The Bow.

A Viol-Bow for Division, should be stiff, but not heavy. Its Length, (betwixt the two places where the Haires are fastned at each end) about 27 Inches. The Nutt, short. The Height of it, about a Fingers bredth, or little more.

The Viol and Bow thus prepared, I must now teach you how to use them; and, in order thereto, first,

How to Hold the Viol.

Being seated, place your Viol decently betwixt your Knees, so that the lower end of it may rest upon the Calves of your Legs. Set the Soles of your Feet, flat on the Floor; your Toes turned a little outward. Let the Top of the Viol be erected towards your left Sholder; so, as it may rest in that posture, though you touch it not with your Hand.

How to Hold the Bow.

Hold the Bow betwixt the ends of your Thumb and two foremost Fingers, near to the Nutt; the Thumb and first Finger fastning upon the Stalk, and the second Fingers end turned in shorter, against the Haires thereof; by which you may poize and keep up the point of the Bow. If the second Finger have not strength enough, you may joyn the third Finger in assistance to it; but in Playing Swift Division, two Fingers and the Thumb is best in my opinion.

Holding the Bow in this posture, you may stretch out your Arm, and draw it first over one String, and then another; crossing them in right-angle at the distance of two or three Inches from the Bridge. Make each several String yield a full and cleer sound; and order your Knees so, that they be no impediment to the Motion of your Bow.

The posture of the left Hand.

When you are to set your Fingers upon the Strings, you must not grasp the Neck of your Viol like a Violin; but rather, (as those that Play on the Lute,) keep your Thumb on the back of the Neck, opposite to your Fore-finger, so, as your Hand may have liberty to remove up and down, as occasion shall re­quire.

It is supposed you understand Song, and consequently the Scale of Mufick which known, the Tuning of your Viol appears in such order as you see the Six [Page 4] Semibreves, which stand one over another in the first part of the following Scale: Where note, that all the degrees of rising above the highest of those Semibreves, are exprest on the Treble, or highest String, by Stopping it still lower and lower upon the Neck of the Viol.

[...]

When you have Tuned your Viol according to the Six Semibreves, your next business is to Play those other Notes, which you see ascend and descend by de­grees; over which I have set Figures to direct you with what Fingers to stop them; 1, 2, 3, 4, is set for first, second, third, and fourth Finger. Those which have no Figures are Play'd on the open Strings.

Observation for playing Notes upon another String.

You must know that sometimes Notes are not Play'd on Those Strings to which they seem properly to belong; but for ease or better order of Fingering, are Play'd upon some Other String; an instance whereof you have in those two Notes marked with little Stars over their Figures; which Notes are Play'd upon the second String, though a little before, Notes standing in the same places were Play'd upon the Treble: and therefore, when any difficulty shall occurre in Fingering, you must try which way the same Notes may be exprest with most ease and convenience to the Hand.

The Example before-going, was set in the whole Scale, that you might better perceive where every Rule and Space take their places upon the Viol: but those that follow, must be set down in the common way of 5 Lines; and when Notes exceed that compass, they are still reduced into 5 Lines, by setting another Cliffe.

This which follows I would have you practise; first, in a slow measure, increa­sing the quickness by degrees, as your Hand advanceth in readiness; but be sure to make all your Notes sound cleer, and full; stopping the Strings firm and hard with the very ends of your Fingers: Also, give as much Bow to every Quaver as the length of it will permit. But before you set upon it, read the two Rules which follow.

[...]

Here you must observe two general Rules; one is for Stopping the Strings; the other, for the Motion of the Bow.

A Rule for Stopping.

Which is; that when you set any Finger down, you are to let it rest there, (Playing the following Notes with other Fingers) until some occasion require the removing it. This is done, both for better order of fingering; and that the Fingers may pass more smoothly from Note to Note, without lifting them too far from the Strings; as also, to continue the sound of a Note when the Bow hath left it. Instances of these Holdings you have where you see such a Stroke as this ✓ marked for a Hold, and drawn from one, to some other distant Note. As for Example; The first four Quavers of the second Bar, have such a Mark under them; which signi­fies, that the third Finger, which stops the first of them, must be kept on, untill you have also play'd the fourth Quaver; because, in playing the two middle Quavers, there is no necessity of taking it off. The like is to be observed in the rest.

A Rule for the Motion of the Bow.

Concerning the Bow, observe; that when you see an Even number of Quavers, Semiquavers, &c. as 2, 4, 6, 8. You must begin with your Bow Forward: Yea, though the Bow were imployed Forward in the next Note before them. But, if the Number be Odd; as 3, 5, 7. (which alwayes happens by reason of some Prick-Note or odd Rest) the first of that odd Number must be play'd Back­ward. And this is most properly the Motion of the Bow; although not absolutely without exception.

When you can Play the last Example, you may practise This following.

[...]

It is now requisite your Hand be accustomed to Play Notes which ascend above the Fretts; (above I call it, in relation to Sound; being lower, as to the Neck of the Viol) to which purpose, I propose unto you the following Example; with which, I must also give you

An Observation for Fingering.

Here you may observe, that in any Point of Division which reaches to the lower Fretts, or beyond them, the Highest Note thereof is alwayes Stopt, either with the Third, or with the Fourth Finger. If with the Third; the First and Se­cond Fingers take their orderly places in Stopping the two Notes gradually ascending to it, or descending from it. If the Highest Note imploy the Fourth Finger; then the next Note under it, is Stopt, either with the Third, or with the Se­cond Finger; according as the said Under-Note is either Flat or Sharp: If Sharp; with the Third: If Flat; with the Second Finger. But whether the highest Note imploy the Third, or Fourth Finger, you may be assured that the 3^d. below it must be Stopt with the First Finger; which alwayes serves as a Guide unto those two Notes which are above it. And whereas you will see sometimes two Succes­sive Notes, Stopt one after the other, with the same Finger; it is alwayes done, [Page 6]either to prepare the Fingers to this Posture, or to remove the said Posture to some other Place. This Order of Fingering, holds good throughout the whole Finger-board, (in Stopping three Successive Notes upon any one String;) with this only difference; that, where the Stopps are Wide, (as amongst the Fretts,) the Fourth or Little Finger, is of more use, then Lower down, where the Stopps are more Contract.

As for the Posture of the Fingers, in moving from one String to another; (which for diversity of Circumstances cannot so well be reduced to Rule;) I must referre you to your Own Observation; in making use of those Fingers which offer themselves the readiest and aptest for stopping any succeeding Note.

[...]

If you find any difficulty in this Example, Play it the slower, untill your Hand shall have overcome it.

I must now apply your Hand to the Playing of quicker Notes, yet not till I have said something concerning

The Motion of the Right Arme and Wrist.

I have already told you, that you must stretch out your Arme, so, that your Bow may cross the Strings near to the Bridg: In which Posture, it is more then probable you will move your Shoulder-Joint: for, in Playing long Notes, necessity will enforce you so to do: But if you stir that Joint in Quick-Notes, it will cause your whole Body to shake; which, by all means must be avoided; as also, any other indecent Gesture. Quick Notes therefore must be exprest, by moving some Joint nearer the Hand: which is generally agreed upon to be the Wrist. The Question then arising, is about the Menage of the Elbow-Joint; concerning which, there are two different Opinions. Some will have it to be kept streight and stiff: In­somuch, that I have heard a very Eminent and Judicious Violist positively affirm, That if a Scholar can but attain to the Playing of Quavers with his Wrist, keeping his Arme streight and stiff in the Elbow; he hath got the Mastery of the Bow-Hand. Others contend, that the Motion of the Wrist must be strengthned, and assisted by a Compliance or Yielding of the Elbow-Joint unto it: and they, to back their Ar­gument, produce, for Instance, aMr. Daniel [...]orcome. Person, Famous for the Excellency of the Bow-Hand, using a Free and Loose Arme. To deliver my own Opinion, I do much approve the streightness of the Arme; especially in Beginners; because, it is a means to keep the Body upright, which is a commendable Posture. I can also ad­mit the stiffness of the Elbow, in Smooth Division; for which it is most properly apt: But Cross, and Skipping Division, cannot (I think) be Well exprest, with­out some Consent or Yielding of the Elbow-Joint unto the Motion of the Wrist.

How to gain the Motion of the Wrist.

The best way I can advise you, is (upon moving the Bow Forward, and Back­ward) to carry the Hand, To, and Fro, a little beyond the Motion of the Arm; in such manner, that the Arme Returning, shall (as it were) Draw the Hand after it. When you can do this in Longer Notes, you may Practice it in shorter, by degrees; a little Exercise will effect it.

I will set your next Example in C-fa-ut, with the Lowest String put down a Note, to make it a Sub-Octave thereunto; as we commonly do, when we Play in that Key. And as I have formerly admonished you to Practice your Examples, first Slow, and then Faster, by degrees; that admonition is most requisite in Playing Swift Division; where you must also have a Care, that the Motion of your Bow, and Fingers, do equally answer one another; Bearing your Bow mode­rately upon the Strings, at a convenient distance from the Point thereof; by which means, you shall make your swiftest Notes more distinguishable: A thing, in which many fail; either through want of a due compliance of the Bow to the Strings; or by not exactly crossing them at a right distance from the Bridge; or else; by Playing too near the Point of the Bow; which Errors I note, that you may avoid them.

[...]

