Christophori Simpson Effigies.
J. Carwardon pinxit.Guil. Faithorne sculp:‘NEQUE LUX SINE VMBRA’

CHELYS, MINURITIONUM ARTIFICIO EXORNATA: SIVE, Minuritiones ad Basin, etiam Ex tempore Modulandi Ratio. IN TRES PARTES DISTRIBUTA.

The Division-Viol, OR, The Art of PLAYING Ex tempore upon a GROUND. DIVIDED INTO THREE PARTS.

  • Pars I. Chelyos tractandae Praecepta.
  • Pars II. Melothesiae Compendium.
  • Pars III. Minuritiones ad Basin aptan­di Methodus.

  • Part I. Of the Viol it self, with Instructions to Play upon it.
  • Part II. Ʋse of the Concords, or a Compendium of Descant.
  • Part III. The Method of ordering Division to a Ground.

Authore CHRISTOPHORO SIMPSON.

EDITIO SECƲNDA.

LONDON, Printed by W. Godbid for Henry Brome at the Gun in Ivy-lane. M.DC.LXVII.

TO HIS EVER HONOURED PATRON Sir IOHN BOLLES Bart.

SIR,

THis Treatise, upon the first Publica­tion, was Dedicated to your late Father, and not without good rea­son; for, all the Motives that could enter into a Dedication of that na­ture, did oblige me to it. First, as he was a most eminent Patron of Musick, and Musitians. Secondly, as he was not only a Lover of Mu­sick, but also a great Performer in it. Thirdly, as the said Treatise had its Conception, Birth, and Accomplishment under His Roof, in your Minority. Lastly, as he was my peculiar Patron; affording me a cheerful Maintenance, when the Iniquity of the Times had reduced me (with many others in that common calamity) to a condition of needing it.

That Impression being spent, and another importun'd, this Second comes now in order to kiss Your Hands, and desire Your Patronage, as Immediate Heir and Successor to your Father; not only to his Estate, but likewise to his Dignity, Worth and Virtue. And in This Dedication I have some Ad­vantages which I had not in the Former. One is, that you were the chief occasion of this Book; and therefore, if there be any thing of worth in it, the World may thank You for it: For, it was contriv'd and carried on for Your Instruction in Musick, at such vacant hours as you were not imploy'd in Studies of more concernment: And, as it was made for You, so it has made You (by your ingenuity) not only the greatest Artist, but also the ablest Judge of it, that (I think) is this day in Europe; (I mean) of a Gentleman, and no Professor of the Science. And this opinion of mine I find confirmed by a Paper of Verses printed at Rome, when you [Page]travell'd those Parts, which were occasion'd by your rare Expressions on the Viol at a Musick-meeting; in which were present not only divers Grandees of that Court and City, with some Ambassadors of Foreign States; but also the Great Musitians of Rome, who are esteem'd Superlative; all admiring your Knowledge in Musick, and your Excel­lency upon that Instrument. That I might give Your self, our Nation, and the Author of those Verses the Right which is due to each, I have presumed to Reprint them on the fol­lowing Page, as well for a Justification of what I have said, as also for an Encouragement to those who shall make use of the same Instructions which guided you on to that Perfection. I am loth to detain you too long, yet one thing I must acquaint you with, which is, That our Division-Viol Sounds better now in Latin than it formerly did in English; the Gen­tleman that hath improv'd it is your kind Acquaintance, my ever honoured Friend (and sometime Scholar in Musick) Mr. William Marsh, that it might be understood in Foreign Parts; and I have caused its Native Language to be joyned therewith, to make it useful at Home as well as Abroad. This is all I have to say, more than what I suppose you already know; which is, that I am

SIR,
Your most real and Humble Servant Chr. Simpson.

EXIMIAE NOBILITATI, DOCTRINAE, VIRTUTI cum summa Musices harmonia consono adolescenti, ILLUSTRISSIMO DOMINO, D. IOANNI BOLLES, ANGLO, ROBERTI BARONET. HAEREDI FILIO.

Mirificam suavitatem ejusdem & argutiam in tangenda Britanica Chely, quam Ʋulgò dicunt VIOLAM MAJOREM stupori Romae fuisse.

ODE JACOBI ALBANI GHIBBESII, MED. DOCT. AC IN ROMANA SAPIENTIA ELOQ. PROF. PRIMARII.

