Musick, by which men might as it were Talk in Harmony, using in that kind of Singing a certain noble neglect of the Song (as I have often heard at Florence by the Actors in their Singing Opera's) in which I endeavoured the Imitation of the Conceit of the Words, seeking out the Cords more or less passionate, according to the meaning of them, having concealed [Page] in them so much as I could the Art of Descant, and paused or stayed the Consonances or Cords upon long Syllables, avoiding the short, and observing the same Rule in making the passages of Division by some few Quavers to Notes and to Cadences, not exceeding the value of a quarter or half a Semibreve at most. But, as I said before, those long windings and turnings of the Voice are ill used, for I have observed that Divisions have been invented, not because they are necessary unto a good fashion of Singing, but rather for a certain tickling of the Ears of those who do not well understand what it is to sing Passionately; for if they did undoubtedly Divisions would have been abhorr'd, there being nothing more contrary to Passion than they are; yet in some kind of Musick less Passionate or Affectuous, and upon long Syllables, not short, and in final Cadences, some short Points of Division may be used, but not at all adventures, but upon the practice of the Descant; but to think of them first in those things that a man will sing by himself, and to fashion out the manner of them, and not to promise a mans self that his Descant will bear it; for to the good manner of Composing and Singing in [Page] this way, the understanding of the conceit and the humour of the words, as well in passionate Cords as passionate Expressions in Singing, doth more avail than Descant; I having made use of it only to accord two Parts together, and to avoid certain notable Errours, and bind certain Discords for the accompanying of the Passion, more than to use the Art: And certain it is, that an Ayre composed in this manner upon the conceit of the words, by one that hath a good fashion of Singing, will work a better effect and delight, more than another made with all the Art of Descant, where the Humour or Conceit of the words is not minded.

The original of which defect (if I deceive not my self) is hence occasioned, because the Musician doth not well possess and make himself Master of that which he is to Sing. For if he did so, undoubtedly he would not run into such Errours, as most easily he falleth into, who hath framed to himself a manner of Singing; for Example, altogether Passionate, with a general Rule that in Encreasing and Abating the Voice, and in Exclamations, is the foundation of Passion, doth always use them in every sort of Musick, not discerning whether the words require [Page] it: Whereas those that well understand the conceit and the meaning of the Words, know our defects, and can distinguish where the Passion is more or less required. Which sort of people we should endevour to please with all diligence, and more to esteem their praise, than the applause of the ignorant Vulgar.

Thus Art admitteth no Mediocrity, and how much the more curiosities are in it, by reason of the excellence thereof, with so much the more labour and love ought we, the Professors thereof, to find them out: Which love hath moved me (considering that from Writings we receive the light of all Science, and of all Art) to leave behind me this little light in the ensuing Notes and Discourses; it being my intention to show so much as appertaineth to him who maketh profession of Singing alone, upon the Harmony of the Theorbo, or other Stringed Instrument, so that he be already entred into the Theorie of Musick, and Play sufficiently. Not that this cannot also be attain'd by long Practise, as it is seen that many, both Men and Women, have done, and yet this they attain is but unto a certain degree: But because the Theorie of these Writings c [...]nduceth [Page] unto the attaining of that degree; and because in the profession of a Singer (in regard of the excellence thereof) not only particular things are of use, but they all together do better it; therefore to proceed in order, thus I will say:

That the chiefest foundations, and most important Grounds of this Art are, the Tuning of the Voice in all the Notes; not only that it be neither too high nor too low, but that there be a good manner of Tuning it used. Which Tuning being used for the most part in two fashions, we will consider both of the one and the other; and by the following Notes will shew that which to me seemeth more proper to other effects.

There are some therefore that in the Tuning of the first Note, Tune it a Third under: Others Tune the said first Note in its proper Tune, always increasing it in Lowdness, saying, that this is a good way of putting forth the Voice gracefully.

Concerning the first: Since it is not a general Rule, because it agrees not in many Cords, although in such places as it may be used, it is now become so ordinary, that instead of being a Grace (because some stay too long in the third Note under, whereas [Page] it should be but lightly touched) it is rather tedious to the Ear; and that for Beginners in particular it ought seldom to be used: but instead of it, as being more strange, I would chuse the second for the Increasing of the Voice.

Now, because I have not contained my self within ordinary terms, and such as others have used, yea rather have continually searched after novelty, so much as was possible for me, so that the Novelty may fitly serve to the better obtaining of the Musicians end, that is to delight and move the affections of the mind, I have found it to be a more affectuous way to Tune the Voice by a contrary effect to the other, that is, to Tune the first Note in its proper Tune, diminishing it; because Exclamation is the principal means to move the affection; and Exclamation properly is no other thing, but the slacking of the Voice to re-inforce it somewhat more. Whereas Increasing of the Voice in the Treble Part, especially in feigned Voices, doth oftentimes become harsh, and unsufferable to the Hearing, as upon divers occasions I have heard. Undoubtedly therefore, as an affection more proper to move, it will work a better effect to Tune the Voice diminishing it, rather than [Page] Increasing of it: Because in the first of these ways now mentioned, when a man Increases the Voice, to make an Exclamation, it is needful that in slacking of it, he Increase it the more. And therefore I have said that it showeth harsh and rough. But in the Diminishing of the Voice it will work a quite contrary effect, because when the Voice is slacked, then to give it a little spirit, will always make it more passionate. Besides that also, using sometimes one, sometimes another, variety may be used, which is very necessary in this Art, so that it be directed to the said end.

So [...] then, if this be the greatest part of that Grace in Singing, which is apt to move the affection of the mind, in those conceits certainly where there is most use of such Affections or Passions, and if it be demonstrated with such lively reasons, a new consequence is hence inferred, that from Writings of men likewise may be learned that most necessary Grace, which cannot be described in better manner, and more cleerly for the understanding thereof; and yet it may be perfectly attained unto: So that after the Study of the Theorie, and of these Rules, they may be put in practise, by which a man [Page] grows more perfect in all Arts, but especially in the profession of a perfect Singer, be it man or woman.

More languid. A livelier Exclamation. For Example. [...] Cor mio deh non langui — re gui — re. [...]

Of Tuning therefore with more or less Grace, and how it may be done in the aforesaid manner, tryal may be made in the above-written Notes with the words under them, Cor mio, deh non languire. For in the first Minim with the Prick, you may Tune Cor mio, diminishing it by little and little, and in the falling of the Crotchet increase the Voice with a little more spirit, and it will become an Exclamation passionate enough, though in a Note that falls but one degree: But much more spriteful will it appear in the word deh, by holding of a Note that falls not by one degree: As likewise it will become most sweet by the taking of the greater Sixth that falls by a leap. Which thing I have observed, not only to show to others [Page] what a thing Exclamation is, and from whence it grows; but also that there may be two kinds of it, one more passionate than the other; as well by the manner in which they are described, or tuned in the one way or the other; as also by imitation of the word, when it shall have a signification sutable to the conceit. Besides that, Exclamations may be used in all Passionate Musicks, by one general Rule in all Minims and Crotchets with a Prick falling; and they shall be far more Passionate by the following Note, which runneth, than they can be in Semibreves; in which it will be fitter for increasing and diminishing the Voice, without using the Exclamations. Yet by consequence understand, that in Airy Musicks, or Corants to dance, instead of these Passions, there is to be used onl [...] a lively cheerful kind of Singing, which is carried and ruled by the Air it self. In the which, though sometimes there may be place for some Exclamation, that liveliness of Singing is in that place to be omitted, and not any Passion to be used which savoureth of Linguishment. Whereupon we see how necessary a certain judgment is for a Musician, which sometimes useth to prevail above Art. As also we may perceive by the [Page] foregoing Notes, how much greater Grace the four first Quavers have upon the second syllable of the word Languire (being so stayed by the second Quaver with a Prick) than the four last equal Quavers, so printed for Example. But because there are many things which are used in a good fashion of Singing, which because there is found in them a greater Grace, being described in some one manner, make a contrary effect one to the other; whereupon we use to say of a man that he sings with much Grace, or little Grace: These things will occasion me at this time first to demonstrate in what fashion I have described the Trill and the Grup; and the manner used by me to teach them to those who have been interessed in my house; and further, all other the more necessary effects: So that I leave not unexpressed any curiosity which I have observed.

Trill, or plain shake. Gruppo, or Double Relish. [...] Cor — re mi — a.

The Trill described by me is upon one Note only, that is to say, to begin with the first Crotchet, and to beat every Note with [Page] the throat upon the Vowel [a] unto the last Breve; as likewise the Gruppo or double Relish. Which Trill and Gruppo was exactly learned, and exquisitly performed by my Scholars. So that if it be true, that Experience is the Teacher of all things, I can with some confidence affirm and say, that there cannot be a better means used to teach it, nor a better form to describe it. Which Trill and Grup, because they are a step necessary unto many things that are described, and are effects of that Grace which is most desired for Singing well; and (as is aforesaid) being described in one or other manner, do work a contrary effect to that which is requisite: I will shew not only how they may be used, but also all the effects of them described in two manners, with the same value of the Notes, that still we may know (as is aforementioned) that by these Writings, together with Practise, may be learned all the Curiosities of this Art.

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Example of the most usual Graces. [...] [Page] 1 Beating of the Throat. [...] 2 Beating the Throat. [...] 2 Trill. [...] 2 Trill. 1 A plain fall. 2 D [...]uble fall. [...] A fall to take breath. [...] Another fall like it. [...] Where this Mark [...] is set over a Note, the Trill is to be used.

It is to be observed in these Graces that the second hath more grace in it than the first; and for your better experience we will in this following Ayre describe some of those Graces with words under, together with the Bass for the Theorbo; in which Ayre is contained the most passionate passages.

[Page]Abating the Voice A sprightly Exclam. A more lively Exclam. [...] Deh deh doue son fuggiti deh doue son spariti [...] Exclam. Exclam. Exclam. Trillo. [...] g'oc chi de qualier rai jo son ce ner homa i [...] Exclam. cheerful, as it were talking in harmony, and neglecting [...] Aure aure divine ch'er rate peregrine in que- [...] the M [...]sick. [...]rill. Exclamation. [...] sta par [...]'en quella deh recate nouella dell' alma [...] [Page] Exclam. larger time. Trill. Exclam. [...] luce loro aure ch'io me ne moro deh recate no- [...] Ex [...]lam. [...] uella deli' alma luce loro Aure Aure [...] Exclam. reinforced. [...] ch'io me ne moro. [...]

And because in the two last lines of the foregoing Ayre, Deh doue son fuggiti, there are contained the best passions that can be used in this noble manner of Singing, I have therefore thought good to set them down, [Page] both to show where it is fit to encrease and abate the voice, to make Exclamations, Trills, and Grups; and in a word, all the Treasures of this Art; and that they may serve for Example, whereby men may take notice in the Musick of the places, where they are most necessary, according to the passions of the words. Although I call that the noble manner of Singing, which is used without tying a mans self to the ordinary measure of time, making many times the value of the Notes less by half, and sometimes more, according to the conceit of the words; whence proceeds that excellent kind of Singing with a graceful neglect, whereof I have spoken before.

[Our Author being short in setting forth this chief or most usual Grace in Singing, called the Trill, which, as he saith very right, is by a beating in the Throat on the Vowel (a'h) some observe that it is rather the shaking of the Uvula or Pallate on the Throat, in one sound, upon a Note. For the attaining of this, the most surest and ready way is by imitation of those who are perfect in the same; yet I have heard of some that have attained it by this manner, in singing a plain Song, of 6 Notes up and 6 down, they have in the midst of every Note beat or shaked [Page]with their finger upon their Throat, which by often practice came to do the same Notes exactly without. It was my chance lately to be in company with three Gentlemen at a Musical Practice, which sung their Parts very well, and used this Grace (called the Trill) very exactly: I desired to know their Tutor, they told me I was their Tutor, for they never had any other but this my Introduction: That (I answered) could direct them but in the Theory, they must needs have a better help in the Practick, especially in attaining to sing the Trill so well. One of them made this Reply, (which made me smile) I used, said he, at my first learning the Trill, to imitate that breaking of a Sound in the Throat, which Men use when they Leuer their Hawks, as he-he-he-he-he; which he used slow at first, and by often practice on several Notes, higher and lower in sound, he became perfect therein. The Trill, or Shake of the Voice, being the most usual Grace, is made in Closes, Cadences, and other places, where by a long Note an Exclamation or Passion is expressed, there the Trill is made in the latter part of any such Note; but most usually upon binding Notes in Cadences and Closes, and on that Note that precedes the closing Note. Those who once attain to the perfect use of the Trill, other Graces will become easie.]