I have added a little Peece at the end of this Example, as an Exception against the Rule of Beginning every Even Number, Forward:Exception. (mentioned Page 5.) in which the Quickness of Motion doth not admit a Change of the Bow; But you must Play them (as necessity will enforce you) some Forward, and some Backward. Also quick Notes, Skipping from the Treble to the Bass, and so pursued; are best exprest with Contrary Bowes.

The Motion of the Bow in Double Stopps.

Here take Notice, that when 2, 3. or more Notes stand One over Another (as you have in two places of the last Example;) they must be played as One; by sliding the Bow over those Strings which express the sound of the said Notes. Now, There they fell out so, as to be Played by putting the Bow forward; which is the usuall way, when there comes but one of them by it self. But if there happen divers of them successively (as in the Passages next following,) then, each other of them must, of necessity, be Played by drawing the Bow back: But whe­ther Back, or Forward, be sure alwayes to hitt the Lowest String First; and let the Bow slide from it to the highest, touching the middle Notes in it's Passage be­twixt them.

[...]

The Figures, for more convenience, are here set before the Notes; where mark, that where you have this Figure [1] set before 2, 3. or more Notes in one Stop; the First Finger must be lay'd streight over all the said Notes. In which, as also in all double Stops, the Posture of the Left-Hand is the same as if you Play'd upon a Theorbo, or the Lute in its Old Tuning.

I will set you one Example more, and then I have done, as farre as concerns exercising the Hand for Division.

[...]

When you have practised these Examples according to the Instructions given, you may then, for variety, look upon some of those Divisions adjoyned to this Book: Amongst which some are easie made purposely for Learners; others of them re­quire the Hands of a good Proficient. And because in those (as also in other men's Divisions) you will meet sometimes with Tripla's of divers sorts, I think it not amiss to speak of them in this Place.

Of Tripla's.

Sometimes the Grounds themselves are Tripla-Time; consisting (usually) either of three Semibreves, or three Minims, or three Crochets to a Measure. Some­times [Page 9]you may meet with a Tripla upon a Tripla; as for instance, when, upon a Ground consisting of three Minims to a Measure, each Minim is divided into three Crochets, six Quavers, or the like.

Again; in Divisions upon Grounds of the Common-Time, containing two Mi­nims to a Measure, you will meet, now and then, with divers Tripla's: as, some­times three Crochets to a Minim, producing six Quavers, twelve Semiquavers, &c. Sometimes three Quavers to a Crochet, and sometimes also, three Semiquavers to a Quaver: The Measure of all which will not be hard to find out, where the Quantity of each Semibreve is scored out with Barres.

It now remains, that in directing the Hand, I speak something concerning the Graceing of Notes. And though it be a thing which depends much upon Humour, and Imitation, yet I will try how farre it may be delivered in Words, and Ex­amples.

Of Graceing Notes.

Graceing of Notes is performed two Wayes; viz. by the Bow, and by the Fingers. By the Bow; as when we Play lowd, or soft, according to our Fancy,Graces done with the Bow.or the Humour of the Musick. Again; this lowd, and soft, is sometimes exprest in One and the same Note; as when we make it soft in the beginning, and then (as it were) swell, or grow lowder, towards the middle, or ending. Some also af­fect a kind of Shake or Tremble with the Bow, like the shaking Stop of an Or­gan: but the frequent use thereof (in my opinion) is not commendable. To these may be added, that of Playing 2, 3. or more Notes with one Motion of the Bow, which would not have that Grace, or Ornament, if they were Played se­verally.

Graces done with the Fingers, are of two sorts: viz. smooth, and shaked. Smooth Graces. Smooth is, when in rising, or falling, a Tone, or Semitone, we seem to draw as it were, the Sound from one Note to another, in imitation of the Voice; and is ex­pressed by setting down, or taking off the Finger, a little after the touch of the Bow. In ascending, it makes that Grace which we call a Plain-Beat or Rise; Plain-Beat, Backfall. in descending, that called a Backfall.

Sometimes a Note is graced by sliding to it from the Third below, called an Elevation, now something obsolete. Sometimes from the Third above; Elevation. Double Backfall which we call a Double Backfall. This sliding a Third, up, or down, is alwayes done upon one String. Again; a Note is sometimes graced by joyning part of its sound to the Note following; like a Prickt-Crochet: whose following Quaver is Placed with the ensuing Note, but Played with the same Bow of his Prickt-Crochet: This we will call a Cadent. There is yet another plain or smooth Grace, called a Spinger, Cadent. Spinger.which concludeth the found of a Note more acute, by clapping down another Finger just at the expiring of it.

Shaked Graces.

The other sort of Graces is done by the Shake, or Tremble of a Finger;Close shake. of which, there are two kinds: viz. Close, and Open. Close, is that when wee shake a Finger as close and near to that which stoppeth as may be; touching the String, therewith, so gently, and nicely, as to make no Variation of Tone: This may be used where no other Grace is concerned. Open is,Open­shake. when a Fin­ger is shaked in that distance from whence it was removed, or is to be set down; supposing the distance exceed not the wideness of a whole Tone, or two Fretts; for wider then that we never shake.

Graces made with open Shakes are these. A Beat; a Backfall; an Elevation; Shaked Beat. a Cadent: and double Relish. The Beat is the same in Nature with the Plain-Beat or Rise; the difference, only a short shake of a Finger, before we fix it upon the Place designed. This, as also the Plain-Beat, is commonly made from the Half-Note, or distance of one Frett. The shaked Backfall is likewise the same in Na­ture with the Plain Backfall, the difference only a shake of the Finger taken off;Shaked Backfall,which must be done in that wideness whence it was removed. How an Elevation, [Page 10]Cadent, and double Relish, imploy an open Shake, will better appear in their Ex­amples. To these may be added the Grappo, Trillo, or any other movement of the Voice, imitated on the Viol, by Playing the like moving Notes with one Mo­tion of the Bow.

The Markes of these Graces, applyed to their proper Notes, and their Explica­tions, are as you see following. Exp. is set for Explication. Those Notes which have an Arch, or Stroke, set under, or over them, are Play'd with one Motion of the Bow.

[...] Beat. exp: Backfall exp: Double-Backfall exp: esevation. exp Spinger. exp: Cadent. exp: Backfall Shaked exp: Shaked Graces Close Shake. exp: Shaked Beat. exp: elevation exp: Cadent. exp: Double Relish exp: or thus: exp: For these, I am obliged to the ever famous Charles Colman Doctor in Musick

Of these, some are more rough and Masculine; as, your shaked Beats and Backfals; and therefore more peculiar to the Basse. Others more smooth and fe­minine; as, your Close-shake and Plain-Graces, which are more natural to the Treble, or upper Parts. Yet when we would express Life, Courage, or Chear­fulness, upon the Treble, we do frequently use both shaked Beats and Backfals: as, on the contrary, smooth and swelling Notes, when we would express Love, Sor­row, Compassion, or the Like; and this, not only on the Treble, but some­times also upon the Basse. And all these are concerned in our Division-Viol, as imploying the whole Compass of the Scale, and acting by turns all the Parts therein contained.

The Hand being thus directed, we will now proceed to the Concords of Musick. Not that I make it here my business to treat of all that belongs to the Art of Composing, (a Subject upon-which so many Volumes have been writ) but in assistance to such as be ignorant therein: to shew, at least some Rudiments there­of, necessary to be known in Order to our following Discourse: which (perhaps) I shall deliver in a Method more easie then my Reader shall find in other Authors.

Of the Concords in Musick: with an easie Way of Joyning Parts together.

Although our Excellent Countryman Mr. Morley, in his Introduction to Musick, doth take his Sight, and reckon his Concords from the Tenor, as the Holding Part to which he, and the Musicians of former Times were accustomed to apply their Descant; in order to the Gregorian Musick of the Church: yet here, for bet­ter Reasons, (as to our present Purpose) I must propose unto you the Basse, as [Page 11]the Ground-Work, or Foundation upon which the other Parts are to be erected;The Basse is the foundation.and from which, we must reckon or measure those distances, in the Scale of Mu­sick, called Cencords, and Discords. Concords are, a Third, a Fifth, a Sixth, an Eighth; (by these, I mean also their Octaves.) An Unison I do not mention, because it hath no difference of Tone, but bears the same relation to Concords, as Unity doth to Numbers. All other Distances; as a Second, Fourth, Seventh, and their Octaves (Computing from the Bass) are Discords. Of Concords, two are Per­fect; viz. a Fifth, and an Fighth. The other two, Imperfect; to wit, a Third,Eighth & Fifth are Perfect Concords. Third and Sixth Im­perfect. Two Per­fects of the same kind not allowed, the Parts rising or falling to­gether.and a Sixth. Why this, or that, is called Perfect, or Imperfect, is a dispute which doth not here concern us, the use of them being now our Business. And this to a Beginner, is best delivered in Counterpoint; that is, setting and comparing Note against Note. In order to which you must first know, that two Perfects of the same kind, as two Fifths, or two Eighths, are not allowed in Musick, unless when the Notes keep still their places.

Example.

[...]5 5 5 5 8 8 8 8 5 5 5 8 8 Not allowed, not allowed, allowed, allowed.

But you may pass from a Fifth to an Eighth, or from an Eighth to a Fifth, when you please: provided, that one of the Parts, either keep still its place, or remove but one degree; for if both Parts skip together, the Passage is less plea­sing.

As for Thirds and Sixts, which are Imperfect Concords, two, three or more of them, rising or falling together is no Soloecisme in Musick. In fine, you have liberty to pass from any one, to any other different Concord, so you avoid Rela­tion not Harmonical; that is, a harsh and unpleasing Reflection of Flat against Sharp.