[Page]Since there are so many effects to be used for the excellency of this Art, there is required (for the performing of them) necessarily a good voice, as also a good wind to give liberty, and serve upon all occasions where is most need. It shall therefore be a profitable advertisement, that the Professor of this Art, being to sing to a Theorbo or other stringed instrument, and not being compelled to fit himself to others, that he so pitch his Tune, as to sing in his full and natural Voice, avoiding feigned Tunes of Notes. In which, to feign them, or at the least to inforce Notes, if his Wind serve him well, so as he do not discover them much; (because for the most part they offend the Ear;) yet a man must have a command of Breath to give the greater Spirit to the Increasing and Diminishing of the Voice, to Exclamations and other Passions by us related; and therefore let him take heed, that spending much Breath upon such Notes, it do not afterward fail him in such places as it is most needful: For from a feigned Voice can come no noble manner of singing; which only proceeds from a natural Voice, serving aptly for all the Notes which a man can manage according to his ability employing his wind in such [Page] a fashion as he command all the best passionate Graces used in this most worthy manner of Singing. The love whereof, and generally of all Musick, being kindled in me by a natural inclination, and by the study of so many years, shall excuse me, if I have suffered my self to be carried further than perhaps was fit for him, who no less esteems and desires to learn from others, than to communicate to others what himself hath learned; and to be further transported in this Discourse, than can stand with that respect I bear to all the Professors of this Art. Which Art being excellent and naturally delightful, doth then become admirable, and entirely wins the love of others, when such as possess it, both by teaching and delighting others, do often exercise it, and make it appear to be a pattern and true resemblance of those never ceasing celestial Harmonies, whence proceed so many good effects and benefits upon earth, raising and exciting the minds of the Hearers, to the contemplation of those infinite delights which Heaven affordeth.

This Author having set most of his Examples and Graces to the Italian words, it cannot be denyed but the Italian Language is more smooth [Page]and better vowelled than the English, by which it has the advantage in Musick, yet of late our Language is much refined, and so is our Musick, to a more smooth and delightfal way and manner of singing after this new method; especially by the excellent Compositions of Mr. Henry Lawes, and other excellent Masters in this Art, and was by them Taught for above this forty years past, and is daily used and taught by several eminent Professors at this day. Therefore such as desire to be taught to sing after this way, need not seek after Italian or French Masters, for our own Nation was never better furnished with able and skilful Artists in Musick than it is at this time, though few of them have the Encouragement they deserve, nor must Musick expect it as yet, when all other Arts and Sciences are at so low an Ebb: But I do hope, as Almighty God has most miraculously restored His Sacred Majesty in Peace, whose Virtues and Piety declare Him a Lover and Encourager of Arts, and of Musick especially; so I hope the Clergy, Nobility, and Gentry of this Kingdom, will follow His Gracious and Royal Example.

Of the five Moods used by the Grecians.

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1. The Dorick,

2. The Lydian,

3. The AEolick,

4. The Phrygian,

5. The Ionick.

OF these Moods, though of little use among us, there is scarce any Author that has wrote of Musick but do give some account of them; among the Latin, Alstedius, Cassiodorus, and others; in English, Mr. Butler and Mr. Morley; therefore not intending to be singular, I shall give you this short Narrative.

These five Moods have no relation to those Moods mentioned in the former part of this Book; those have reference to Notes and Time, these only concern Tune. That which the Grecians called Mode or Mood, the Latins termed Tone or Tune: The design of either, was to shew in what Key the Song was set, and how each Musical Key had relation one to another. These five appertained to the Grecians only, and had their several appellations [Page] from the Countries in which they were invented and practised. The Latins reduced theirs to Eight Tones or Tunes, and were by the Churchmen termed Plain-songs. These exceeded not the compass of six Notes, and was to direct how to begin and end in the proper Keys; which eight Tones or Tunes are printed in the Tenor Part of Mr. Morley's Introduction, pag. 147. The Grecian Moods had these various effects.

1. The Dorick Mood consisted of sober slow Tun'd Notes (Counterpoint) where the Composition of Parts goes Note for Note together, be they of two, three, or four Parts, as is set forth in my late Book of Musick of four Parts to the Psalms and Hymns used in our Churches, Printed in Folio, 1671. This Mood had its name from Doria, a civil part of Greece near Athens; and being solemn, moveth to Sobriety and Godliness.

2. The Lydian Mood was used to grave solemn Musick, the Descant or Composition being of slow time, fitted to Sacred Hymns and Anthems, or Spiritual Songs, in Prose, sometimes in Verses alone, and [...]ometimes in a full Chorus of four or five Parts; which moveth a kind of Heavenly Harmony, whereby the mind is lifted up from the regard of [Page] earthly things to those celestial Joys above. This Mood had its derivation from the famous River in Lidia called Pactolus, and the winding retrograde Meander, representing thereby the admirable variety of Sound in Musick, passing by the famous Cities, Philadelphia, and Sardis once the Royal Seat of rich King Croesus.

3. The AEolick Mood, was that which was of a more Airy and soft pleasing sound, as your Madrigals or Fa la's of five and six Parts, which were Composed for Viols and Voices by many of our excellent English Authors, as Mr. Morley, Wilks, Wilbey, Ward, and others: Which Musick by its variety and delightfulness, allayeth the Passions, and charmeth the Affections into a sweet and pleasing temper; such as was that enchanting Musick of the Harp, provided for King Saul, 1 Sam. 16. That Saul was refreshed, and the evil Spirit departed from him. This Mood had its derivation from AEolia (a Kingdom of AEolus) whence he is feigned to send his rushing Winds, which do resemble this Mood, that is so commixt with fancy and airy reports, one part after other.

4. The Phrygian Mood was a more warlike and couragious kind of Musick, expressing the Musick of Trumpets and other Instruments [Page] of old, exciting to Arms and Activity, as Almans, and the like. This Mood had its derivation from Phrygia (a Region bordering upon Lydia and Caria) in which is that Martial Town Cios, and the most high Hill Idae, famous for the Trojan War. Many Historians have written of its rare Effects in warlike Preparations: Suidas (in litera T) writes of Timotheus, a skilful Musician, that when Alexander the Great was much dejected in his mind, and loth to take up Arms, he with his Phrygian Flute expressed such excellent sounds and varieties of Musick, that the Kings passions were immediately stirred to War, and ran presently and took up Arms. But the Story of Ericus the Musician passes all; who had given forth, that by his Musick he could drive men into what Affections he listed; and being required by Bonus King of Denmark to put his Skill in practice, he with his Harp, or Polycord Lyra, expressed such effectual melody and harmony, in the variety of changes in several Keyes, and in such excellent Fug's and spritely Ayres, that his Auditors began first to be moved with some strange passions, but ending his excellent Voluntary with some choice Fancy upon this Phrygian Mood, the Kings passions were [Page] altered, and excited to that height, that he fell upon his most trusty friends which were near him, and flew some of them with his fist for lack of another weapon; which the Musician perceiving, ended with the sober and solemn Dorick, which brought the King to himself, who much lamented what he had done. This is recorded at large by Crantzius, lib. 5. Daniae cap. 3. and by Saxo Grammaticus, lib. 12. Hist. Daniae, and others.

5. The Ionick Mood was for more light and effeminate Musick, as pleasant amorous Songs, Corants, Sarabands, and Iigs, used for honest mirth and delight at Feasts and other merriments. This Mood had its derivation from the Ionians of Ionia, which lies between AEolia and Caria, a situation full of all pleasure, whose plenty and idleness turned their honest mirth into lasciviousness. By this Mood was the Pythagorean Huntsup, or Morning Musick, which wakened and roused their dull Spirits to study and action. The abuse of this Mood is soon reformed by the sober Dorick; for what this excites above moderation, the other draws into a true Decorum.

Let thus much suffice to have been spoken of the Grecian Moods. I shall now set down some short Songs, and Ayres for two Voices, very useful for Beginners.

Short Ayres or Songs of Two Voices, Treble and Bass for Beginners.

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A. 2. Voc. TREBLE. W. L.

[...] GAther your Rose-buds while you may, old [...] Time is still a flying, and that same Flow'r that [...] smiles to day, to morrow will be dying.

A. 2. Voc. BASSE. W. L.

[...] GAther your Rose-buds while you may, old [...] Time is still a flying, and that same Flow'r that [...] smiles to day, to morrow will be dying.

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A. 2. Voc. TREBLE. I. P.

[...] COmely Swain why sitt'st thou so, Fa la la la la &c. la. [...] Folded arms are signs of woe, Fa la la la la la la la la la. [...] If thy Nymph no favour show, Fa la la la la la la la. [...] Chuse another, let her go, Fa la la la la la la la la la.

A. 2. Voc. BASSE. I. P.

[...] COmely Swain why fitt'st thou so; Fa la la la la &c. la. [...] Folded Arms are signs of woe, Fa la la la la la la la la la la. [...] If thy Nymph no favour show, Fa la la la la la la la. [...] Chuse another, let her go, Fa la la, &c.

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A. 2. Voc. TREBLE. T. M.

[...] NOw is the Month of Maying, when merry [...] Lads are playing, Fa la la la la, &c. [...] Each wi [...]h his bonny Lass upon the greeny grass, [...] Fa la la la la, &c.

A. 2. Voc. BASSE. T. M.

[...] NOw is the Month of Maying, when merry [...] Lads are playing, Fa la la la la, &c. [...] Each with his bonny Lass upon the greeny grass, [...] Fa la la la la, &c.

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A. 2. Voc. TREBLE. B. R.

[...] IN the merry month of May, in a morn by break of day; [...] forth I walkt the wood so wide, when as May was in her pride; [...] there I spyed all alone, Philida and Coridon.

A. 2. Voc. BASSE. B. R.

[...] IN the merry month of May, in a morn by break of day; [...] Sorth I walkt the wood so wide, when as May was in her pride; [...] there I spyed all alone Philida and Coridon.

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A. 2. V [...]c. TREBLE. H. L.

[...] COme Cloris hye we to the Bow'r, to sport us e're [...] the day be done; such is thy pow'r that ev'ry Flow'r [...] will ope to thee as to the Sun.

The wanton Suckling and the Vine

Will strive for th' Honour, who first may

With their green Arms incircle thine,

To keep the burning Sun away.

A. 2. Voc. BASSE. H. L.

[...] COme Cloris hye we to the Bow'r, to spo [...]t us [...] e're the day be done; such is thy pow'r, that ev'ry Flow'r [...] will ope to thee as to the Sun.

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A. 2. Voc. TREBLE. I. G.

[...] VVIll Cloris cast her Sun-bright Eye upon so [...] mean a Swain as I? Can she affect my oaten reed? or [...] stoop to wear my Shepherds weed.

What rural sport can I devise,

To please her Ears, to please her Eyes?

Fair Cloris sees, fair Cloris hears [...]

With Angels Eyes and Angels Ears.

A. 2. Voc. BASSE. I. G.

[...] VVIll Cloris cast her Sun-bright Eye upon so [...] mean a Swain as I? Can she affect my oaten reed? or [...] stoop [...]o wear my Shepherds weed.

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A. 2. Voc. TREBLE. T. B.

[...] TUrn Amarillis to thy Swain, turn Amarillis to thy [...] Swain, turn Amarillis to thy Swain, thy Damon calls thee [...] back again, thy Damon calls thee back again: Here is a [...] pretty, pretty, pretty, pretty, pretty Arbour by, where Apollo, [...] where Apollo, where Apollo, where Apollo cannot, cannot [...] spy, where Apollo cannot spy. Here let's fit, and whilst I [...] play, sing to my Pipe, sing to my Pipe, sing to my Pipe, [...] sing to my Pipe, sing to my Pipe a Roundelay; sing to [...] my Pipe, sing to my Pipe, sing to my Pipe a Roundelay.

A. 2 [...] Voc. BASSE. T. B.

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[...] TUrn Amarillis to thy Swain, turn Amarillis, turn [...] Amarillis, turn Amarillis to thy Swain, thy Damon calls [...] thee back again, thy Damon calls thee back again: Here [...] is a pretty Arbour by, where Apollo, where Apollo, where [...] Apollo, where Apollo cannot spy, where Apollo cannot [...] spy: There let's sit, and whilst I play, sing to my Pipe, [...] sing to my Pipe, sing to my Pipe, sing to my Pipe, sing to [...] my Pipe a Roundelay; sing to my Pipe, sing to my [...] Pipe, sing ro my Pipe a Roundelay.

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A. 2. Voc. TREBLE. W. L.

[...] LOve is lost and gone astray being blind hath lost [...] his way. Ve╌nus cryeth for her son. out alass she is undone! [...] Cupid sor his mother wept, weepin [...], thus sate down and slept.

A. 2. Voc. BASSE. W. L.

[...] LOve is lost and gone astray, being blind hath lost [...] his way. Venus cryeth for her son, out a╌lass she is undone! [...] Cupid for his mother wept, weeping, thus sate down and slept.

§

For more Songs and Ayres of this nature for Beginners, I refer you to two Books lately published, one entituled, Select Ayres and Dialogue [...]or One, Two, and Three Voices; the other, The Musical Commpanion, containing Ayres for Two, Three, and Four Voices.

RULES and DIRECTIONS For SINGING the PSALMS.

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THe Tunes of Psalms are of general use, all who are true Lovers of Divine Musick will have them in estimation, they may be called Holy David's Musick, they are easie and delightful: Those who are principally concerned, are Parish-Clerks, as being the Leaders of those Tunes in their Congregations, for whose use and benefit, I have set down these following Directions.

First, observe how many Notes Compass the Tune is; secondly, the place of the first Note; and lastly, how many Notes above and below that, so that you may begin the first Note in such a Key, as the rest may be sung in the compass of your own and the peoples Voices, without squeaking above, or grumbling below. For the better understanding of which, these following Instructions are necessary, which serve also for all other Tunes that are not here; but when you are perfected in these, I refer you to my large Book lately published in Folio, Entituled, Psalms and Hymns in Solemn Musick of Four Parts; in which is 47 several Tunes, with the Bass under each Common-Tune, as proper to sing to the Organ, Theorbo, or Bass-Viol; also variety of excellent Translations of Psalms and Hymns, never before published.

The Short Tunes to Four Lines, whose Measure is Eight Syllables on the first Line, and six on the next.

These Tunes, in Tuning, the first Note will bear a cheerful high pitch, in regard their whole Compass is not above five or six Notes, from the highest Note to the lowest.

To Psal. Consolatory.

Oxford Tune

Cambridge Tune

Litchfield Tune

Low-Dutch Tune

To Psalms of Prayer, Confession, and Funerals.

York Tune

Windsor Tune

Westminster Tune

Ely Tune

Worcester Tune

Hartfordshire Tune

To peculiar Psal. as 25,50,67,70,134.

Southwell Tune

New Tune

These Tunes are eight Notes Compass above the first, and therefore you must begin the first Note indifferent low.

To Psalms of Praise and Thanksgiving.

St. David's Tune

Martyrs Tune

Winchester Tune

London Tune

London new Tune

Norwich Tune

Hereford Tune

Exceter Tune

Long Tunes, most of them usual to Psalms of Eight Lines, which contain Eight Syllables in the first Line, and six in the next.

These Tunes are eight Notes in Compass above the first Note, and therefore you must begin the first Note low.

1 Psal. Tune

81 Psal. Tune

113 Psal. Tune

119 Psal. Tune

148 Psal. Tune

These Tunes fall four Notes lower than the first Note, therefore begin that indifferent high.

51 Psal. Tune

68 Psal. Tune

100 Psal. Tune

125 Psal. Tune

The most usual Common Tunes Sung in Parish Churches, with the Bass under each Tune.

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Psal. 4. Oxford Tune.

[...] O God that art my righteousness, Lord hear me when I call: Thou hast set me at liberty, when I was bound and thrall.

Psal. 69. Litchfield Tune.

[...] SIng ye with praise unto the Lord, new songs with joy & mirth. Sing unto him with one accord, all people on the earth.

Psal. 116. Windsor Tune.

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[...] I Love the Lord, because my voice and prayer heard hath he: [...] [...] When in my days I call`d on him, he bow'd his ear to me. [...]

Psal. 141. Westminster Tune.

[...] O Lord upon thee do I call, Lord hast thee unto me: [...] [...] And hearken Lord unto my voice, when I do cry to thee. [...]

Psal. 26. Worcester Tune.

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[...] LOrd be my Judge, and thou shalt see my paths be right & plain: [...] [...] I trust in God, and hope that He will strength me to remain. [...]

Psal. 133. Hereford Tune.

[...] O How happy a thing it is, and joyful for to see: [...] [...] Brethren together fast to hold the band of amity. [...]

Psal. 21. Cambridge Tune.

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[...] HElp Lord, for good and godly men do perish and decay: [...] [...] And faith and truth from worldly men is parted clean away. [...]

Psal. 39. Martyrs Tune.

[...] I Said I will look to my ways, for fear I should go wrong: [...] [...] I will take heed all times that I offend not with my tongue. [...]

Psal. 25. or 50,67,70,134. Cambridge short Tune.

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[...] I Lift mine heart to thee, my God and guide most just: [...] [...] Now suffer me to take no shame, for in thee do I trust. [...]

Psal. 134. or 25. New Tune.

[...] BEhold and have regard, ye Servants of the Lord: [...] [...] Which in his house by night do watch, praise him with one accord. [...]

Psal. 23. Low-Dutch Tune.

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[...] THe Lord is only my support, and he that doth me feed: [...] [...] How can I then lack any thing whereof I stand in need. [...]

Psal. 84. Winchester Tune.

[...] HOw pleasant is thy dwelling place, O Lord of hosts to me! [...] [...] The Tabernacles of thy grace, how pleasant Lord they be! [...]

Psal. 103. Hartfordshire Tune.

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[...] MY Soul give land unto the Lord, my Sp'rit shall do the same: [...] [...] And all the Secrets of my Heart, praise ye His Holy Name. [...]

Psal. 145. Exceter Tune.

[...] THee will I laud my God and King, and bless thy name for aye: [...] [...] For ever will I praise thy name, and bless thee day by day. [...]

Psal. 73. York Tune.

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[...] THe L. is both my health and light, shall man make me dismaid? [...] [...] Sith God doth give me strength & might, why should I be afraid? [...]

Psal. 95. St. David's Tune.

[...] O Come let us lift up our voice, and sing unto the Lord: [...] [...] In him our rock of health [...]ejoyce, let us with one accord. [...]

Psal. Hackney Tvne.

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[...] REgard, O Lord, for I complain, and make my sute to thee: [...] [...] let not my words return in vain, but give an ear to mee. [...]

Psal. 135. London New Tune.

[...] O Praise the L. praise him, praise him, praise him with one accord [...] [...] O praise him still all ye that be, that servants of the Lord. [...]

Psal. 100.

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[...] ALl Pple that on earth do dwel, sing to the L. wth cheerful voice: [...] [...] Him serv with fear, his praise forth tel; cōe ye before him & rejoyce. [...]

Psal. 125. Ten Commandement Tune.

[...] THose that do put their confidence, upon the L. our God only: [...] [...] And fly to him for their defence, in all their need and misery. [...]

First Psalm.

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[...] THe man is blest that hath not bent, to wicked read his ear: [...] [...] Nor led his life as sinners do, nor sate in scorner [...] chair. [...] [...] But in the Law of God the Lord doth set his whole delight: [...] [...] And in that Law doth exercise himself, both day and night. [...]

Psal. 51.

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[...] O Lord consider my distress, and now with speed some pity take [...] [...] My sins deface, my faults redress, good L. for thy great mercy sake [...] [...] Wash me, O L. and make me clean from this un [...]ust & sinful act: [...] [...] And purifie yet once again my hainous crime and bloody fact. [...]

Psal. 68.

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[...] LEt God arise, and then his foes will turn themselves to flight, [...] [...] His en'mies then will run abroad, and scatter out of sight: [...] [...] And as the fire doth melt the wax, and wind blow smoak away: [...] [...] So in the presence of the Lord the wicked shall decay. [...]

Psal. 81.

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[...] BE light and glad in God rejoyce, which is our strength and stay: [...] [...] Be joyful, and lift up you voice, to Iacob's God I say. [...] [...] Prepare your Instruments most meet, some joyful Psalm to sing: [...] [...] Stri [...]e up with Harp and Lute so sweet, on every pleasant string. [...]

Psal. 113.

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[...] YE childrē wch do serve the L. praise ye his nāe with one accord: Who from the rising of the Sun, till it return where it begun: [...] [...] Ye blessed be alwa [...]s his name. The L. all Pple doth surmoūt, Is to be praised with great fame. The L. all Pple doth surmoūt, [...] [...] As for his glory we may count, above the Heavens high to be. [...] [...] With God the Lord who may compare, whose dwellings in the [...] [Page] [...] Heavens are: Of such great pow'r and fo [...]ce is He. [...]

Psal. 148.

[...] GIve laud unto the Lord, from heav'n that is so high; [...] [...] Praise him in deed and word above the starry sky: [...] [...] And also ye, his Angels all, Armies royal, praise him with glee. [...]

Psal. 119.

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[...] BLessed are they that perfect are, and pure in mind and heart, [...] [...] Whose lives and conversations from Gods Laws never start. [...] [...] Blessed are they that give themselves his S [...]atutes to observe, [...] [...] Seeking the L. with all their hearts, and never from him swerve. [...]

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A BRIEF INTRODUCTION To the Playing on the Bass-Viol. The Second BOOK.

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THe Viol (usually called) de Gambo, or Consort Viol, because the Musick thereon is play'd from the Rules of the Gam-vt, and not as the Lyra-Viol, which is by Letters or Tableture. Of this Viol de Gambo there are three several sizes, one larger than the other, according to the three Parts of Musick set forth in the Gam-vt, viz. Treble-Viol, Tenor-Viol, and Bass-Viol. The Treble-Viol plays the highest Part, and its Lessons are prick'd by the G sol re vt Cliff [...]; the Tenor-Viol, or middle part, its Lessons are by the C sol fa vt Cliff [...]; and the Bass-Viol, which is the largest, [Page] its Lessons are by the F fa vt Cliff [...] These three Viols agree in one manner of Tuning; where I shall give you the Directions for Tuning the Bass-Viol, which is usually strung with six Strings (as you may observe on the Figure expressed in the foregoing page) which six strings are known by six several names; the first, which is the smallest, is called the Treble; the second, the small Mean; the third, the great Mean; the fourth, the Counter-Tenor; the fifth, the Tenor or Gam-vt string; the sixth, the Bass. But if you will name them after they are Tuned, according to the Rule of the Gam-vt, the Treble string, is D la sol re; the smal Mean, A la mi re; the great Mean, E la mi; the Counter-Tenor, C fa vt; the Tenor or fifth string, Gam-vt; and the sixth or Bass, double D sol re. Belonging to these six strings there are seven Frets or Stops on the neck of your Viol, which are for stopping the various Sounds, according to the several Notes of the Gam-vt, both Flats and Sharps: For the more plain understanding of which, I have drawn an exact Table in the following pag. 88. beginning with the lowest Note on your sixth string, and so ascending to the highest on the first or Treble string. Your perfect understanding of that [Page] Table will much further you in the knowledg of Tuning your Viol; for which Tuning I will give you two Rules, one by Tableture or Letters, the other by the Gam-vt Rule; the first being the easiest way to a Beginner, whose Ear at first is not well acquainted with the several distances of Sounds that the Strings are Tuned in, shall by this way use only one Sounding, viz. an Unison, which is to make two strings (one of them being stopt, the other not) to agree in one and the same sound: The Letters are Eight, A, B, C, D, E, F, G, H; seven of these are assigned to the seven Frets on the Neck of the Viol; A is for the string open, so B is the first Fret, C the second, D the third, E the fourth, F the fifth, G the sixth, and H the seventh.

Example.

Six Strings.

When you begin to Tune, raise your Treble or smallest string as high as conveniently it will bear without breaking; then stop only your second or small Mean in F, and [Page] tune it till it agree in sound with your Treble open; that done, stop your Third in F, and make it agree with your Second open; then stop your Fourth in F, and make it agree with your Third open; then stop your Fifth in F, and make it agree with your Fourth open; and lastly, stop your Sixth in F, and make it agree to your Fifth open. This being exactly done, you will find your Viol in Tune, according to the Rule of the Gam-vt.

Example, Tuning by Letters. [...]

Example, Tuning by Notes. [...] D la sol re. A la mi re. E la mi. C fa vt. Gam-vt. D D sol re.

The other way of Tuning is by the Rule of the Gam-vt, by distances of Sounds, as in the foregoing Example, thus: The Treble being raised as high as it will conveniently bear without breaking, is called D la sol re, then tune your second four Notes lower, and it is A la mi re; the third four Notes lower [Page] is E la mi; the fourth three Notes, or a f [...]at Third lower, is C fa vt; the fifth four Notes lower, is Gam-vt; and the sixth four Notes lower than the fifth, is double D sol re: This is the most usual way of Tuning it; yet there are some Lessons do require it one Note lower, which is double C fa vt, but that is very seldom.

Example of the Notes ascending and descending. [...] [...] [...] [...]

[Page]Your Viol being Tuned, practice to play this Example of the Notes ascending and descending, and by it you shall know your Viol is right Tuned.

An exact Table, directing the Places of the Notes, Flat and Sharp, to every Stop on the Bass-Viol, according to the Gam-ut; beginning at the lowest Note of the Bass on the Sixth String, and ascending to the highest on the Treble.

6 String.

[...] Double D [...]ol re. Double E la mi. Flat. D D E la mi. Proper. D D Ffa ut. D D F fa ut. Sharp. Sixth string open. Sixth string first fret. Sixth string second fret. Sixth string third fret. Sixth st [...]ing fourth fret.

5. String.

[...] Gamut. Gamut sharp. A re. B mi flat. B mi proper. Fifth string open. fifth string [...]st fret. fifth string second fret. fifth string third fret. fifth string fourth fret.