Next; you must know, that every Composition in Musick, be it long or short,Concer­ning the Key, Tone, or Mood.is designed to some one Key, Mood, or Tone, in which the Basse doth alwayes con­clude. This Key, or Tone, is said to be either Flat, or Sharp, in respect of the lesser or greater Third taking its place immediately above it. As for Example, suppose the Key to be in G, with a b Flat in B. Then I say, it is a flat Key; because from G to b Flat is the lesser Third. But if there be no such b Flat standing in B, it is then the greater Third, and called a sharp Key. And so you may conceive of the Key, in any other place of the Scale.

Now as the Basse is set in a flat, or sharp Key, so must all the other upper Parts; for by Key or Tone, is meant, not only that wherein the Basse doth end, but all the Octaves to it.

These things known,How to frame the Basse. I would have you prick down some short Basse or Ground; concerning which, take these Advertisements. First, that it be natural to the Key; making its middle Closes, (if it have any) in those Keys which have affi­nity with the final Key. Such are the Fifth and flat Third above it. If the Key be set with a sharp Third, (which, of it self, is not very proper for a middle Close) you may in stead thereof, make use of the Fourth or Second above the fi­nal Key.

Example.

[...] Key flat Fifth. Third. Key sharp. Fifth. Fourth. Second.

Secondly that your Basse do move, for the most part, by leaps of a Third, Fourth, or Fifth; using degrees no more then to keep it within the proper bounds and Ayre of the Key. Lastly that for more ease, you make choice of a flat Key to be­gin with; and avoid setting sharp Notes in it, for some reasons which shall appear hereafter.

Let this short Bass serve you as an Example, which hath a middle Close in B the Flat Third to the Key.

Example.

[...] Third.

Having prickt a Bass in this Manner, you may joyn a Treble thereto, by setting a Third, Fifth, or Eighth over each Note of the Bass. As for the Sixth (pro­perly belonging to sharp Notes) I shall speak of it by and by.How to frame the Treble. Now, as the proper movement of the Bass, (in Counterpoint) is, for the most part, by Leaps, as be­fore mentioned, so the Natural Progression of the Treble is, a rising and falling by degrees; and therefore when you have set a Third, Fifth, or Eighth, over the first Note of the Bass; you may then take for your next (and so from one to another) that Concord) which affords the nearest compliance to that Movement by degrees, thus:

Example.

[...]3 5 3 5 3 5 3 5 8

If you set a Figure under every Note as you Prick it, to signifie what Concord it is to the Bass, (as you here see them) it will be some ease to your Eye, and Memory.

Here take Notice, that in few Parts, Imperfect Concords are more delightfull then Perfect: as affording more variety, and not satiating or cloying the Eare so much as the multiplicity of Perfects do. Hence it proceeds, that in two Parts, we seldome use an Eighth, unless to the Beginning-Note: Ending Note; some Ca­dent-Note; or when the Parts proceed in contrary Motion; that is, one rising and the other falling.

When you are perfect in setting a Treble to your Bass, you may adde to them a third Part;Composi­tion of three Parts. as for Instance, an Alt; whose proper Region is next under the Tre­ble; and therefore I would have you set it (Note for Note) in those Concords which are the nearest thereto. Provided that, if you intend your Composition for no more then three Parts, one of the two upper Parts be still a Third to the Bass: for the reason above mentioned.

Example.

[...]3 5 3 5 3 5 5 3 5 8 8 3 8 3 8 3 3 8 3 8

I have made the Treble and Alt both of them end in the Eighth to the Bass; which in my opinion, is better (the Key being flat) then to have the Treble end in the sharp Third; that Concord being more proper to some inward Part, at a Conclusion.

As for those two Notes you see made sharp in the Alt; take this observation: that when the Bass rises a Fourth, or fals a Fifth; it commonly requires the sharp or greater Third, to that Note from which it so riseth, or falleth.

Being Perfect and ready in Composing three Parts; you may try how you can adde to them a Fourth, which now remains to be the Tenor; concerning which, these things are to be observed.Composi­tion of four Parts (1) That it be set (as much as may be) in Concords different from the other two upper Parts. (2) That it be set as near as you can, to the Alt; for the Melody is best, when the upper Parts are joyned close together. (3) That you avoid the Consecution of two Fifths, or two Eighths rising or falling together; as well amongst the upper Parts themselves, as betwixt any one Part and the Basse. All which is at once performed, by taking the Next Concord (Note for Note) which you find under the Alt, Thus:

Example.

[...]3 5 3 5 3 5 5 3 5 8 8 3 8 3 8 3 3 8 3 8 5 8 5 8 5 8 8 5 8 3

I have broken the last Note but one, of the Alt, into two Crochets, and joyned one of them to the Note before it; making it, by that means, a Bin­ding Cadence: which you may imitate, upon the like Notes, in that Part alwayes which bears the Sharp or greater Third to the Basse, in the next Note before any Close.

Here you see Three Concords, viz. a Third, Fifth and Eighth, interchangeably imployed by the Three Upper Parts. And, though for ease, and orders sake, I shewed you, first, how to joyn One Part to your Basse; then Two; and lastly, Three Parts; by setting, and adding one Part after another: Yet, now it is left to your liberty, (when you intend your Composition, at first, for three or four Parts,) to carry on all your upper Parts together; disposing them into these three Concords as you shall think most convenient. It is no matter which of the upper Parts im­ploy the Third, so any one of them have it. And this is as much as I think ne­cessary, for joyning so many Parts together as have been here mentioned; such,Concern­ing a Sixth, and what Notes in the Basse I mean, as wherein a Sixth is not concerned. But if your Bass have sharp Notes in it (such are commonly the half Note under the Key; the greater Third above it: and sometimes also, the less Third under it; Such Notes, I say, standing in these [Page 14]Places, do commonly require a Sixth to be joyned to them, as you here see them.

Example.

[...]3 6 3 3 3 3 8 3 5 8 8 3 3 8 8 6 5 8 3 8 5 8 6 5 5 3 3 5 8 3

Here you have three Notes in the Basse, which require the lesser Sixth to be ioyned to them. The first in E, (the lesser Third under the Key) whose Sixth is in the Treble. The second in F Z (the half Note under the Key) whose Sixth is in the Tenor. The third in B sharp (the grea­ter Third above the Key) whose Sixth is in the Alt. Concerning which, these things may be Noted. (1) That when the Sixth is used, the Fifth must be left out; for, a Fifth and Sixth, must not sound together in Counterpoint. (2) That the half Note under the Key, doth hardly admit an Eighth to be joyned to it, without offence to a criticall Eare; and therefore have I put two Parts into one and the same Third, as you see in the first Barre, ra­ther then have any Part to Sound in the Eighth to that sharp Note in F. 3) That Basses consisting much of Notes requiring a Sixth, are more apt for few, then for many Parts. (4) That the Basse, in such kind of Notes, doth want a Third of its full Latitude or Compass, as is evident in this; that if you do but remove the said Notes a Third lower, the Sixths are changed into Eighths, and the other two Concords, viz. Third, and Fifth, take their accustomed Places, as you may see in the following Example.

Example.

[...]3 8 5 3 3 5 8 3 5 3 8 5 3 8 8 8 5 8 3 8 5 3 8 5 5 3 3 5 8 5

And thus you see how Sixths may be avoided, in case, at any time, one de­sire it.

Likewise, you may ob­serve, that seeing a Fifth, and Sixth, are never used toge­ther, in Counterpoint; it fol­lows consequently, that there can be but Three se­verall Concords, (which, commonly are, a Third, Fifth, and Eighth) joyned, at once, to the Basse. And therefore, if you would Compose more Parts then four; (as 5, 6, 7, or 8.) it must be done, by redoubling these Concords in their Octaves; and making them pass into different Changes, (where need requires,) to avoid the Consecution of Fifths, or Eighths, Rising, or Falling together.

Having given you these generall Notions of the Concords; I will now let you see

The use of Discords.

Discords, are two Wayes admitted into Musick. First, in Diminution: that is,Use of Dis­cords in Diminuti­on,when 2, 3, 4. or more Notes of one Part, are set against One Note of a different Part; as thus;

Example.

[...]5 4 6 5 6 5 6 5 4 3 3 4 5 6 3 4 3 4 5 6 3 4 6 5 4 5 3

Where you may perceive; that, if One Part move by degrees, whilest the Other keeps still its place; the moving Part, must, of necessity, passe (sometimes) through Discords, as well as Concords. In which way of passing, a Discord may be allowed in any Note of the Diminution, except the Leading Note, which must alwayes be a Concord.

The other Way, in which Discords, are not only allowed,Use of Dis­cords in Syncopati­on, or Bin­ding. but of most excellent use, is in Syncopation, or Binding: that is; when a Note of One Part, ends, and breaks off, upon the middle of some Note of a different Part; as you may see in these Examples.

Syncopation in two Parts.

[...]8 7 6 6 5 4 3 4 6 7 6 8 3 4 3 4 3 4 3 2 3 8 3 2 3 2323 2 3 4 6 43 8 5676 7676 76765 4 3 8 3 4 3 43238 8 7 6 5 5 3656 7 65 4 3 8

Syncopation in three Parts.

[...]5 6 7 6 8 5 6765 7 6 8 3 65 365 365 4 3 8 5656 5656 7 6 5 8 323 3 3 3 4 3 3 3 3 3 843 843 8438 3 33 3 434 3 4 3 8

In this way of Binding, a Discord may be applyed to the First Part of any Note of the Basse; if the other Part of the Binding-Note did sound in Concord to that which went before.