4 String.

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[...] C fa ut. C fa ut, sharp. D sol re. E la mi, flat Fourth string open. fourth string first fret. fourth string second fret. fourth string fourth fret.

2 String.

[...] E la mi F fa ut F fa ut, sharp G sol re ut. G sol [...]e ut, sharp. Third string open. third string first f [...]et. third string second fret. third string third fret. third string fourth f [...]et.

2 String.

[...] A la mi re. B fa b mi, flat. B fa b mi. proper. [...] [...] fa ut. C sol fa ut, sharp. Second string open. second string first fret. second string second fret, second string third fret. second string fourth fret.

1 String.

[...] D la sol re E la mi, flat E la mi F fa ut E la ut sharp G sol r [...] ut. first string open. first string first fret. first string second fret. first string third fret. first string fourth fret. first string fifth fret.

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It is usual in Lessons for the Bass-Viol, to change the Cliff where the Notes ascend above D la sol re, which is very necessary to [Page] prevent the drawing of more lines above; therefore the Practitioner ought to be perfect in the C sol fa ut Cliff on the middle line, as you see in the five last Notes of the Table; also this Example mentions the like agreement of Notes in both Cliffs.

Example. [...] [...]

In this Example the Notes prick'd in the Tenor Cliff, are the same with those in the Bass or F fa ut Cliff, and are stopp'd in the same places on the Viol. This I thought fit to mention, because you will meet with the change of Cliffs in the following Lessons.

Observe, that in the foregoing Table the Sharp ( [...]) before a Note makes it stopt a Fret lower, and a b Flat before a Note a Fret higher; for two Frets go to one whole or perfect Note, as that Table doth direct: Sometimes you may see a [...] before D sol re, then it is stopt a Fret lower, which is the place of E la mi flat, so if a Flat is set before A la mi re, it is a Fret higher, which is G sol re ut [...]; the like of other flat or sharp Notes.

[Page]Also if a B flat or B sharp be set on Rule or Space at the beginning of any Line with the Cliff, that Flat or Sharp makes all the Notes which are in the same Rules or Spaces to be flat or sharp through the whole Lesson.

TREBLE-VIOL.

These Directions for the Bass-Viol do also serve the Treble-Viol, which is strung and tuned in the same manner, only eight Notes higher, G sol re ut on the Treble is the Eighth above G sol re ut on the Bass, being stopped on the same String and Fret with the Bass; and so other Notes accordingly.

TENOR-VIOL.

The Tenor-Viol is an excellent inward Part, and much used in Consort, especially in Fantasies and Ayres of 3, 4, 5 and 6 parts. The Tuning of it is the same with the Bass and Treble, for the distance of sound betwixt each string; but being an Inward Part betwixt both, its Tuning is four Notes higher than the Bass, and five Notes lower than the Treble; its first or Treble string is tuned to G sol re ut on the third string of the Treble-Viol; its second four Notes lower, which is D la sol re; the third for Notes lower, is A la mì re; the fourth three Notes (or a flat Third) lower, is F fa ut; the fifth four Notes lower than it, is C fa ut; [Page] and the sixth four Notes lower than the fifth, is Gam-vt; which is answerable to the Gam-vt on the Bass-Viol.

For the better understanding of these Tunings severally, viz. Treble or Tenor, observe these two Examples of them, according as their six strings are Tuned by the several Distances of Notes in the Gam-vt.

The Treble-Viol Tuning. [...] 1 2 3 4 5 6 String.

The fifth string on the Treble-Viol is the same with G sol re vt on the third string of the Bass-Viol.

The Tenor-Viol Tuning. [...] 1 2 3 4 5 6 String.

The fifth string of the Tenor-Viol is tuned to C fa vt or fourth string of the Bass-Viol.

For the Names of the Notes, and their Proportions of Time, I refer you to the fourth and seventh Chapters in the first Book.

Some General Rules for the Viol.

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THere are three sorts of Bass-Viols, as there are three manners of ways in playing.

First, a Bass-Viol for Consort must be one of the largest size, and the Strings proportionable.

Secondly, a Bass-Viol for Divisions must be of a less size, and the Strings according.

Thirdly, a Bass-Viol to play Lyra-way, that is by Tableture, must be somewhat less than the two former, and strung proportionably.

2. In the choice of your Viol Bow, let it be proportioned to the Viol you use, and let the Hair be laid stiff, and the Bow not too heavy, nor too long.

3. In holding your Viol observe this Rule: Place it gently between your Knees, resting the lower end thereof upon the Calves of your Legs, and let your Feet rest flat on the Ground, your Toes turned a little outward, and let the top of your Viol lean towards your left shoulder.

4. In the holding of your Bow, observe this Rule: Hold the Bow betwixt the ends of your Thumb and your Forefinger, an Inch below the Nut, the Thumb and first Finger resting on the Wood, the ends of [Page] your second and third Fingers staid upon the Hair, by which you may poise and keep up your Bow. Your Bow being thus fix'd, you must draw it over one string, and then another, in a right angle, about two or three Inches above the Bridge, making each several string yield a clear sound.

5. In the posture of your left hand observe this Rule, place your Thumb on the back of the Neck, and opposite to your Forefinger, so that when your Fingers are to rest on the several Stops or Frets, your hand may have liberty to move up and down, as occasion shall require; and in the stopping observe, that when you set any finger down, let it not be just upon the Fret, but close to it, bearing it hard down with the end of your finger, and let it rest there, playing the following Notes with your other fingers, until occasion require the moving it; and be sure not to lift your fingers too high, but keep them in an even distance to the Frets, that so they may pass more readily from Fret to Fret.

Also in the Rule of true Fingering, where you skip a Fret, there leave a finger; and when you have any Notes which are high Notes, that reach lower than the Frets, there the highest Note is always stopt either with [Page] the third or fourth finger; if with the third, then the first and second fingers are ready to stop the two next Notes either ascending or descending from it: But if the highest Note be stopt with the fourth finger, then the Note under it is stopt either with the third or second finger, according as it is either Flat or Sharp; if Sharp, the third; if Flat, the second. But whether the highest Note be stopt with the third or fourth finger, the third below it must be stopt with the first finger [...] which is ever as a guide to the two Notes above it. Lastly, when two Notes which follow one another are stopt with the same finger removed, it is to prepare the other fingers to the aforementioned posture, or to remove them to some other place. This order of Fingering directs the whole Fingerboard (in stopping three Notes which follow upon any one string) with this proviso, where stops are wide, the fourth or little finger is of more use, than lower down, where the stops fall more close.

6. In the moving your Bow observe this Rule, when you see an even number of Quavers or Semiquavers, as 2, 4, 6, or 8, tyed together, you must begin with your Bow forward, though the Bow be drawn forward the [Page] Note before; but if the number be odd, as 3, 5, or 7, (which is by reason of a Prick Note or an odd Quaver Rest) then the first Note must be plaid with the bow drawn backward.

Lastly, in the practice of any Lesson, play it slow at first, and by often practice it will bring your hand to a more swift motion.

And now, your Viol Being Tuned according to the foregoing Directions, I have here following set down a few Lessons for to begin with, and over the Notes I have set figures, to direct with what fingers to stop them; 1, 2, 3, 4, is set for first, second, third, and fourth fingers; those which have no figures over them, are the string open.

For the usual Graces, the Shake is the principal; of which there are two, the close shake and the open shake; the close shake is when you stop with your first Finger on the first Fret, and shake with your second Finger as close to it as you can; the open shake is when you stop with your first Finger on the first Fret, and shake with your third Finger on the third Fret; this observe in all stops whatsoever. For other Graces, as Double Relishes, Back-falls, &c. I refer you to the Table of the several Graces in my Directions for the Treble-Violin, which are proper also to the Bass-Viol.

Short Lessons for the Bass-Viol.

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1 3 1312 12 13 3 2 12 12 [...] [...] 2 3 23 1 3 23 2 2 12 [...] 2 3 31 3 1 21 2 2 32 [...] 31 31 3 1 3 13 1 2 [...] The Ground of Iohn come kiss. [...] [...] [...] A Ground. [...] [Page] [...] A Ground. [...] [...] A Ground. [...] [...] [...] A Tune. [...] [...] [...] [...] A tune. [Page] [...] [...] [...] [...] A Preludium. [...] [...] [...] [...] [...] [...] [Page] [...] An easie Division. [...] [...] [...] [...] [...] [...] [...] [...] [...]

A BRIEF INTRODUCTION To the Playing on the TREBLE-VIOLIN.

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THE Treble-Violin is a cheerful and spritely Instrument, and much practised of late, some by Book, and some without; which of these two is the best way, [Page] may easily be resolved: First, to learn to play by rote or ear without Book, is the way never to play more than what he can gain by hearing another play, which may soon be forgot; but on the contrary, he which learns and practises by Book, according to the Grounds of Musick, fails not, after he comes to be perfect in those Rules, which guide him to play more than ever he was taught or heard, and also to play his part in Consort; which the other will never be capable of, unless he have this sure guide.

The Violin is usually strung with four strings, and tuned by fifths; for the more plain and easie understanding thereof, and the stopping all Notes in their right places and tune, it will be necessary that on the neck or finger-board of your Violin, there be placed six frets, as is on a Viol: This, though it be not usual, yet it is the best and easiest way for a Beginner who has a bad Ear, for by it he has a certain rule to direct and guide him to stop all his Notes in exact tune, which those that do learn without, seldom have at first so good an Ear to stop all Notes in perfect tune.

Therefore for the better understanding thereof, in this following Example is assigned to those six frets on the finger-board, six Letters [Page] of the Alphabet in their order; the first Fret is B, the second C, the third D, fourth E, fifth F, and sixth G; A is not assigned to any of the Frets, but is the String open.

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In this Example you have the names of the 4 strings, and the letters assigned to each fret.

The Scale of Musick on the four Strings of the Treble-Violin, expressed by Letters and Notes.

The Fourth String or Bass. [...]

The Third or Great Mean. [...]

The Second or Small Mean. [...]

The First or Treble. [...]

[Page]This Example doth direct the places of all the Notes, Flat and Sharp; each Note being placed under the Letters, according to their several Stops upon each string distinctly, beginning at the lowest Note on the Bass, or fourth string, and ascending up to the highest on the Treble, according to the Scale of the Gam-vt; in which you may also observe, that the Lessons for the Violin by Letters are prick'd on four Lines, according to the four several strings; but Lessons by Notes are prick'd upon five Lines, as appears in that Example.

For the Tuning of your Violin it is by Fifths, which is five Notes distance betwixt each string; for, according to the Scale or Gam-vt, the Bass or fourth string is called G sol re vt, (and is tuned an eight above Gam-vt on the Bass-Viol) the third or great Mean, D la sol re; the second or small Mean, A la mi re; and the first or Treble, Ela; as in the following Example the first Note of each string is upon [...], and is known by this signature * under each of those Notes.

But for a Beginner to Tune by Eights, will be easier than by Fifts, if his Violin be fretted; to begin which, he must wind up his first or Treble string as high as it will bear, and stop it in F, then Tune his second an Eighth below [Page] it; then stop the second in F, and Tune the third an Eighth under it; then stop the third in F, and Tune the fourth an Eighth below that; and so your Strings will be in perfect Tune.

Example of the Tuning By Eights. By Fifts. [...] 2 2 3 1 2 3 [...] 2 3 4 2 3 4

Another Example of the Tuning, as the five Notes ascend on each of the four strings, beginning on the Bass or fourth string.

[...] * 4 String. * 3 String. * 2 String. * 1 String. [...] G sol re vt. D la sol re. A la mi [...]e. E la.

Some General Rules for the TREBLE VIOLIN.

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FIrst, The Violin is usually plaid abovehand, the Neck thereof being held by the left hand; the lower part thereof is rested on the left breast, a little below the shoulder: The Bow is held in the right hand, between the ends of the Thumb and the three first Fingers, the Thumb being staid upon the Hair at the Nut, and the three Fingers resting upon the Wood: Your Bow being thus fixed, you are first to draw an even stroke over each string severally, making each string yield a clear and distinct sound.

Secondly, for the posture of your left hand, place your Thumb on the back of the Neck, opposite to your Forefinger, so will your Fingers have the more liberty to move up and down in the several Stops.

Thirdly, for your true fingering, observe these directions, which will appear more easie to your understanding, if in your first practice you have your Violin fretted, as is before mentioned, that where you skip a fret or stop, there to leave a finger, for every stop is but half a Tone or Note, for from [...] to [...] is but half a Note, but from [...] to [...] is a whole Note, therefore the leaving of a finger [Page] is necessary to be in readiness when half Notes happen, which is by flats and sharps.

Next, when you have any high Notes, which reach lower than your usual Frets or Stops, there you are to shift your fingers; if there be but two Notes, then the first is stopt with the third finger; but if there be three Notes that ascend, then the first is stopt with the second finger, and the rest by the next fingers.