Discords thus admitted; we are next to consider, how they are brought off; to render them delightfull to the Eare; for, simply, of themselves, they are harsh, and displeasing; and introduced into Musick, upon the accompt of Variety; Or, by striking the Sense with a disproportionate Sound, to beget attention to that which follows; to the hearing of which, the Eare is carried on, (as it were,) by a neces­sary Expectation. This Winding or Bringing a Discord off, in Binding-Musick, is al­wayes best effected, by changing from thence into some Imperfect Concord; to which,How Dis­cords are to be brought [...] in Bin­ding. more sweetness is added by the Discord going before. Yet here, the Eare is not fully satisfied, untill, at last, these Discords, and their Succeeding Imperfect Concords, arrive at One more Perfect; where, as at a Period, we understand the Sence of that which went before.

Now; the Rule to be observed in passing from Discords, to Imperfects, is this; That we alwayes deflect to that which is nearest, rather then to one more remote. Which Rule, holds good also, in passing from Imperfects to those more Perfect. Thence it is, (asIn his Compendi­um of Mu­sick. Des-Cartes ingeniously observes, that the greater Sixth passes more naturally into an Eighth: the lesser Sixth, into a Fifth. This little remove, by a Tone, or Semitone, connects, and makes smooth the Aire of the Musick, in pas­sing from one Concord to another, which, by a greater remove, would often seem disjoynted.

Here I must not omit a Discord, not yet mentioned, which is, a Tritone, or Greater Fourth; as also a Semidiapente, or defective Fifth; (both which are but the same thing in proportion of Sound, though they appear different to the Eye;) of all Discords, A Tritone, and Semi­diapente. the most Noble, and of most excellent Use in Musick. For, though the common Fourth be a Consonant by accident, insomuch that four Voyces can­not be ioyned in Concordance, without admitting it, betwixt some two of the up­per Parts; yet a Greater Fourth, or Defective Fifth, hath this priviledge above it, (perhaps by its near Vicinity to a perfect Fifth,) as to be joyned, sometimes, to the Basse, without Syncope, or Binding; which is not allowed to any other Discord. Its naturall Passage, when it appears as a Fourth, is, into a Sixth; and into a Third, when it appears like a Fifth in this manner.

Example.

[...] Tritone. Semidiapente.

Here take notice, that a defective Fifth, doth, naturally require a Sixth to be joyned with it; as you see set in its Example: which, perhaps, may seem a contradiction to what I delivered, (Page 14.) that a Fifth, and Sixth, must not sound together; that is, as Concords, set without Binding: but here, the Fifth is set as a Discord, bound in with a Sixth, and brought off with a Third. For (as I said before) there can be but three Concords positively joyned at once to the Basse: which are alwayes (except when a Sixth takes place) a Third, Fifth, and Eighth. And therefore, if a Hundred, or Hundred Thousand Voyces should be joyned together, in Musicall Concordance; they must all sound in these Three Concords, or in their Octaves; which is still but the same Species.

And here I cannot choose but wonder,Reflections upon the Concords of Musick. even to amazement; that from no more then Three Concords, and a few intervening Discords; there should proceed such an infinite Variety; as all the Musick that ever hath, or shall be composed, in Concor­dance [Page 17]of diverse Parts. This puts me upon a Consideration of the Seven Graduall Sounds, or Tones; from whose various Positions, and Intermixtures, those Concords, and Discords do arise. These Graduall Sounds are distinguished in the Scale of Mu­sick, by the same Seven Letters, which in the Calender distinguish the Seven Dayes of the Week: to either of which, the adding of more, is but a rendering of the same again. This Mysterious Number of Seven leads me into a Contemplation of the Universe; Whose Creation is delivered unto our Capacity, not without some Mystery, as begun and finished in Seven Dayes. Within the Circumference where­of be Seven Great Bodies in continuall Motion (chuse whether you will have the Sun, or Earth to be the Fixed Center) producing still New and Various Figures, according to their diverse Positions One to Another.

When with these I compare my Seven Graduall Sounds, I cannot but also admire the Resemblance of Their Harmonies: the Concords of the One so exactly answering to the Aspects of the Other; as an Unison, to a Conjunction; an Octave, to an Opposition; the Middle Consonants in a Diapason, to the Middle Aspects in an Orb; as a Third, Fifth, Sixth in Musick, to a Trinc, Quartile, Sextile in the Zodiack. And as These by moving into Such and Such Aspects, transmit their Influences into Elementary Bodies; so Those by passing into Such and Such Concords, Transmit into the Eare an Inslu­ence of Sound, which doth not only strike the Sense, but even affects the very Soule, stirring it up to a devout Contemplation of that Divine PRINCIPLE, from whence all Harmony proceeds; and therefore very fitly applyed to Sing and Sound forth his Glory and Praise.

When I further consider, that taking any One Sound, if you joyn thereto Ano­ther, a Third above it; and then place Another, a Third above that also; these Three thus conjoyned and Sounding together, do Constitute One entire Harmony, which Governs and Comprises all the Sounds, which by Art, or Imagination, can at once be joyned together in Musicall Concordance: This I cannot but think a Signifi­cant Embleme of that Supreme, and Incomprehensible Three in One, Govern­ing, Comprising, and Disposing the whole Machine of the World, with all its included Parts in a Perfect Harmony.

I insist not upon things of common observation; as, that a String being Struck, the like String of Another Instrument Tuned in Concordance to it, should also Sound and move; or that the Sound of a Sackbut, Trumpet, or like extended Tube, should by a stronger emissi [...]on of the Breath, Skip from Concord to Concord, be­fore you can force it into any Gradation of Tones, &c. What I have already men­tioned, is enough to perswade me, that in the Harmony of Sounds, there is some great and hidden Mystery above what I find delivered.

The precedent Discourse of the Concords of MƲSICK, and their Analogie to the Aspects of the Planets, Illustrated in the following SCHEME.

WHere, you have the Seven Graduall Sounds, in their orderly Progression, represented on the Diameter-Line. Ʋpon which is also described a Diapason, with its included Conso­nants; according to the Arithmeticall Division thereof; as experimen­tally found upon a Monochord, or the String of any Instrument. The outmost Circle represents the Zodiack, and the Aspects of the Planets; to which you see the Diapason, with its Intersections, exactly agreeing; as, viz. the two Terms thereof, to a Conjunction, and Opposition. The Middle Section (which generates a 5^th. on One side, and a 4^th. on the Other) to □. A 3^d. and a 6^th. compleating also the Compass of an Octave; as a △, and ⚹, do a Semicircle; or the two opposite Points in an Orbe. To which may be added, that a Diapason, consisting of Twelve Semitones; doth also answer the Zodiack, divided into Twelve Signes.

The other Figure shews, that all the Sounds, that can possibly be joyned, at once, together, in Musicall Concordance; are still but the Re­iterated Harmony of Three.

I could be glad, if these my Reflections upon the Concords of Mu­sick, might occasion a deeper search into the Theory and Mystery of Sounds. However; let me commend unto you (if you be not ver­sed therein already) the Practicall use of the said Concords, in joyn­ing Parts together, according to the Instructions I have given; by which means, you will become more perfect in the Scale, more knowing in Composition, and consequently more capable of that which follows in the Second Part.

Of Division to a Ground, and the Manner of performing it.

DIminution, or Division to a Ground, is the Concordance of quick and slow Notes. The manner of expressing it is thus. A Ground, Subject, or Basse, (call it which you please,) is prickt down in two seve­rall Papers: One, for him who is to Play the Ground (upon an Or­gan, Harpsecord, or what other Instrument may be apt for that pur­pose;) the Other, for him who Playes upon the Viol: who, ha­ving the said Ground before his Eye; (as his Theme, or Subject;) Playes such va­riety of Descant, and Division, thereupon; as his Skill, and present Invention, do then suggest unto him. In this Manner of Play, (which is the Perfection of the Viol, or any other Instrument; if it be exactly performed;) a Man may shew, the dexterity, and excellency, both, of his Hand, and Invention; to the Delight, and Admiration, of those that hear him.

But this, you will say, is a Perfection, which few attain unto; depending, upon the quickness of Invention, as well as quickness of Hand. I answer; it is a Perfecti­on, which some excellent Hands, have not attained unto; as wanting those Helps which should lead them to it: The supply of which want, is the business we here endevour. True it is, that Invention is a guift of Nature: but much improved by Exercise, and Practice. He, that hath it not, in so high a Measure, as to Play Extempore to a Ground; may, notwithstanding, give both himself, and hea­rers, sufficient satisfaction, in Playing such Divisions, as Himself, or Others, have made for that purpose. In the performance whereof, he may deserve the Name of an Excellent Artist. For here, the Excellency of Hand, may be shewed, as well, as in the Other; and the Musick, perhaps better; though lesse to be admi­red, as being more studied. But to our matter in hand.

The Instrument we here propose, is the Basse-Viol, accomodated as mentioned (Page 1.) The Compasse whereof, extends, from a Fourth, or Fifth below Gam­ut, to as much above Ela. In Playing to a Ground, we exercise this whole Com­pass; acting therein, sometimes a Basse; sometimes a Treble, or some other Part. From hence proceed Two Kinds of Division. Viz. Three sorts of Division expressed on the Vi­ol. viz. Breaking the Ground Descan­ting upon it, and Mixture of these together. What Breaking the Ground is. Five wayes of Breaking a Note. A Breaking the Ground, and a Descanting upon it. Out of which Two; is generated a Third Sort of Division: to wit, a Mixture of those One with the Other; which Third, or last Sort, is expressed, in a two fold manner: that is; either in single, or in double Notes.

These severall sorts of Division, are used upon the Basse-Viol, very promiscuous­ly: according to the Fancy of the Player, or Composer: howbeit, for Order, and Method's sake, I must discourse of them severally: and will begin with that

Of Breaking the Ground.

Breaking the Ground, is the dividing its Notes into more diminute Notes: As for Example; a Semibreve may be broken, into Two Minims, Four Crochets, Eight Quavers, Sixteen Semiquavers, &c. This Breaking, or Dividing a Note, admits Diverse Wayes of expression: according to the diverse ordering, and disposing, the Minute Parts thereof, as

First;First way. when there is made no Variation of Sound; by reason of the Minutes standing still in the same Place; or Removing into the Octave, which I accompt but the same Sound; as you see in breaking this Semibreve.

Example.

[...]

Secondly;Second way. when the Sound is varied, and yet the Ayre retained; either by a quick return, or keeping near, to the place of the Note divided; as thus,

Example.

[...]

Thirdly,Third way. when those Minutes, are imployed, in making a Transition to the en­suing Note; commonly called the Breaking one Note to another: as you see in these following Examples; where Notes are broken, to all the severall distances in an Octave; both ascending, and descending.

Example.

[...] Third Fourth Fifth Sixth Seventh Eighth Second Third Fourth Fifth Sixth Seventh Eighth Second Third Fourth Fifth Sixth Seventh Eighth Descending Second Third Fourth Fifth Sixth Seventh Eighth

[...]

I have set some of these Examples, in higher Clifts; because, this breaking a Note, by way of Transition, holds good, in higher Parts, as well, as in the Basse.

Fourthly; when the Minutes, into which a Note is broken, are imployed,Fourth way. in Skipping from One Concord to Another; as you see in breaking these four Semi­breves.

Example.

[...]853 468 8 5 6 3 5 8 5 3 468 8 5 3

Fifthly; when the said Minutes, Fifth way. make a Graduall Transition into some of the Concords; (which is effected, by making 3, 4. or more of them, ascend to the said Concord, by degrees;) returning from thence, either, to end in the Sound of theHolding-Note, Standing-Note, Ground-Note, and Note divi­ded are the same. Holding-Note, or else, passing on to meet the Note following. And though this moving into the Concords, be the very same with Descant-Division, so long as it is in that Motion; yet, in regard of its returning, either to its Own Note, or to meet the Next Note, in Nature of a Basse, we must here rank it under the Name, and Notion of Breaking the Ground. The manner of it you may see in these Instan­ces.

[...] These pass up to the 3.^d These to the 5.^th These to the 8. ^th These to a 3.^d higher These to a 5.^th higher. These to a 3.^d These to a 5.^th These to an 8.^th These to a 3.^d higher These pass to the 4.^th below These to a 6.^th below These to the 8.^th below These into Concords both above and below.

In this Fifth, and Last way of Breaking a Note, consisteth the chief Mystery of Playing, or Making Division to a Ground: which may be referred to these two Heads. (1) That it be Harmonious to the Holding Note. (2) And, that it come off so, as to Meet the beginning of the Next Note, in a smooth and naturall Pas­sage. How it is made Harmonious to the Holding Note, How Divi­sion is made har­monious to the Hol­ding-Note of the Ground. was shewed in the prece­dent Example: to wit; by Passing into its Concords. True it is, that Division doth sometime pass into a Discord, as the proper place designed; as you see in these two Instances:

[...] This passes into a 4.^th This into a 7.^th

But, this is done, upon the same accompt, that the very same Discords are used in other Composition.

As for bringing the Division off,How Divi­sion is brought off to Meet the next Note of the Ground. to Meet the beginning of the Next Note, it is done much after the same Manner, as passing into Concords: that is to say; by making the last Three Minute Notes (at least two of them) ascend, or descend, by degrees, unto the said Next Note, as you see here following, where the Semibreve in G, is broken to every distance in an Octave.

[...] As thus or thus Thus or thus Thus or thus Thus or thus &c.

This holds good, be the Division Quicker, or Slower; only that in quick Divi­sion more of the Minute-Notes will offer themselves in making this Graduall Transiti­on unto the succeeding Note, as you may observe in the Semiquavers of the prece­dent Instances.

Now; suppose this Transition, which is made by Two, Three, or more Notes, should in stead of the Unison, meet the Next Note of the Ground in a Third, or Fifth, above; by which means it is changed into Descant-Division; it is still but the same thing, (quatenus Division to a Ground▪) and therefore left to your liberty to use This, or That, as there shall be occasion.

By this which hath been shewed, I suppose you see what belongs to Breaking a Note; but this requires not only a Notion, but Habit also; which must be got by Practise. VVherefore, I would have you prick down some easie Ground; and break each Note to other, according to what hath been delivered: To the better effecting whereof; I will set you an Example, with which take these Advertise­ments.

First; that your Division be naturall to the Key of your Ground, in relation to Flatts and Sharps.

Secondly; you are to consider that a Seventh, or Sixth, Falling, is but the same with a Second, or Third, Rising; and so all other Distances the same with their Opposite Octaves; thus exemplified.

[...]2d. 3^d. 4^th. 5^th. 6^th. 7^th. 8^th. 7^th. 6^th. 5^th. 4^th. 3^d. 2 ^d. 8^th.

Whence it followes; that you may choose, whether you will meet any suc­ceeding Note of the Ground, in the Unison, or in the Octave; either above, or be­low it: for, de octavis eadem est ratio.

Thirdly; in such places, as the Ground doth intimate a Cadence, byVide Page 13. Falling a 5^th. or Rising a 4^th. all the Notes that hitt upon the 3^d. above, or 6^th. below, must be Played sharp.

Lastly; as your Division passes into the 3^d. and 5^th. whilst it moveth above; How Divi­sion is to move be­low the Ground-Note. (by which means it is made Consonant to the Ground-Note;) so; in moving beneath, it must pass into the under Octaves of the said Concords; viz. into the 4^th. and 6^th. below the standing Note.

Example.

[...]5 3 5 5 3 5 5 3 5 4 6 4 4 6 4 46 4

These things being known; you may Break your Ground, in such manner as follows: where, you have the Division placed over the Ground; that you may bet­ter observe the Breaking of each Note.

[...] An Example of Breaking the Ground

Here you see every Note of the Ground, Broken, still, according to some One, or Other, of those five wayes before mentioned; (as, indeed, no Note can be bro­ken, but must relate to some of them,) onely, in one place, I have made the Division, meet the Ground-Note in the 3^d. in another place; in the 5^th. both which are marked out unto you, for your imitation; when the Point, or any other con­venience, shall invite you thereunto.

Some other things there are, which offer themselves to observation in this Ex­ample. One is; concerning the Second below, and Seventh above, the Divided-Note, An Obser­vation for Playing Flatt, or Sharp, in the Se­venth a­bove, or Second be­low the Standing-Note.which you see, sometimes Flatt, and sometimes Sharp. Although it be hard to determine, what a Composer may Approve, or Disapprove, in divers Cases con­cerning Flatts, and Sharps, (in which doubts, the Eare must be chief Umpire;) yet, in This Particular, something, I think, may be delivered, by way of Rule: which is; that if we descend a Second, and immediately ascend to the place of the former Note; the second must be sharp, (The same is understood of the 7^th. above, in reference to the 8^th.) as you see in Breaking this Semibreve in D.

Example.

[...]

Here, if you consult your Eare, you will find, that C, Naturally, requires a Sharp, when the next Note immediately ascends again to D. But in the Second Instance, where the Next Note doth not so ascend, no Sharp is required.

This Rule of Sharp, in case of ascending, admits yet some Exceptions. First; if the Ground do suddainly Rise, or Fall, to a flatt second. Secondly; if it fall a 3^d. Lastly; if it rise a 4^th.or fall a 5^th. in nature of a Cadence; in These Cases, though the Division rise again, to the place of the former Note, no Sharp is to be added; as thus,

Example.

[...]

Another thing to be noted, is concerning a Cadence; which (as I have said) is intimated, when the Bass falls a 5^th. or rises a 4^th. But we must put a difference betwixt a Cadence, at a Close, and in Other places of the Ground. How to break a Cadent-Note at a finall Close, and how else­where. It the Basse falls a 5^th. at, or near the beginning of your Ground; or in any Other place where a Close is not signified; you may Break the antecedent-Note, either in Transition, by degrees, or in what manner pou please: But, at a Close, I would alwayes have the Division of the said Note to end in its own Sound, and, from thence, Break off into the Close-Note: retaining still the distance, of rising a 4^th. or falling a 5^th. as you did see in the Conclusion of each Strain of the Precedent Example.

And here I cannot but take notice of an Error which I have observed in some, reputed excellent Violists, who in Playing a Consort-Basse, would sometimes at the very Close, run down by degrees to the concluding Note, which is very improper; for if any Upper Part do Fall from a 5^th. to an 8^th. (a thing most frequent) the Basse by such a descent in degrees, doth make two 8^ths. to the said Part, as in this Instance.

Example.