Fourthly, in the moving your Bow up and down observe this Rule, when you see an even number of Quavers and Semiquavers, as 2, 4, 6 or 8 tyed together, your Bow must move up or forwards, though it was up at the Note immediately before, but if you have an odd number, as 3, 5 or 7 (which happens very often, by reason of a prickt Note or an odd Quaver Rest) there your Bow must draw back at the first Note.

Lastly, in your practice of any Lesson, play it slow at first, and by often practice you will bring your hand to a more swift motion.

As for the several Graces and Flourishes that are used, as Shakes, Backfalls, and double Relishes, this following Table will be some help to your practice; for there is first the Note plain, and after the Grace expressed by Notes at length.

A Table of Graces proper to the Viol or Violin.

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Smooth Graces.

[...] A Beat Explan: A Backfall Expla: A Double Backfall Explan: [...] Elavation Explan: A Springer Expla. A Cadent Explan:

Shaked Graces.

[...] A Backfall shaked Explan: A Close shake Explan: A shaked Beat [...] Explan: Elevation Explan. Cadent [...] Explan: Double Relish Explan. [...] or thus Explan:

Short Tunes for the Treble-Violin, by Letters and Notes.

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[...] Maiden Fair. [...]

Note, That in these Lessons by Letters, the Time is not put over every Letter, but if a Crotchet be over any Letter, the following Letters are to be Crotchets also, till you see the Note changed, and so in [...]ther Notes likewise.

[...] Maiden Fair. [...] [...]

[Page] [...] The Kings Delight. [...] [...] [...] [...] The Kings Delight. [...] [...] [Page] [...] Parthenia. [...] [...] [...] [...] Parthenia. [...] [...] [Page] Iohn come kiss, with Division to each Strain. [...] [...] [...] [...] [...] [...] [...] [...] [...] [...] [Page] [...] [...] [...] [...] The Lark, with Division. [...] [...] [...] [...] [...] [...] [...]

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Ingenious Practitioner,

HAving thus (after the plainest method I could) set down several Rules and Directions for thy practice on the Treble Violin, by way of Fretting; which way I have known used by some of the most eminent Teachers on this Instrument, as the most facile and easie to initiate their Scholars: And also by the way of Pricking down Lessons in Letters; yet do I not approve of this way of Playing by Letters, save only as a Guide to young Practitioners, to bring them the more readily to know all the Stops and Places of the Notes, both Flat and Sharp, as is set down in the Table pag. 96, 97. And having by this practice come to the perfect knowledge thereof, to lay the use of Letters aside, and keep to their practice by Notes only. And therefore in the Introduction to the Skill of this Musick, I have added some few Lessons both ways, that after thou canst play them by Letters, thou maist play the same again by Notes: Those who desire to be furnished with more Lessons, I refer to a Book lately published, Entituled, Apollo's Banquet, containing above two hundred new Tunes for the Treble Violin, with the most usual French Dances added to them.

By the practice of these Rules, and a little help of a Master, I doubt not but thou mayst in a short time become a good Proficient on this Instrument; which is the hearty desire of thy Well-wisher,

J. P.

FINIS.

§

§

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The ART of DESCANT: OR, Composing of Musick in Parts.

By a most familiar and easie Rule.

In Three several TREATISES:

I. Of making Four Parts in Counterpoint.

II. A necessary Discourse of the several Keyes, and their proper Closes.

III. The Allowed Passages of all Concords, Perfect and Imperfect.

By Dr. THO. CAMPION.

With Annotations thereon, by Mr. Chr. Simpson.

London, Printed for Iohn Playford, and are to be sold at his Shop in the Temple. 1674.

§

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THere are Nine Concords of Musick, as followeth:

A Unison, Third, Fifth, Sixth, Eighth, Tenth, Twelfth, Thirteenth, and Fifteenth; whereof five are called perfect, and four imperfect.

The five perfect, are Unison, Fifth, Eighth, Twelfth, and Fifteenth: Of these, you may not take two of one sort together, neither rising or falling, as two Fifths, or two Eighths.

Of the other four, called imperfect, you may take two or three together of one sort, rising or falling, which are a Third, Sixth, Tenth, and Thirteenth.

These Nine Concords are comprehended in four, viz.

Unison, Eighth, Fifteenth, are accounted as one, for every Eighth is the same.

Third, Tenth, likewise.

Fifth, Twelfth, likewise.

Sixth, Thirteenth, in like sort.

So that in effect there are but four Concords.

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

THE ART of DESCANT: OR, Composing Musick in Parts.

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I. Of * Counterpoint.

THe Parts of Musick are in all but four, howsoever some skilful Musicians have Composed Songs of twenty, thirty, and forty parts; for be the parts never so many, they are but one of these four in nature. The names of those four parts are these: The Bass, which is the lowest part and foundation of the whole Song; the Tenor, placed next above the Bass; next above the Tenor, the Mean or Counter-Tenor; and in the highest [Page] place, the Treble. These four Parts by the Learned are said to resemble the four Elements; the Bass expresseth the true nature of the Earth, who being the gravest and lowest of all the Elements, is as a foundation to the rest; the Tenor is likened to the Water, the Mean to the Air, and the Treble to the Fire: Moreover, by how much the Water is more light than the Earth, by so much the Air is lighter than the Water, and Fire than Air. They have also in their native property every one place above the other; the lighter uppermost, the weightiest in the bottom. Having now demonstrated that there are in all but four Parts, and that the Bass is the foundation of the other three, I assume that the true sight and judgment of the upper three must proceed from the lowest, which is the Bass; and also I conclude, that every part in nature doth affect his proper and natural place, as the Elements do.

True it is, that the ancient Musicians, who intended their Musick only for the Church, took their sight from the Tenor, which was rather done out of necessity, than any respect to the true nature of Musick; for it was usual with them to have a Tenor as a Theam, to which they were compelled to adapt their [Page] other Parts: But I will plainly convince by demonstration, that contrary to some opinions the Bass contains in it both the Ayr and true judgment of the Key, expressing how any man at first sight may view in it all the other Parts in their original essence.

In respect of the variety in Musick which is attained to by farther proceeding in the Art, as when Notes are shifted out of their native places, the Bass above the Tenor, or the Tenor above the Mean, and the Mean above the Treble; this kind of Counterpoint, which I promise, may appear simple and only fit for young Beginners, (as indeed chiefly it is) yet the right speculation may give much satisfaction, even to the most skilful, laying open unto them, how manifest and certain are the first grounds of Counterpoint.

First, it is in this case requisite that a formal Bass, or at least part thereof be framed, the Notes rising and falling according to the nature of that Part, not so much by degrees, as by leaps of a third, fourth, or fifth, or eighth, a sixth being seldom, a seventh never used, and neither of both without the discretion of a skilful Composer. Next, we must consider whether the Bass doth rise or fall, for in that consists the mystery: That rising [Page] or that falling doth never exceed a fourth, (a) for a fourth above, is the same that a fifth is underneath, and a fourth underneath is as a fifth above; for Example, if a Bass should rise thus: 1 2 3 [...]

The first rising is said to be by degrees, because there is no Note between the two Notes; the second rising is by leaps, for G skips over A to B, and so leaps into a third; the third Example also leaps two Notes into a fourth. Now for this fourth, if the Bass had descended from G above to C underneath, that descending fifth in sight and use had been all one with the fourth, as here you may discern, for they both begin and end in the same Keys, thus: G C [...] G C

This Rule likewise holds, if the Notes descend a second, (b) third, or fourth; for the [Page] fifth ascending, is all one with the fourth descending. Example of the first Notes.

1 2 3 [...]The third two Notes which make the distance of a fourth, are all one with this fifth following.

But let us make our approach G D [...] GD yet nearer: if the Bass shall ascend either a second, third, or four [...]h [...] that part which stands in the third or tenth above the Bass, shall fall into an eighth, that which is a fifth shall pass into a third, and that which is an eighth shall remove into a fifth.

But that all this may appear

[figure]

more plain and easie, I have drawn it all into these six figures,

Though you find here only mention [...]d and figured a third, fifth, and eighth, yet not only these single Concords are meant, but by them also their (c) Compounds, as a tenth, a twelfth, a fifteenth, and so upwards; and also this Unison as well as the eighth.

This being granted, I will give you an Example of those figures prefixed: When the [Page] Bass riseth, beginning from the lowest figure, and rising to the upper; as if the Bass should rise a second, in this manner: [...]

Then if you begin with your third, you must set your Note in A la mi re, which is a third to F fa vt, and so look upward, and that Cord which you see next above it use, and that is an eight in G sol re vt.

After that, if you will take a fifth to the first Note, you must look upward, and take the third you find there for the second Note. Lastly, if you take an eighth for the first Note, you must take for the second Note the Cord above it, which is the fifth.

Example of all the three Parts added to the Bass.

8 5 Treble [...] 5 3 Mean. [...] 3 8 Tenor. [...] Bass. [...]

What Parts arise out of the rising of the second; the same answer in the rising of the 3d and 4th, thus: 8 5 8 5 [...] 5 3 5 3 [...] 3 8 3 8 [...] This rises 3d this a 4th [...]

[Page]Albeit any man by the rising of parts, might of himself conceive the same reason in the falling of them; yet that nothing may be thought obscure, I will also illustrate the descending Notes by example.

If the Bass descends or falls a second, third, or fourth, or riseth a fifth (which is all one as if it had fallen a fourth, as hath been shewed before) then look upon the six figures, where in the first place you shall find the eighth which descends into the third, in the second place the third descending into the fifth, and in the third and last place the fifth which hath under it an eighth.

8 3 8 3 8 3 Treble. [...] 5 8 5 8 5 8 Mean. [...] 3 5 3 5 3 5 Tenor. [...] Bass. [...]

Thus much for the rising and falling of the Bass in several: Now I will give you a brief example of both of them mixed together in the plainest fashion, let this following strain serve for the Bass.

[Page] Example. [...]

The two first Notes fall a second, the second and third Notes fall a fifth, which you must call rising a fourth; the third and fourth Notes fall a fifth, which you must name the fourth falling; the fourth and fifth Notes rise a second, the fifth and sixth Notes rise a third, the sixth and seventh Notes also fall a third, the seventh and eighth rise a second, the eighth and ninth Notes rise a fourth, the tenth and eleventh Notes fall a fifth, which you must reckon rising a fourth.

Being thus prepared, you may chuse whether you will begin with an eighth, or fifth, or a third; for assoon as you have taken any one of them, all the other Notes necessarily without respect of the rest of the parts, and every one orderly without mixing, keeps his proper place above the other, as you may easily discern in the following Example.

[Page] Example. 8 3 8 3 8 3 5 3 8 3 8 Treble. [...] 5 8 5 8 5 8 3 8 5 8 5 Mean. [...] 3 5 3 5 3 5 8 5 3 5 3 Tenor. [...] Bass. [...]

Let us examine only one of the Parts, and let that be the Tenor, because it stands next to the Bass. The first Note in B is a third to the Bass, which descends to the second Note of the Bass: Now look among the six figures, and when you have found the third in the upper place, you shall find under it a fifth, then take that fifth which is C next from F to B below, is a fifth descending, for which say ascending, and so you shall look for the fifth in the lowest row of the figures, above which stands a third, which [Page] is to be taken; that third stands in D; then from B to F the Bass rises a fifth, but you must say falling, because a fifth rising and a fourth falling is all one, as hath been often declared before; now a third, when the Bass falls, requires a fifth to follow it. (d) But what needs farther demonstration, when as he that knows his Cords, cannot but conceive the necessity of consequence in all these, with help of those six figures.

But let them that have not proceeded so far, take this Note with them, concerning the placing of the parts; if the upper part or Treble be an eighth, the Mean must take the next Cord under it, which is a fifth, and the Tenor the next Cord under that, which is a third: But if the Treble be a third, then the Mean must take the eighth, and the Tenor the fifth. Again, if the uppermost part stands in the fifth or twelfth, (for in respect of the Learners Ear, in the simple Concord I conclude [Page] all his compounds) then the Mean must be a tenth, and the Tenor a fifth. Moreover, all these Cords are to be seen in the Bass, and such Cords as stand above the Notes of the Bass are easily known, but such as in sight are found (e) under it, trouble the young Beginner; let him therefore know, that a third under the Bass, is a sixth above it, and if it be a greater third, it yields a lesser sixth above; if the lesser third, the greater sixth. A fourth underneath the Bass is a fifth above, and a fifth under the Bass is a fourth above it. A sixth beneath the Bass is a third above, and if it be the lesser sixth, then is the third above the greater third, and if the greater sixth underneath, then is it the lesser third above: And thus far I have digressed for the Scholars sake.

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Treb. M. Ten. Bass.

Which being prick'd in several Parts, appeareth thus: 3 8 3 5 3 8 3 5 3 Treble. [...] 8 5 8 3 8 5 8 3 8 Mean. [...] 5 3 5 8 5 3 5 8 5 Tenor. [...] Bass. [...]