[...]5 8 5 88 5 88 5 88

Although this running down by degrees, seem worse in Playing a Consort Basse, then in a Division to a Ground; yet, in This also, it doth not want its bad Con­sequence: the Organist commonly joyning such Parts unto his Ground, as the Com­poser doth unto his Basse.

Of Descant-Division, and how it differs from Breaking the Ground.

Descant-Diminution, or Division, is That, which maketh another distinct, and con­cording Part unto the Ground. It differs from the Former, in These Particulars. That, breaks the Notes of the Ground; This, descants upon them. That, takes the liberty to wander sometimes beneath the Ground: This, (as in its proper Sphere) moves still above it. That, meets every succeeding Note of the Ground, in the Uni­son, or Octave: This, in any of the Concords. But in the main business of Divisi­on they are much the same; for All Division, whether Descant, or Breaking the Basse, is but a Transition, from Note, to Note; or from Concord, to Concord; either by Degrees, or Leaps; with an intermixture of such Discords, as are allowed in other Composition.

The Lawes, or Rules, to be observed in Descant-Division, are the same with Singing, or making Descant to a Basse Plain-song: or those I gave you, in joyning another Part to a Basse, or Ground. That is to say; you may begin, with a 3^d. 5^th. or 8^th. to the Ground-Note, Passing On, to meet the Next Note also, in a 3^d. 5^th. or 8^th. and so, from Note, to Note; alwayes provided that you avoid the Consecution of Two 5^ts. or Two 8^ts. One after Another.

Now; for the Manner of this Passage, from Note, to Note, we must have re­course again to the five wayes of Breaking a Note, mentioned, Page 21. which are of the same use in Descant, as in Breaking the Basse. For Here, as in the Other, a Note is sometimes Broken, without Variation of Sound; according to the first way. Sometimes Varying the Sound, and retaining the Aire; as in the Second way: Sometimes (again) by making a Transition unto that Concord, in which you intend to Meet the Next Note of the Ground; in such [...] [...]ner, as you made it to the Note it self; according to the Third way: viz. by making 2, 3. or more of the Minutes ascend, or descend unto it, by degrees. Lastly, your Division may pass in­to the Ground-Note's Concords, either by Leaps, according to the Fourth way; or by Degrees, like the Fifth way, (which as I said (Page 23.) is Descant, so long as it continues in That Motion) and from thence, Return to the place where it begun, or else Pass On, to Meet the Next Note of the Ground in some of the Concords; according to the Nature of Descant. These severall wayes of Breaking a Note, are lest to your Liberty, to use This, or That, as there shall be occasion.

A Discord, (viz. a Second, Fourth, Seventh, or their Octaves) is never to be used, to the beginning of the Ground-Note, unlesse in the way of Syncope, or Bin­ding▪ as hath been shewed.

A Sixth, is seldome used as the Leading-Note of the Division, to any Note of the Ground, Concer­ning a Sixth. unless in binding; or, to such Notes of the Ground as require a Sixth to be joyned to them, in place of the 5^th. What Notes those are, was partly shewed, Page 13. to wit; such, under which we suppose the Sound of a 3^d. to make up the full Latitude, or Compass of the Basse: not only sharp Notes, as there mentioned, which require the Lesser 6^th. but sometimes also flatt Notes, requiring the Greater 6^th. as you see in the Middle Barre of this Example; in which the black Notes express the full Compass of the Basse.

Example.

[...]6 6 6 6 6 6

Now, if you do but break this Ground according to the black Notes, you will find that your Division doth, of it self, produce 6^ths. to those Notes which stand a 3^d. higher, as thus:

Example.

[...]6 6 6

And here you may perceive a reason, why such Notes affect a 6^th. more then a 5^th. because a 5^th. would be a Discord to the 3^d. below; which, (as I have shewed) is the Naturall Compass of the Basse.

Of Mixt Division.

Mixt-Division, I call That, which mixeth Descant, and Breaking the Ground, What Mixt-Di­vision is.One with the Other; under which Terme I comprehend all Division, which pre­sents unto our Eares, the Sounds of two, or more Parts moving together; which is expressed, either in Single-Notes, by hitting first upon one Part, and then upon Another; or in Double-Notes, by touching Two, or More Strings at once with the Bow. This; as it is more excellent then the single wayes of Breaking the Ground, or Descanting upon it; so it is more intricate; and requires something more of Skill, and Judgement, in Composition; by reason of certain Bindings, and Inter­mixtures of Discords, which are as frequent in This, as in Other Figurate Mu­sick.

I will now give you Examples of This, and Descant-Division: not insisting upon the severall distances in an Octave, (now less needfull,) but upon such Passages as offer themselves most remarkable in Grounds; such are Cadences. And these, (how numerous soever they seem to be) are, in effect, but Two; that is to say,Cadances of two sorts. ei­ther a 7^th. brought off with a 6^th. after which the Basse falls a Tone, or Semitone; or else a 4^th. brought off with a 3^d. after which the Basse commonly falls a 5^th.

Example.

[...]7 6 7 6 4 3 4 3 4 3

Your first Example shall be upon the First Cadence, and Notes Leading to it; in which, you shall have, First; the Ground broken; Then; Descant; and Lastly; Mixt Division, both in Single, and in Double Notes; by which means, you may better discern how they differ, One from Another.

[...] Example upon the first sort of Cadence. Ground broken Descant Mixt Mixt

Here note; that in Playing to a Ground, we sometime (for Humour, or Vari­ety) hold out one Note of Descant, to Two or Three Notes of the Ground, (such as will bear it) as you see in the first Variation of Descant, in this Example; where you may also behold a 7^th. brought off with a 6^th. which passeth immediately into itsVide Page 16. desired 8^th. In the other Variations of Descant you have This Figure [6] set under Those Notes which Lead the Division, answering to That Note of the Ground which requires a 6^th. Lastly; you may observe, that sometimes, part of the Last, or concluding Note, is also divided; which is left to the Liberty of the Player or Composer.

Your Next Example, is the same Cadence, in sharp Notes.

[...] Example upon the first sort of Cadence Sharp Ground broken Descant Mixt Mixt

Though the Ground of these two Examples, be the same Notes; and conse­quently, the same Descant, or Division, which serves for One, might also serve for the Other; yet I was willing to set them Both; that you might perceive, how great a difference of Aire, there is betwixt the same Notes, Flatt, and Sharp; as upon hearing, will better appear unto you.

We will now proceed to the other sort of Cadence; which is, a 4^th. brought off with a 3^d. And First, upon a Minim, thus.

[...] Example of the Second Sort of Cadence upon a Minim Ground Broken Descant Mixt Mixt

Where you see, that if the Notes be Played twice so Long, as they are here set down; the Example is then a Cadence upon a Semibreve. Notwithstanding, I will set you it upon a Semibreve; and that I may comprise something more, under the same Example, I will place Four Minims before it; by which you may see how to divide upon Notes descending by degrees.

[...] Example of the Second Sort of Cadence upon a Semibreve Ground broken Descant Mixt Mixt

In This, and also in Other Examples, there is One thing which may Scanda­lize a Young Musitian; and perhaps give Offence to some Old Critick: in preven­tion whereof, I think it not amiss to speak a little.

Every Composer knows that the Consecution of 5^ths. or 8^ths. is not allowed in Mu­sick; that is,Consecu­tion of 5^ths. and 8^ths. how al­lowed, or not allow­ed in Di­vision to a Ground.betwixt two Different Parts, or Voyces. Now; when we Play Divi­sion to a Ground, it is to be considered, whether, or no, we Play a Different Part from the said Ground. I answer; in Descant-Division, we do: But in Divi­ding the Ground, we Play but the same Part with it; in which doing, if we hit upon the 8^th. Above, or Below the Ground-Note, (which will produce, sometimes two or more 8^ths. together, as you see in the first Variation of the Precedent Ex­ample;) yet, This is still to be accounted, as but One, and the same Sound with the Basse; and therefore, if any man except against such a Consecution of 8^ths. he may as well except against the Lute, Harpsecord, and other Instruments, which have Octaves joyned to their Basses; which being struck one after another, produce the Consecution of so many 8^ths. together.

As for 5^ths. they cannot occurre in Breaking the Ground; because there we meet every Succeeding Note, in the Unison, or Octave. If they happen in De­scant, there is no Apologie for them, except that One of them be a False, or Defective 5^th. which, though not allowed by Morley, and some other Precise Mu­sitians of Former Times; yet Kirker, Mersennus, and most Moderne Authours, as well Writers, Two 5^ths. allowed, if one of them be defective. as Composers, do both Use, and Approve it. For my Own Part, I do not only allow the Consecution of Two 5^ths. when One of them is Defective; but, (being rightly taken) esteem it among the Elegancies of Figurate Musick.

Your Next Example, is a Cadence upon a Breve, with Four Minims ascending by Degrees unto it.

[...] An Example of the Second Sort of Cadence upon a Breve Ground broken Descant Mixt Mixt

In the Mixt-Division of these Examples, you have, in some Places, many 6^ths. taken One after another:Concern­ing Rising or Falling in 3^ds. or 6^ths. and in what Cases This or That is better. in other Places, many 3^ds. Concerning which, observe; that in Notes where we hit two Strings at once with the Bow, 3^ds. are more easie for the Hand, and also more pleasing to the Eare, then many 6^ths. together. But in Mixed-Notes, where we hit One String after Another, 6^ths. are better then 3^ds. for the Leaps being greater, a greater diversity of Sound is presented to the Eare. Thence it proceeds that in Skipping-Division, we rather make use of 10^ths. then Simple 3^ds. when there follows many of them, One after Another.

Having spoken of Cadences, I must not omit a Close, which is made, without either of the before mentioned Cadences, and used for a Conclusion to some Fan­cies, Motets, or other Grave Musick; in which the Basse Falleth a 4^th. or riseth a 5^th. and part of the finall Note is commonly taken in to the Descant in this man­ner.

Example.

[...]

I will give you One Example of dividing upon it, because if at any time you Play or Compose Division to a Through-Basse, or continued Ground, you may hap­pily meet with it. I will also set down a Long, or Four Semibreves, before the concluding Note, because I have known some Beginners apprehend great difficulty, in Playing upon Notes standing long in the same place.

When you see any Note with a Taile both upward and downward, (as in the Seventh Line of the next following Exam­ple) it signifies the Sound of two Strings in Unison; one being stopped, the other open.

[...] An Example of a Close without a Cadence

I have not applied This Example into the severall Sorts of Division; because, the Gronnd-Notes standing so long in the same place, doe not admit a distinction, betwixt Breaking the Ground, and Descanting upon it: But this, which I have done, may suffice, to shew you the way of Dividing upon such Notes, albeit their Continuance were longer in the same place.

And, whereas in all the other Examples, I have Set the severall Wayes by themselves; that you might better perceive how they differ, One, from Another; yet, in Playing, or Composing, Division to a Ground, we may either Continue any One way, (perhaps a whole Strain together) or Change, from This, to That sort of Division as best pleases our Fancy; in so much, that sometimes, Part of the same Note is Broken in One Sort of Division, and Part of it, in Another, as you see in this Instance.

Example.

[...]

In which, the First Part of the Semibreve in D, is Divided, according to the way of Breaking the Ground, and the Latter Part of it, in the way of De­scant.

Hitherto, we have treated concerning the dividing of Minims, Semibreves, or Longer-Notes; which, duly considered, might also serve for Notes that are Shorter: but, that I may, as near as I can, omit nothing which may ease, or assist the Young Practitioner, I will give some Examples upon Shorter Notes, as Crochets, and Quavers; with such Observations, as I think requisite; and First, of Crochets Ri­sing, and Falling, by Degrees.

[...] An Example upon Crochets ascending by Degrees The Ground broken Descant Mixt Mixt

[...] An Example upon Crochets descending by Degrees The Ground broken Descant Mixt Mixt

In these Two Examples, you have had Crochets, Rising, and Falling, by De­grees. I will now shew you them moving by Leaps, or Intervalls, in a Ground of two Strains.

[...] An Example of Crochets rising and falling by leaps The Ground The Ground broken Descant Mixt Mixt

In This Ground, you have all the Intervalls, or Distances, which are in an Oc­tave; for in the First Strain, you have 3^ds. Falling, and 4^ths. Rising; which in­clude, (as the same thing,) 6^ths. Rising, and 5^ths. Falling. In the Second Strain; you have, (on the contrary,) 3^ds. Rising, and 4^ths. Falling; which is the same with 6^ths. Falling, and 5^ths. Rising. And lastly, for 7^ths. you have Them inclu­ded (by their Opposite Octaves) in Those Notes, which Rise, or Fall, by De­grees.

Of Quavers.

If Quavers occurre,Quavers to be con­sidered, whether they be not the Minute Parts of some lon­ger Note. in a Ground proposed unto you, to Play, or Make Divisi­on upon; you are, First, to consider, whether, or no, they be not the Minute Parts of some Longer Note; as for Example; when they move by Degrees, in such Instances as These.

Example.

[...]

Here, they signifie no more then the Plain-Notes you see in the Next Barres after them: and therefore, if you Play upon Such Quavers, as though they were the said Plain-Notes, making your Division proceed in a contrary Motion, it may pass for current, especially in Playing to a Ground, Ex tempore. But in case you desire to divide the Quavers Themselves, or to Play Descant, or Mixt Division Upon them, I will shew you them, according to the Method of our former Exam­ples, both, Rising, and Falling, by Degrees.

[...] An Example upon Quavers Rising and Falling by Degrees The ground The Ground broken The Ground Descant The Ground Mixt Mixt

The First Variation of this Example, where the Quavers are broken into Semi­quavers, is a little irregular, as to what we have delivered concerning Meeting each following Note in the Unison, or Octave; for Here, each other Quaver is met in a Second. But necessity, and the shortness of the Dissonance, render That ex­cusable in Short Notes, which would not be Allowed in Longer. For as Crochets, so broken into Quavers are not very commendable, so Minims broken into Cro­chets, after the same Manner, would be much worse. But if That, Ascending, or Descending, by Degrees, consisted of Pricked-Notes, Succeeded by Notes of the Next less quantity: Then, that way of Breaking would be both Regular and Com­mendable; as thus,

Example.

[...] Ground Broken Ground Broken

If you ask me, why I have put a b Flat to that Quaver in B; I answer; because the Division Descends from it to F, which is Flat. Again; in the Other Part which Ascends, Of Notes being made Flat or Sharp, in relati­on to the 4^th. A­bove, or Below. there is a Quaver in F made Sharp, because the Division Ascends from it, to B, which is Sharp: Both which are grounded upon the same Reason; which is, that in foure Notes Asccending, or Descending by Degrees, we seldome exceed the distance of a Full, or Perfect 4^th. lest we produce unto the Eare that harsh­ness, which is called Relation not Harmonicall. For though the Less 4^th. (that is; when the Lower terme is Sharp, and the Higher, Flat) be most Frequent, and very Agreable, in Musicall Progression; yet when Both termes are extended, the Higher being Sharp, and the Lower, Flat: the distance is a Trione, which is more by half a Note, then a Perfect 4^th. and therefore when this happens, we commonly alter That which comes first in compliance To (and preparing the Eare For) that which is to follow.

As for Quavers moving by Leaps, I have little to say; more then that Grounds ought not to consist of Notes so Short, as Quavers, in such a movement. But if such Notes should be proposed unto you, to Divide upon; you may serve your self by that Example you had, of Crochets; in making Them, Quavers, and the Quavers upon them, Semiquavers; or, as you see in this following Example.

Quavers moving by Leaps [...] The Ground broken Descant Mixt Mixt

By these Examples, and what hath been delivered, you see in what Manner Notes are divided; either according to the Way of Breaking the Ground; of Des­canting upon it; or of Mixt Division: which severall VVayes, have been set down seperately, to give you a more Full, and Perfect Knowledge of each VVay; but you are now left to your liberty, to use This, or That, or Mingle One with Another, as shall best please your Fancy.

And now there remains no more to be said, of Dividing Notes, (as I conceive) but that I give you some assistance, by taking you, as it were, by the Hand, and Leading you into the easiest VVay of Playing Ex tempore to a Ground. How to Play Ex tempore to a Ground.

First; you are to make choice of some Ground, consisting of Semibreves, or Minims; or of Semibreves, and Minims; for such ought Grounds to be, that are proposed to be Played upon at Sight. Next; you ought to be provided of Ten, or a Dozen Points of Division; (the more, the better) each consisting of a Semi­breve, or Minim; which must be accomodated to the First Note, or Notes, of your Ground.

Being thus prepared, take the Easiest of the said Points, and, by applying it First to One Note, and Then to Another; endevour to carry it on, through the whole Ground. VVhen by practice you can do This; take Another Point, and do the like with It; and so from One, to Another.

I will here for your ease, and encouragement, furnish you with a Ground, and also with some Points; to which, you may adde infinite more at your pleasure.

[...] The Ground points

Let us now take some of these Points, and apply them to the precedent Ground; that you may, by Example, see how they are to be carried on.

An Example for carrying on a point upon a Ground [...]

This driving, or carrying On, a Point, doth much ease the Invention, which hath no further trouble, so long as the Point is continued, but to place, and ap­ply it to the severall Notes of the Ground. Besides; it renders the Division more Uniforme, and also more Delightfull; provided, you do not cloy the Eare with too much repetition of the same thing; which may be avoyded by some little Va­riation, as you see I have done in carrying on some of the before-going Points. Also you have liberty to Change your Point, though in the Midst of your Ground; or Mingle One Point with another, as best shall please your Fancy. Thus much for carrying on Points; and now let me advertise you

Concerning the ordering, and disposing of Division.

VVhen you are to Play Division to a Ground, I would have you First Play over, the Ground it self; for these Reasons. (1) That Others may heare what Notes you divide upon. (2) That your self may be better possessed of the Ayre of the Ground, in case you know it not before. (3) That he who Playes the Ground unto you may better perceive your Time, or Measure. The Ground Played over, you may Break it, into Crochets, and Quavers, or Play Slow Descant to it, which you please. If your Ground be of Two or Three Strains, you may do by the Second, or Third, as by the First. This done, and your Ground beginning over again; you may then Break it into Division of a Quicker Motion; driving on some Point, or Points, as hath been shewed. When you have prosecuted that Manner of Play, so long as you please; and shewed some Command of Hand; you may fall off to Slower Descant, or Binding Notes, as you see cause; Playing also Some­times Lowd, or Soft, to express Humour and draw on Attention.

After this, you may begin to Play some Skipping Division, or Points, or Tri­pla's or what your present Fancy, or Invension shall prompt you to; changing still from one Variety to another; for, Variety it is, which chiefly pleaseth. Without which the best Division in the World still continued would become Tedi­ous to the Hearer; and therefore you must so place and dispose your Division, that the Change of it from One kind to Another, may still beget a new atten­tion. And this is generally to be observed, whether your Ground consist of One, or more Strains, or be a Continued Ground, of which I must also speak a little.