[Page]If I should discover no more than this already deciphered of Counterpoint, wherein the native order of four parts with use of the Concords, is demonstratively expressed, might I be my own Judge, I had effected more in Counterpoint, than any man before me hath ever attempted, but I will yet proceed a little further. And that you may perceive how cunning and how certain nature is in all her operations, know that what Cords have held good in this ascending and descending of the Bass, answer in the contrary by the very same rule, though not so formally as the other, yet so, that much use is, and may be made of this sort of Counterpoint. To keep the figures iu your memory,

[figure]

I will here place them again, and under them plain Examples.

[Page]8 5 8 5 8 5 5 8 5 8 5 8 [...] 5 3 5 3 5 3 3 5 3 5 3 5 [...] 3 8 3 8 3 8 8 3 8 3 8 3 [...] [...]In these last Examples you may see what variety Nature offers of her self; for if in the first Rule the Notes follow not in expected formality, this second way being quite contrary to the other, affords us sufficient supply: the first and last two Notes arising and falling by degrees, are not so formal as the rest, yet thus they may be mollified, by breaking two of the first Notes.

8 5 5 8 [...] 5 3 3 5 [...] 3 8 8 3 [...] [...]How both the wayes may be mix'd together you may perceive by this example, wherein the black Notes distinguish the second way from the first.

[Page]3 5 8 [...] 5 8 3 [...] 5 8 3 [...] [...]In this example the fifth and sixth Notes of the three upper Parts are after the second way, for from the fourth Note of the Bass, which is in from G, and goeth to B, is a third rising, so that according to the first Rule, the eighth shall pass into the fifth, the fifth into a third, the third into an eighth. But here contrariwise the eighth goes into a third, the fifth into an eighth, and the third into a fifth; and by these Notes you may censure the rest of that kind. (f)

Though I may now seem to have finished all that belongs to this sort of Counterpoint, yet there remaius one scruple, that is, how the sixth may take place here, which I will [Page] also declare. Know that whensoever a sixth is requisite, as in B, or in E, or A, the Key being in Gam-vt, you may take the sixth instead of the fifth, and use the same Cord following, which you would have taken if the former Cord had been a fifth.

Example. 6 3 [...] [...] 6 3 [...] [...]The sixth in both places (the Bass rising) passes into a third, as it should have done if the sixth had been a fifth.

Moreover, if the Bass shall use a sharp, as in F sharp; then must we take the sixth of necessity, but the eighth to the Bass may not be used; so that exception is to be taken against our Rule of Counterpoint: To which I answer thus; first, such Basses are not (g) true Basses, for where a [Page] sixth is to be taken either in F sharp, or in E sharp, or in B, or in A, the true Bass is a third lower, F sharp in D, E in C, B in G, A in F; as for Example.

[...]In the first Bass two sixths are to be taken, by reason of the imperfection of the Bass wanting due latitude, the one in E, the other in F sharp; but in the second Bass the sixths are removed away, and the Musick is fuller.

Nevertheless, if any be pleased to use the Bass sharp, then instead of the eighth to the Bass, he may take the third to the Bass, in this manner.

3 [...] [...] 3 [...] [...]Here the Treble in the third Note, when it should have past in the sharp eight in F takes for it a third to the Bass in A, which causeth the Bass and Treble to rise two thirds, whereof we will speak hereafter.

Note also, that when the Bass stands in E flat, and the part that is an eighth to it must pass into a sharp, or greater third, that this passage from the flat to the sharp would be unformal; and therefore [Page] it may be thus with small alteration avoided, by removing the latter part of the Note into the third above, which though it meets in Unison with the upper part, yet it is right good, because it jumps not with the whole, but only with the last half of it.

Example. 1 2 Teble. [...] 8 3 Mean. [...] Tenor. [...] Bass. [...]

For the second Example look hereafter in the rule of thirds, but for the first Example here, if in the Mean Part the third Note that is divided, had stood till a Minum (as by rule it should) and so had past in F sharp, as it must of force be made sharp at a close, it had been then passing unformal. But if the same Bass had been set in the sharp Key, the rest of the parts would have fallen out formal of themselves without any help, as thus: [Page] Treble. [...] Mean. [...] Tenor. [...] Bass. [...]When the Bass shall stand still in one Key, as above it doth in the third Note, then the other parts may remove at their pleasure.

Moreover, it is to be observed, that in composing of the Bass, you may break it at your pleasure, without altering any of the other Parts: as for Example.

Treble. [...] Mean. [...] Tenor. [...] Bass. plain. [...] Bass. divided. [...]

[Page]One other Observation more I will handle, that doth arise out of this Example, which according to the first Rule may hold thus: Treble. [...] Mean. [...] Tenor. [...] Bass. [...]

Herein are two errours; first, in the second Notes of the Bass and Treble, where the third to the Bass ought to have been sharp; secondly, in the second and third Notes of the same Parts, where the third being a lesser third, holds while the Bass falls into a fifth, which is unelegant, (h) but if the upper third had been the greater third, the fifth had fitly follow'd, as you may see in the third and fourth Notes of the Tenor and the Bass.

[Page]There may yet be more variety afforded the Bass, by ordering the fourth Notes of the upper Parts, according to the second Rule, thus:

Example. [...] [...] [...] [...]

But that I may (as near as I can) leave nothing untouch'd concerning this kind of Counterpoint, let us now consider how two Thirds being taken together between the [Page] Treble and the Bass, may stand with our Rule. For sixths are not in this case to be mentioned, being distances so large that they can produce no formality: Besides, the sixth is of it self very imperfect, being compounded of a third, which is an imperfect Concord; and of a fourth, which is a Discord: and this the cause is, that the sixths produce so many fourths in the Inner Parts. As for the third, it being the least distance of any Concord, is therefore easily to be reduced into good order. For if the Bass and Treble do rise together in thirds, then the first Note of the Treble is regular with the other Part, but the second of it is irregular; for by rule instead of the rising third, it should fall into the eight. In like sort, if the Bass and Treble do fall two thirds, the first Note of the Treble is irregular, and is to be brought into rule by being put into the eighth, but the second Note is of it self regular. Yet whether those thirds be reduced into eights or no, you shall by supposition thereof find out the other parts, which never vary from the rule but in the sharp Bass. But let me explain my self by Example.

[Page] Example. [...] [...] [...] [...]

The first two Notes of the Treble are both thirds to the Bass, but in the second stroke the first Note of the Treble is a third, and the second, which was before a third, is made an eight, only to shew how you may find out the right Parts which are to be used when you take two thirds between the Treble and the Bass: For according to the former rule, if the Bass descends, the third then in the Treble is to pass into the eight, and the Mean must first take an eight, then a fift; and the Tenor a fift, then a third; and these are also the right and proper parts, if you return the eight of the Treble into a third again, as may appear in the first example of the Bass falling, and consequently in all the rest.

[Page]But let us proceed yet further, and suppose that the Bass should use a sharp, what is then to be done? as if thus: [...] [...] [...] [...]

If you call to mind the Rule delivered concerning the sharp Bass, you shall here by help thereof see the right parts, though you cannot bring them under the Rule: for if the first Note of the Bass had been flat, the Mean Part should have taken that, and so have descended to the fifth; but being sharp, you take for it (according to the former observation) the third to the Bass, and so rise up into the fifth. The Tenor that should take a fifth, and so fall by degrees into a third, is here forced by reason of the sharp Bass, for a fifth to take a sixth, and so leap downward into the thirds. And so much for the thirds.

Lastly, in favour of young beginners let me also add this, that the Bass intends a close as often as it riseth a fifth, third, or second, and then immediately either falls a fifth, or riseth a fourth. In like manner, if the Bass falls a fourth or second, and after falls a fi [...]th, the Bass insinuates a close, and in all these cases the part must hold, that in holding can [Page] use the fourth or eleventh, and so pass either in the third or tenth.

Thus, or thus. Thus, or thus. [...] [...] Thus, or thus. Thus, or thus. [...] [...] Thus, or thus. [...] [...]

In the Examples before set down I left out the Closes, of purpose, that the Cords might the better appear in their proper places, but this short admonition will direct any young beginner to help that want at his pleasure. And thus I end my Treatise of Counterpoint, both brief and certain, such as will open an easie way to them, that without help of a skilful Teacher endeavour to acquire the first grounds of this Art.

A short Hymn, Composed after this form of Counterpoint, to shew how well it will become any Divine or grave subject.

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[...] Lord have mercy upon me, O hear my prayers both [...] Lord have mercy u [...]on me, O hear my prayers both [...] Lord have me [...]cy u [...]on me, O hear my prayers bo [...]h [...] Lord have mercy upon me, O hear my pra [...]ers both [...] day and night, with tears pour'd forth to thee. [...] day and night, with tears pou [...]'d forth to thee. [...] day and night, with tears pour'd forth to thee. [...] day and night, wi [...]h tears pour'd forth to thee.

THE ART of DESCANT: OR Composing Musick in Parts.
PART II. Of Tones of Musick.

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OF all things that belong to the making up of a Musician, the most necessary and useful one for him is the true knowledge of the Key or Mood, or Tone, for all signifie the same thing, with the Closes belonging unto it, for there is no Tune that can have any grace or sweetness unless it be bounden within a proper Key, without running into strange Keys, which have no affinity with the Ayr of the Song. I have therefore thought good in an easie and brief discourse to endeavour to express that which many in large and obscure Volumes have made fearful to the idle Reader.

The first thing herein to be considered is the eighth, which is equally divided into a fourth, and a fifth, as thus: [Page] The8 [...] The 4. The 5.

Here you see the fourth in the upper place, and the fifth in the lower place, which is called Modus Authentus: But contrary thus: The 8 [...] The 5. The 4.

This is called Modus Plagalii, but howsoever the fourth in the eighth is placed, we must have our eye on the fifth, for that only discovers the Key, and all the Closes pertaining properly thereunto: This fifth is also divided into two thirds, sometimes the lesser third hath the upper place, and the greater third supports it below, sometimes the greater third is higher, and the lesser third rests in the lowest place: as for Example: [...] The lesser 3. The greater 3. [...] The greater 3. The lesser 3.

The lowest Note of this fifth bears the name of the Key, as if the eighth be from G to G, the fifth from G beneath to D above, G being the lowest Note of the fifth, shews that G is the Key; and if one should demand in what Key your Song is set, you must answer in Gam-vt, or G sol re vt, that is, in G.

[Page]If the compass of your Song should fall out thus: [...]

Respect not the fourth below, but look to your fift above, and the lowest Note of that fift assume for you Key, which is C, then divide that fift into its two 3ds, and so you shall find out all the closes that belong to that Key.

The main and fundamental close is in the Key it self, the second is in the upper Note of this fift, the third is in the upper Note of the lowest third, if it be the lesser third; as for example, if the Key be in G, with B flat, you may close in these three places.

[...] [...]

The first close is that which maintains the Ayr of the Key, and may be used often, the second is next to be preferr'd, and third last.

But if the Key should be in G with B sharp, then the last close being to be made in the greater or sharp third, is unproper, and therefore for variety sometime the next Key above is joyned with it, which is A, and sometimes the fourth Key, which is C. But these [Page] changes of Keys, must be done with judgement, yet I have aptly closed in the upper Note of the lowest third of the Key, the Key being in F, and the upper Note of the third standing in A, as you may perceive in this Ayr.

1 [...] [...] 2 3 [...] [...] 4 [...] [...]

In this Ayr the first Close is in the upper Note of the fifth, which from F is C, the second Close is in the upper Note of the great third, which from F is A.

But the last and final Close is in the Key it self, which is F, as it must ever be, wheresoever [Page] your Key shall stand, either in G, or C, or F, or elsewhere, the same rule of the fifth is perpetual, being divided into thirds, which can be but two ways, that is, either when the upper third is less by half a Note than the lower, or when the lower third contains the half Note, which is Mi fa, or La Fa.

If the lower third contains the half Note, it hath it either above, as La Mi Fa; La Mi being the whole Note, and Mi Fa but half so much, that is the half Note; or else when the half Note is underneath, Mi Fa Sol; Mi Fa is the half Note, and Fa Sol is the whole Note; but whether the half Note be uppermost or lowermost, if the lowest third of the fifth be the lesser third, that Key yields familiarly three closes; example of the half Note, standing in the upper place was shewed before, now I will set down the other.

[...] [...]

But for the other Keys that divide the fifth, so that it hath the less third above, and the greater underneath, they can challenge [Page] but two proper closes, one in the lowest Note of the fift, which is the fundamental Key, and the other in the uppermost Note of the same, wherein also you may close at pleasure. True it is, that the Key next above hath a great affinity with the right Key, and may therefore, as I said before, be used, as also the fourth Key above the final Key.

Examples of both in two beginnings of Songs. 1 [...] [...] 2 [...] [...]

In the first Example A is mixt with G, and in the second C is joyned with G, as you may understand by the second closes of both.

To make the Key known is most necessary in the beginning of a Song, and it is best exprest by the often using of his proper fift, and fourth, and third, rising or falling.

THE ART of DESCANT: OR Composing Musick in Parts.
PART III. Of the taking all Concords, Perfect and Imperfect.