A Continued Ground, used for Playing, or Making Division upon, is (for the most part) the Through-Basse, of some Motett, or Madrigall, proposed, or selected, for That purpose. This, after you have Played Two or Three Semibreves of it, Plain; to let the Organist know your Measure; you may begin to divide, accor­ding to your Fancy, or the former Instructions; untill you come near some Ca­dence, or Close; where, I would have you shew some Agility of Hand. Here, (if you please) you may rest a Minim, two, or three, letting the Ground go on, and then come in with some Point: after which you may fall to Descant, Mixt-Division, Tripla's or what you please. In this manner, Playing sometimes Swift Notes, sometimes Slow; changing from This, to That Sort of Division, as may best produce Variety; you may carry on the rest of the Ground; and if you have any thing more excellent then other, reserve it for the Conclusion.

Of Composing Division for One Viol to a Ground.

When you compose Division to a Ground, endevour to make it easie for the Hand; for, of things equally excellent in their Composition, That is alwayes to be preferred, which is more easie to be performed. Hence, we may conclude, that no man is fit to compose Division to a Ground, (how great a Musitian soever he be) unless he understand the Neck of the Instrument, and the Method of Fingering, belonging to it.

This is all I have to say concerning Division for One Viol; more then that I would have you peruse the Divisions which other men have made opon Grounds; as those of Mr. Henry Butler, Mr. Daniel Norcome, and divers other Excellent Men [Page 48]of this our Nation, (who, hitherto, have had the preheminence for this particular Instrument) observing, and Noting in their Divisions, what you find best worthy to be imitated.

Of two Viols Playing together to a Ground.

After this discourse of Division for One Viol; I suppose it will not be unseaso­nable, if I speak something of Two Viols Playing together to a Ground; in which kind of Musick, I have had a little experimentall knowledge; and therefore will deliver it in such order as I have known the Practice of it; referring the Im­provement thereof to further Experience.

Let the Ground be Pricked down in three Severall Papers: One, for him who Playes on the Organ, or Harpsecord; and the Other Two, for them that Play on the Viols; which, for Order, and Brevity, I will distinguish by three Letters: Viz. A. for Organist; B. for First Basse, and C. for the Second.

Each of these having the Same Ground before him, they may all begin toge­ther; A. and B, Playing the Ground, and C. Descanting to it in Slow Notes, or such as may sute a Beginning.

This done; let C. Play the Ground, and B. Descant to it, as the Other had done before; but with some little Variation. If the Ground consist of Two Strains, the like may be done by the Second; One, still Playing the Ground, whilst the Other Descants, or Divides upon it.

The Ground thus Played over; C. may begin again, and Play a Strain of Quicker Division; which ended, let B. answer the Same, with Another, Some­thing Like it, but of a little more Lofty Ayre; for the better performance where­of, (if there be any difference in the Hands, or Inventions,) I would have the better Invention Lead, but the more able Hand still Follow, that the Musick may not seem to go less in performance.

When the Viols have thus (as it were) Vied, and revied, to one another; A. (if he have Ability of Hand,) may, upon a Signe given him, put in his Strain of Division; the Two Viols Playing, One of them the Ground, and the Other slow Descant to it. A. having ended his Strain of Division; the same may be answered, First, by One Viol, and then by Another.

Having answered One Another in this Manner, so long as they think fit; the Two Viols may divide a Strain Both together; consisting of Crochets, Quavers, or Semiquavers, as they please; in which doing; let B. Break the Ground, according to the Wayes mentioned, Pag. 22, 23. and if Necessity, or his own Fancy, move him to fetch a Compass; let it be done in moving to the Octave, upward, or down­ward; returning back, either to end upon the Note it Self, or make a Transition to the Note following. By this, C. knowing B's Motion, he knows how to avoyd running into the same; and therefore will move into the 3^d. or 5^th. according to the Way of Descant. Thus much in relation to the present Note, or Note Divi­ded.

Now, for meeting the Next Note, let C. take these Observations. (1) That whereas B. in Breaking the Ground, doth meet every Next Note, in the Unison, or Octave; his securest Way is to meet the said Next Note in a 3^d. or in a 5^th. if their Motions be contrary. (2) That such Notes of the Ground as require a 6^th. to be joyned to them, may be met either in the 6^th. or in the 3^d. (3) That at a Close, or upon such Notes as signifie a Cadence, he may (after he hath divi­ded the supposed Binding Note) meet the Cadent Note of the Ground, in an Unison, or Octave.

These Directions observed, the Two Viols may move a whole Strain together, in Extemporary Division, without any remarkable clashing in 5^ths. or 8^ths.

When they have proceeded thus far; C. may begin some Point of Division, of the lenghth of a Breve, or Semibreve, naming the Word Breve, or Semibreve, by which B. may know his Intention: which ended; let B. answer the same, upon the succeeding Note, or Notes, to the like quantity of Time; taking it in that Manner, One after Another, so long as they please; which done, they may be­take [Page 49]take themselves to Another Point, of a different Length, which will produce a New Variety.

This contest, in Breves, Semibreves, or Minims, being ended, they may give the Signe to A. if (as I said) he have Ability of Hand, that he may begin His Point, as they had done, One to Another; which Point may be answered by the Viols, either Severally, or Joyntly; if Joyntly, it must be done according to the former Instructions of dividing Together; Playing still Slow Notes, whilst A. Di­vides.

When this is done, Both Viols may Play another Strain together, either in Quick, or Slow Notes, which they please; and if the Musick be not yet spun out to a sufficient Length, they may then begin to Play Tripla's, and Proportions, an­swering One Another, either in Whole Strains, or in Parcels; and after That, joyn together in a Thundering Strain of Quick Division, with which they may conclude; or else, with a Strain of Slow, and Sweet Notes; according as may best suit the circumstance, of Time, and Place.

I have known this kind of Extemporary Musick, sometimes (when it was per­formed by Hands accustomed to Play together) pass off, with greater Applause, then those Divisions, which had been the most Studiously Composed.

Some Observations, in Composing Divisions, of Two, and Three Parts.

Now; in Composing Division for Two Basse Viols, you may follow this Method, Two Bas­ses.more, or less, as you please; moulding it into what form you like best; as ma­king sometimes This, sometimes That Part, move Above, or Below: sometimes an­swering One Another; and sometimes joyning them, in Division, Both together; sometimes in Slow, fometimes in Quick Motions; such, as may best produce Varie­ty: But, after their answering One Another by Turns, I would alwayes have them joyn Together, in some Strain of Division; with which, or with some Slow, and pleasing Descant, you may conclude your Composition.

If you make Division for Two Trebles; Both must be in the way of Descant to the Ground: and when they move in Quick Notes, Both Together; Two Tre­bles. their most usu­all passage will be in 3^ds. or 6^ths. to One Another; sometimes, an intermixture with other Concords; but such, as must still have relation to the Ground. As for their answering One Another; their severall Motions, and Changes, in order to Va­riety; the same is understood as of the Former.

In Composing, for a Treble, and Basse, you are to consider the Nature, Treble and Basse.and Com­passe of either Part: framing your Division according thereunto; which in the Higher Part, will be Descant; in the Lower, a more frequent Breaking of the Ground.

The same regard, to the Nature of the Parts, must be had in Composing for Two Trebles, and a Basse; or for Two Basses, and One Treble. Two Tre­bles and Basse.

In Divisions made for Three Basses, every Viol acts the Treble, Easse, Two Bas­ses and a Treble. Three Basses. or Inward Part, by Turns. But here you are to Note, that Divisions, of Three Parts, are not usually made upon Grounds; but rather Composed in the way of Fancy: begin­ning with some Fuge; then falling into Points of Division; answering One Another; sometimes Two answering One, and sometimes, All joyning Together in Division; But commonly, Ending in Grave, and Harmonious Musick.

Howbeit; if, after each Fancy, there follow an Aire, (which will produce a plea­sing Variety;) the Basses of These, consisting of Two, short Strains; differ very little from the Nature of Grounds; as may be seen in the Basse designed for the Organ, or Harpsecord.

These Aires, or Allmains, Begin like Other Consort-Aires; after which they Re­peat the Strains, in divers Variations of Division; One Part answering Another, as formerly mentioned.

In these severall Sorts of Division, both for Two, and Three Parts, my Self (amongst Others more Excellent) have made divers Compositions; which, perhaps might be serviceable to Young Musitians; either for their Practice, or Imitation; but the Charge of Printing Divisions, (which cannot be well expressed unlesse by Cutts [Page 50]in Copper) doth make That kind of Musick, less communicable. But, if you de­sire Written Coppies of Divisions, made for Two, or Three Parts, (a thing most ne­cessary to those who intend to Compose such like themselves) none hath done More in That kind, then the ever Famous, and most Excellent Composer, in all Sorts of Modern Musick, Mr. John Jenkins. And here might I mention (were it not out of the Rode of my Designe) diverse Others; most Eminent Men of this our Nati­on; who, for their Excellent, and Various Compositions, especially for Instruments, have, in my Opinion, far out-done those Nations so much cryed up for their Ex­cellency in Musick: but my naming them would signifie little, as to any Addition to their Reputations; they being sufficiently known, and honored, by their own Works: neither had I taken upon me, to nominate any Person, had it not been up­on the necessary accompt of Division-Musick; the peculiar Subject of my now ended Discourse.