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THe consecution of perfect Cords among themselves is easie, for who knows not that two eighths or two fifths are not to be taken rising or falling together, but a fifth may either way pass into an eight, or an eight into a fift, yet most conveniently when the one of them moves by degrees, and the other by leaps, for when both skip together the passage is less pleasant: the ways by degrees are these.

1 2 3 4 5 6 [...] [...]

[Page]The fourth way is only excepted against, where the fift rising into the eight, and in few parts it cannot well be admitted, but in Songs of many Voices it is oftentimes necessary.

The passage also of perfect Concords into imperfect, either rising or falling, by degrees or leaps, is easie, and so a Unison may pass into a lesser third, or a greater third; also into the lesser sixt, but seldom into the greater sixt. A fift passeth into the greater sixt, and into the lesser sixt; as also into the greater or lesser third; and so you must judge of their eights, for de octavis idem est judiciem; and therefore when you read an Unison, or a fift, or a third, or a sixt, know that by the simple Concords the Compounds are also meant.

Note here, that it is not good to fall with the Bass, being sharp in F, from an eight unto a sixt.

As thus: Or thus. [...] [...] But concerning imperfect Cords, because they observe not all one way in their passages, we will speak of them severally, first declaring what not harmonical doth signifie, whereof mention will be made hereafter.

Relation, or reference, or respect not harmonical, [Page] is Mi against Fa in a cross form, and it is in four Notes, when the one being considered cross with the other doth produce in the Musick a strange discord; Example will yield it more plain.

1 2 3 4 5 6 [...] [...]

The first Note of the upper parts in E la mi sharp, which being considered, or referred to the second Note of the lower part, which is E la mi, made flat by the cromatick flat sign, begets a false second, which is a harsh discord; and though these Notes sound not both together, yet in few parts they leave an offence in the ear. The second Example is the same descending; the third is from E la mi sharp in the first Note of the lower part, to the second Note in the upper part, it being flat by reason of the flat sign, and so between them they mix in the Musick a false fift; the same doth the fourth Example; but the fifth yields a false fourth, and the sixth a false fifth.

[Page]There are two kinds of Imperfect Concords, thirds or sixts, and the sixts wholly participate of the nature of the thirds; for to the lesser third, which consists but of a whole Note and half, add a fourth, and you have the lesser sixt; in like manner to the greater third that consists of two whole Notes, add a fourth, and it makes up the greater sixt; so that all the difference is still in the half Note, according to that only saying, Mi & Fa sunt tota Musica. Of these four we will now discourse, proceeding in order from the lesser to the greater.

Of the lesser or Imperfect Third.

The lesser third passeth into an unison, first by degrees, when both parts meet, then by leaps, ascending or descending when one of the parts stand still, but when both the parts leap or fall together, the passage is not allowed.

[...] Lesser 3d into the unison. Passages not allowed. [...]

[Page]Secondly, the lesser third passeth into a fift, first in degrees, when they are separated by contrary motions; then by leaps, when the lower part riseth by degrees, and the upper part descends by degrees, and thus the lesser tenth may pass into a fift. Lastly, both parts leaping, the lesser third may pass into a fift, so that the upper part doth descend by leap the distance of a lesser third. Any other way the passage of a lesser third into a fift, is disallowed.

[...] Allowed. Disallowed. [...]

In the last disallowance, which is when the upper part stands, and the lower part falls from a lesser third to a fift, many have been deceived, their ears not finding the absurdity of it; but as this way is immusical, so is the fall of the greater third in the former manner into a fift, passing harmonious; insomuch that it is elegantly, and with much grace taken in one part of a short Ayr four times, whereas had the fift been half so often taken with the lesser third falling, it would have yielded a most unpleasant harmony.

[Page] [...] 1 [...] [...] 3 4 [...] [...] [...]He that will be diligent to know, and carefull to observe the true allowances, may be bold in his Composition, & shall prove quickly ready in his sight, doing that safely and resolutely which others attempt timorously and uncertainly. But now let us proceed in the passages of the lesser third.

Thirdly, the lesser third passeth into an eight, the lower part descending by degrees, and the upper part by leaps: but very seldom when the upper part riseth by degrees, and the lower part falls by a leap.

[...] [...]Fourthly, the lesser third passeth into other Concords, as when it is continued, as in degrees it may be, but not in leaps. [Page] Also it may pass into the greater third, both by degrees and leaps, as also in the lesser sixth, if one of the parts stand still, into the great sixth it sometimes passeth, but very rarely.

1 2 3 4 [...] [...]

Lastly, add unto the rest this [...] [...] passage of the lesser third into the lesser sixt, as when the lower part riseth by degrees, and the upper part by leaps.

Of the greater or perfect Third.

The greater or perfect third being to pass into perfect Concords, first take the unison, when the parts ascend together, the higher by degree, the lower by leap; or when they meet together in a contrary motion, or when one of the parts stand still. Secondly, it passeth into a fift when one of the parts rests, as hath been declared before; or else when the parts ascend or descend together, one by degrees, the other by leaps; and so the greater tenth may pass into a fift; seldom when both parts leap together, or when they separate themselves by degrees; and this in regard [Page] of the relation not harmonical which falls in between the parts. Thirdly, the greater third passeth into the eight by contrary motions, the upper part ascending by degrees.

[...] The Vnison. The Fifth. The Eighth. [...]

The greater third may also pass into other Concords, and first into a lesser third, when the parts ascend or descend by degrees, or by the lesser leaps. Secondly, it is continued but rarely, because it falls into relation not harmonical, thereby making the harmony less pleasing. Thirdly, into a lesser sixt, when the parts part asunder, the one by degree, the other by leap. Fourthly, into a great sixt, one of the parts standing, or else the upper part falling by degree, and the lower by leap.

1 2 3 4 [...] [...]

Of the lesser Sixth.

The lesser sixt, regularly goes into the fift, [Page] one of the parts holding his place; rarely into an eight, and first when the parts ascend or descend together, and one of them proceeds by the half Note, the other by leap.

1 2 [...] [...]Howsoever the ways of rising and falling from the lesser sixth into the eight in the for [...]mer example may pass, I am sure that if the Bass be sharp in F fa vt, it is not tolerable to rise from a sixt to an eight.

[...] [...]Lastly, the lesser sixth may pass into an eight in Crotchets, for they are easily tolerated.

It passeth likewise into other Concords, as into a greater sixt, the parts rising or falling by degrees, as also in a greater or lesser third, the one part proceeding by degree, the other by leap; or when one of the parts stands. It self cannot follow, by reason of the falling in of the Relation not harmonical.

1 2 3 [...] [...]

Of the greater Sixth.

[Page]

The greater sixt in proceeding affects the eight, but it will hardly pass into the fift, unless it be in binding-wise, or when way is prepared for a Close [...] [...]

Finally, the greater sixt may in degrees be continued, or pass into a lesser sixt, as also into a greater third, or a lesser third.

[...] 1 2 3 [...]

These are the principal observations belonging to the passages of Concords, Perfect and Imperfect, in few parts; and yet in those few, for fuge and formality sake, some dispensation may be granted. But in many parts necessity enforcing, if any thing be committed contrary to rule, it may the more easily be excused, because the multitude of Parts will drown any small inconvenience.

FINIS.

THE ORDER of PERFORMING THE DIVINE SERVICE IN Cathedrals and Collegiate Chappels.

[Page]

THe Confession and Absolution being read by the Priest in one continued and solemn Tone, the Priest and the whole Quire repeat the Lords Prayer: Thus, [...] Our Father which art in Heav [...]n, &c. for ever and ever, Amen. Priest. Quire. [...] O Lord open thou our lips, And our mouth shall shew forth, &c. Priest. Quire. [...] O God make speed to save us. O Lord make hast to help us. [...] Glory be to the Father, and to the Son, and to the Holy Ghost. [...] As it was in the beginning is now, &c. world without end, Amen.

[Page]The Venite is begun by one of the Quire, then sung by Sides, abs [...]rving to make the like break or Close in the middle of ev [...]ry Verse, according as it is shorter or longer.

Sunday. [...] O [...] [...]et us sing. &c. [...]et us heartily rejoyce in the strength, &c. Monday. [...] O come [...] us sing, &c. Let us heartily rejoyce in the strength &c. Tuesday. [...] O come let us sing, &c. Let us heartily rejoyce in the strength, &c. Wednesday. [...] O come let us sing, &c. Let us heartily rejoyce in the strength, &c. Thursday. [...] O come let us sing, &c. Let us heartily rejoyce in the strength, &c. Friday [...] O come let us sing [...] &c. Let us heartily rejoyce in the strength &c. Saturday [...] O come let us sing, &c. Let us heartily rejoyce in the strength [...] &c.

A [...]ter the Psalms, a short Voluntary is performed [...]n the Organ. After [...]he first [...]sson Te Deum is sung, the Priest beginning alone, [...] We [...]aise thee O God, Then [...]he whole Quire Answer, We knowledge thee [...] &c. which is Composed usually in 4 Parts for sides, by sev [...]ral Autho [...]s: Sometimes it is su [...]g to one of [Page] th [...]se following Tunes of 4 parts with the Organ or without it. Te Deum being ended and the Second Lesson, Iubilate or Benedictus is Sung by the Quire, as they are variously Composed, or else, to one of the following Tunes of 4 parts.

These several Tunes of 4 Parts are proper for Quires to Sing the Psalms, Te Deum, Benedictus or Jubilate to the Organ, or sometime without it.

A. 4. Voc. Cante [...]bury Tune.

[...] O come let us sing, &c. Let us heartily rejoyce in the strength &c. [...] O come let us sing, &c. Let us heartily rejoyce in the strength, &c. [...] O come let us sing &c. Let us heartily rejoyce in the strength, &c. [...] O come let us sing, &c. Let us heartily rejoyce in the strength, &c.

A. 4. Voc. Imperial Tune.

[...] O come let us sing, &c. Let us heartily rejoyce in the strength &c. [...] O come [...]et us sing, &c. Let us heartily rejoyce in the strength [...] &c. [...] O come let us sing, &c. Let us hea [...]t [...]y rejo [...]ce in the s [...]reng [...]h, &c. [...] O come le [...] u [...] sing, &c. L [...]t us heartily rejoyce in the s [...]ength, &c.

These six Tunes are sung in His Majesties Chappel with the Organ to the Psalms, Te Deum, &c. Com [...]osed by Mr. John B [...]ow and Mr. William Turner, Gentlemen of His Majesties Chappel.

[Page]

A 4. Voc.

[...] O come let us sing &c. Let us heartily rejoyce in the strength, &c. [...] O come let us sing &c. Let us heartily rejoyce in the strength, &c. [...] O come let us sing, &c. Let us heartily rejoyce in the strength &c. [...] O come let us sing, &c. Let us heartily rejoyce in the strength, &c.

A 4. Voc.

[...] O come let u [...] sing, &c. Let us heartily rejoyce in the strength, &c. [...] O come let us sing [...] &c. Let us heartily rejoyce in the strength, &c. [...] O come let us sing, &c. Let us heartily rejoyce in the strength, &c. [...] O come let us sing, &c. Let us heartily rejoyce in the strength, &c.

A. 4. Voc.

[Page]

[...] O come let us sing, &c. Let us heartily rejoyce in the strength, &c. [...] O come let us sing, &c. Let us heartily rejoyce in the strength, &c. [...] O come let us sing [...] &c. Let us heartily rejoyce in the strength, &c. [...] O come let us sing, &c. Let us heartily rejoyce in the strength, &c.

A 4. Voc.

[...] O come let us sing, &c. Let us heartily rejoyce in the strength, &c. [...] O come let us sing, &c. Let us heartily rejoyce in the strength, &c. [...] O come let us sing, &c. Let us heartily rejoyce in the strength, &c. [...] O come let us sing [...] &c. Let us heartily rejoyce in the strength &c [...]

A 4. Voc.

[Page]

[...] O come let us sing, &c. Let us heartily rejoyce in the strength, &c. [...] O come let us sing, &c. Let us heartily rejoyce in the strength, &c. [...] O come let us sing &c. Let us heartily rejoyce in the strength, &c. [...] O come let us sing, &c. Let us heartily rejoyce in the strength, &c.

A 4. Voc.

[...] O come let us sing, &c. Let us heartily rejoyce in the strength, &c. [...] O come let us sing, &c. Let us heartily rej [...]yce in the strength &c. [...] O come let us sing, &c. Let us heartily rejoyce in the strength, &c. [...] O come let us sing, &c. Let us heartily rejoyce in the strength, &c [...]

[Page]The followeth the Apostles Creed, which is sung by the whole Quire in one continued solemn and grave Tone: Upon Festivals Athanasius's Creed is sung in the same Tune by sides; and sometimes it is sung to the Organ to one of the following Tunes of 4 Parts [...]

[...] Whosoever will be saved, &c. that he hold the Catholick Faith.

After which the Priest sings, [...] The Lord be with you. And with thy Spirit. Priest. Quire. [...] Let us pray, Lord have mercy upon us. Christ have mercy upon us. Priest. The whole Quire in one Tone [...] Lord have mercy upon us. Our Father which art in Heaven, &c. Priest. Quire. [...] O Lord shew thy mercy upon us. And grant us thy salvation. Priest. Quire. [...] O Lord save the King. And mercifully [...]hear us when we call, &c. Priest. Quire. [...] Indue thy Ministers with, &c. And make thy chosen people [...] &c. P [...]iest. Quire. Priest. [...] O Lord save thy people And bless thine, &c. [...] &c. [Page] Priest. Quire. [...] Because there is no other that fighteth, &c. O God make clean, &c. Quire. [...] And take not thy holy Spirit from us. After every Collect the Quire Answers [...] Amen.

Upon the usual day that the Litany is appointed to be sung, it is sung by two of the Quire in the middle of the Church, near the Bible-desk.

[...] The whole Quire answering in the same Tune. O God the Father, &c. have mery upon us miserable, &c. [...] The whole Quire answering the same. O God the Son, &c. have mercy upon us miserable, &c. [...] The Quire Answer the same. O God the holy Ghost, &c. have mercy upon us, &c. [...] The Quire Answer the same. O holy blessed and, &c. have mercy upon us, &c. Priest. Quire. Quire. [...] Remember not Lord, &c. Spare us good Lord [...] Good Lord deliver us. [Page] Quire. Quire. [...] We beseech thee to hear us good Lord. Son of God, we beseech thee, &c. Priest. Quire. [...] O Lamb of God, that takest away the sins, &c. Grant us thy peace. Priest. Quire. [...] O Lamb of God, that takest away the, &c. Have me [...]cy upon us. Priest. Quire. Priest. [...] O Christ hear us. O Christ hear us. Lord have mercy upon us. Quire. Priest. Quire. [...] Lord have mercy, &c. Christ have mercy, &c. Christ have mercy, &c. Priest. Quire. Quire. [...] Lord have mercy upon us. Lord have mercy, &c. Our Father, &c. Quire. Priest. [...] But deliver us from evil, Amen. O Lord deal not with us after, &c. Quire. Priest. Quire. [...] Neither reward us after, &c. O God merciful F [...]ther that, &c. [...] O Lo [...]d ar [...]se, &c. [Page] Priest. [...] for thy name sake. O God we have heard [...] &c. time before them. Quire. Priest. [...] O Lord arise, help, &c. for thine honour [...] Glory be to the Father, &c. Quire. [...] and to the Holy Ghost. As it was, &c. world without end, Amen. Priest. Quire. [...] From o [...]r enemies defend us O Christ. Graciously look up our, &c. Priest. Quire. [...] Pitifu [...]ly behold the sorrows, &c. Mercifully forgive the Sins, &c. Priest. Quire. Priest. [...] Favourably with mercy, &c. O Son of David, &c. Both now and Quire. Priest. [...] ever vouchsafe, &c. Graciously hear us &c. O L. Christ. O Lord let thy Quire. Priest. Quire. [...] mercy be, &c. As we do put our trust, &c. We humbly beseech [...]hee, &c. [...] Amen.

FINIS.

Musick Books Sold by John Playford at his Shop near the Temple Church.

[Page]

CAnticum Sacra, the fi [...]st Set, containing Latin Hymns for two and three Voyces to the Organ, Composed by Mr. Richard Deering, in four books, in fol. price 3 s. 6. d.

Canticum Sacra, the second Set, containing Hymns and Anthems for two Voyces to the Organ, some in Latin and some in English, Composed by Dr. Gibbons, Dr. Rogers, Mr. Ma [...] thew Lock, and others, in three books in fol. price 5 s.

Hymns and Mottets for two Voyces to the Organ, Composed by Mr. Walt. Porter, in three books, fol. price 2 s. 6 d.

The Psalms of David, Composed in four parts, as they are sung in Parish Churches, in one volume in fol. price 3 s.

An Introduction to Musick, both Vocal and Instrumental, with A Compendium o [...] the Art of Descant, or Composing Musick in parts, newly printed, and enlarged with an addition of The manner of performing Divine Service in Cathedral Churches and College Chappels, published by Iohn Playford, in octavo, price bound 2 s.

The Treasury of Musick, containing three volumes of Ayres and Dialogues, published by Mr. Henry Laws, and other Eminent Composers of Musick, for to Sing to the Theorbo or Bass-Viol, price bound 10 s.

Choice Ayres and Dialogues, to Sing to the Theorbo or Bass-Viol, being most of the newest Ayres and Songs su [...]g at Court and at the Publick Theaters, Composed by several Gentlemen of His Majesties Musick, to which in this new Edition are added many more new Songs, and also those Songs sung in the famous Play call'd the Tempest, in fol. price 3 s.

The Musical Companion, in two books, the first containing a Collection of choice Catches for three Voyces, the second containing a choice Collection of Ayres, Songs and Glees, some for two, some for three, and some for four Voyces, all bound in one volume in quarto; the price of this new Edition is 3 [...]. 6 d.

[Page] The Dancing Master, containing above 200 Country Dances, with the Tune to every Dance, and also plain and easie Rules directing the manner and way of Dancing them, price bound 2 s. 6 d.

Apollo's Banquet, containing a choice Collection of the newest Tunes, Ayres and Jiggs, for the Treble-Violin, to which is added the Tunes of French Dances used at Court and in Dancing-Schools, with Instructions for such as learn to play on the Treble-Violin, price 1 s. 6 d.

Musicks Recreation, containing a choice Collection of Lessons for the Ba [...]s-Viol Lyra-way, to variety of new Tunings, and also Instructions for the Practitioners, price 2 s. 6 d.

Musicks Handmaid, containing a Collection of new and choice Lessons for the Harpsecon or Virginals, price 2 s. 6 d.

Musicks Delight, containing new and pleasant Lessons and Instructions for the Cithren, price bound 1 s. 6 d.

The Pleasant Companion, containing variety of new Ayres and Tunes for the Flagelet, with Instructions for Learners on the same, price bound 1 s. 6 d.

Other Books.

THe Psalms of David, Translated into English Metre by the Reverend Dr. Henry King, late Lord Bishop of Chichester, according to the Measure of the common Psalms sung in Parish Churches, published for publick, or private use of Families, in octavo, price bound 2 s.

An Antidote against Melancholly, the first part, compounded of witty Ballads, Songs, Poems, and merry Catches, in octavo, price bound 2 s.

A Cabinet of Mirth, or the second part of the Antidote against Mela [...]cholly, containing a choice Collection of merry Tales, witty Jests, and ridiculous Bulls, in octavo, price bound 1 s.

Notes

*

Cou [...]terpoint, in Latin Contra punctum, was the old manner of Composing Parts together, by setting Points or Pricks one against anoth [...]r (as Minims and Semibreves are set in this following Treatise) the measure of which Points or Pricks were sung acco [...] ding to the quantity of the Words or Syllables to which they were applied. (For these Figures

[figure]

were not as yet inven [...]ed.) And, because in Plain song Musick we set Note against [...]ote, as they did point against point, thence it is, that this kind of Musick doth still r [...]tain th [...] name of Counterpoint.

↵

(a)

If the Bass do rise more than a fourth, it must be called falling: and likewise, if it fall any distance more than a fourth, that falling must be called rising.

↵

(b)

If your Bass should fall a seventh, it is but the same as if it did rise a second; or a sixth falling, is but the same of a third rising: and so on the contrary, if the Bass do rise a seventh or sixth, it is the same as though it did fall a s [...]cond or third.

↵

(c)

By their Compounds is me [...]nt their Octa [...]es, as a third and it [...] eig [...]ts, a [...]th and i [...]s [...]ig [...]ts, &c.

↵

(d)

When you have made a formal Bass, and would joyn other three parts to it, set the first Note of your Tenor either a third, fifth, or eighth, above your Bass, (which of them you please) which done, place your Mean in the next Cord you find above your Tenor, and your Treble in the next Cord above your Mean, then follow the Rule of your figures, according to the rising or falling of your B [...]ss, and the other Notes will follow in their due order.

↵

(e)

If this Discourse of Cordt under the Bass do trouble the young Beginner, let him think no more upon them (for it is not intended that he should place any Notes below the Bass) but let him look for his Cords, reckoning always from his Bass upward; which that he may more easily perform, let him draw eleven lines (which is the whole compass of the Scale) and set the three used Cliffs in their proper places; this done, he may prick his Bass in the lowest five lines, and then set the other three parts in their orderly distances above the Bass, Note against Note, as you see in this following Example.

I hav [...] proposed the former Example of the eleven lines, to lead the young beginner to a true k [...]owledge of the Scale, without which nothing can be effected; but having once got that knowledge [...] let him then compose his Musick in several parts, as be seeth in this second Example.

He [...]e I think it not a [...]ss to advertise the young Beginner, that so often as the Bass doth fall a fifth, or rise a fourth (which is all one, as hath been said) that [...] which is a third to the Bass in the antecedent Note, that third I say must always be the sharp or greater third, as was apparent in the last example of four Parts [...] in the first Notes of the second Bar in the Mean Part, and likewise in the last Note but one of the same Part; in both which places there is a [...] set to make it the greater third. The same is to be observed in what Part soever this third shall happen.

↵

(f)

When your Bass standeth still (that is to say, hath two or more Notes together in one and the same place) you may chuse whether you will make your parts do so too, or change them, as you see our Author hath done in the second Note of this present example. If you change them, you may do it either by the Rule of descendi [...]g or ascending, which you please, so you do but observe formality.

↵

(g)

He do [...]h not mean, that such Basses are bad, false, or defective, but that they have (perhaps for elegancy or variety) assumed the nature of some part for a Note or two, and so want the full latitude of a Bass in those Notes.

↵

(h)

but that scruple may be taken away by making the second Note of the Treble sharp, and instead of a fifth by removing the third Note into a sixth.

When any informality doth occu [...], the Scholar need not keep himself to the first rules of the Bass rising or falling [...] but may take such Cords as his Genius shall prom [...]t him to [...] (having a care that he take not two eighths or fif [...]hs together) rising or falling betwixt any two Parts whatsoever: 'Tis true, our Author did invent this Rule of the Figures, as the easiest way to lead the young Beginner to this kind of Composition, in which he hath done more than any that I have ever seen upon this subject; but this he did to shew the smoothest way, and not to tye his Scholar to keep strictly that way, when a block or stone should happen to lye in it, but that he may in such a case step out of this way for a Note or two, and then return again into it.

↵

Information about this book

Title statement

An introduction to the skill of musick in two books : the first, the grounds and rules of musick, according to the gam-ut, and other principles thereof, the second, instructions & lessons for the bass-viol, and instruments & lessons for the treble-violin / by John Playford ; to which is added, The art of descant, or composing musick in parts, by Dr. Tho. Campion ; with annotations thereon, by Mr. Chr. Simpson.

Playford, John, 1623-1686?

Edition statement

1674

Publication

Publisher

Text Creation Partnership,

Place of publication

Ann Arbor, MI ; Oxford (UK) :

Date

2003-01 (EEBO-TCP Phase 1).

ID [DLPS]

A55066

ID [STC]

Wing P2480

ID [STC]

ESTC R11472

ID [EEBO-CITATION]

13118854

ID [OCLC]

ocm 13118854

ID [VID]

97795

Availability

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Series

Early English books online.

Notes

(EEBO-TCP ; phase 1, no. A55066)

Transcribed from: (Early English Books Online ; image set 97795)

Images scanned from microfilm: (Early English books, 1641-1700 ; 749:16)

Source

— An introduction to the skill of musick in two books : the first, the grounds and rules of musick, according to the gam-ut, and other principles thereof, the second, instructions & lessons for the bass-viol, and instruments & lessons for the treble-violin / by John Playford ; to which is added, The art of descant, or composing musick in parts, by Dr. Tho. Campion ; with annotations thereon, by Mr. Chr. Simpson., Playford, John, 1623-1686?, Simpson, Christopher, d. 1669., Lowe, Edward, d. 1682., Campion, Thomas, 1567-1620. Art of descant.. The seventh edition, corrected and enlarged..

Extent

[15], 121, [3], 42, 10, [2] p. : ill., port., music.

Printed by W. Godbid for J. Playford ...,. London :: 1674.. (Added t.p. on p. [2] following p. 121: The art of descant.) ("Rules and directions for singing the Psalms": p. 71-89.) ("The order of performing the divine service in cathedrals and collegiate chappels" from Edward Lowe's Short direction for the performance of cathedrall service: 10 p. at end.) (Advertisement: p. [1]-[2].) (1st edition published in 1654 as "Breefe introduction to the skill of musick, for song and viall." According to Grove's Dictionary of music, but one copy of that impression is now known.) (1st edition of Campion's "Art of descant" pub. probably about 1618, under title: "A new way of making foure parts in counter-point.") (Reproduction of original in Huntington Library.)

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