RES suas dicam sibi habere Phoebo,
Te modis aures retinente nostras:
Quale solamen Samius negârit
Doctor Olympo.
Quantus Alcides animos triumphas,
Gallico major! trahat ille vulgus:
Roma Te vidit stupefacta primos
Ducere patres;
Roma tormentum fidium insecuta
Dulce, concentus licèt ipsa mater.
Allobrox mirae Venetúsque plausit
Nuntius arti.
Vividum claro, celebrémque alumno
Laudo Simpsonum: vaga fama quantum
Thessali cultu juvenis magistrum
Distulit orbi.
Hactenùs plectrum, citharámque vates
Noverint; Arcu Violáque freti
Concinent posthac: nequè Thressa certet
Chorda Britannae.
O virûm felix, & opima rerum
Albion, sedes placitura Musis!
O poli sidus mihi, quò remotam
Dirigo puppim!

Monumentum, & pignus amoris.

à Musaeo nostro, Kal. April. 1661.

ROMAE, Excudebat Franciscus Moneta. MDCLXI.

Superiorum permissu.

To the Reader.

I Came with great willingness (though under the Obligation likewise of a Duty) to the reading of this Book; out of a Respect both to the Author, and to the Subject of it: the One being my Familiar Friend, and the Other, my Singular Entertaynment, and De­light. Having now thoroughly, and carefully perused it, I should reckon my self a little wanting to the Publique, if I acquainted not the world, that in so doing I have re­ceived much Benefit and Satisfaction. It bears for Title, THE DIVISION VIOL; or, The Art of Playing Extem­pore upon a Ground; and it does certainly answer That pretence, both for Matter and Method, to the highest point of reasonable Expectation. And yet I cannot so properly call it the Best, as (indeed,) the only Trea­tise I find extant upon this Argument; which without doubt renders it the more valuable, in that it is brought upon the first essay so near to perfection: for it is a piece so Instructive, and of such a Latitude, that it meets all Capacities, and finds no man either too wise, or too weak to be the better for it. Briefly; As to the Command, and Mastery of the Viol, (in that point which is the Excellency of That Instrument) either for Hand, or Skill, I will take upon me to aver, that whoever has This Book by him, has one of the best Tutors in the world at his Elbow. And let me add, that although it be Calculated especially (as appears by the Title) for the Division Viol, yet when you come to the Descant, and Directions for Diminution upon a Ground, you will find it a work of exceeding use in all sorts of Musick whatsoever.

Roger L'Estrange.

Ad Musices Amatorem.

EA rerum humanarum conditio est, ut dùm explo­rantur, dùm ad vivum resecantur, Nihili nos sui, unde primùm emerserunt, admoneant. Scientias Artes (que) quarum stupendos progressus nemo non videt, ac Disciplinas praesertim Mathematicas si ad Prin­cipia prima, ad Axiomata ac Postulata revoces, res nihili putes, mireris (que) subitò tam exiguis è fontibus tantum prodigiorum conflux­isse Oceanum. Plurima istius generis è minimis initiis existunt maxi­ma. Elucet prae caeteris in Musicâ eximia quaedam ab exordio tenui claritudo. Eam si temerè ipso in limine intuearis, humilis inprimis, nullo (que) ornamento spectabilis, intus canere videtur omnia; in penitiori Harmonia Sacrario illustris apparet admodùm at (que) de debellatis saepiùs Auditorum animis erecto sublimè tropaeo, victrix ac triumphabunda festivum Paeana ingeminat. Nisi forte illud Poetae ei rectiùs convenit:

Parva ortu primo, mox sese attollit in auras,
Ingreditur (que) solo, & caput inter nubila condit.

Ne longiùs abeam, vel hanc ipsam Chelyn Minuritionum artificio exornatum consule. Praecepta quae in aditu primùm occurrunt, exilia forsam ac tenuia censeas; inde tamen si filum texueris, quo errabunda vestigia pedetentim caute (que) regas, difficili te Labyrintho sensim expedies, at (que) in apertis demùm amoenis (que) Minuritionum campis, magno cum foenore ac liquidissimo voluptatis sensu spatiari demiraberis. Testantur id ii, quorum ex hisce elementis insignis prognata modulandi solertia incredibiles passim animorum motus plausus (que) excitavit. Quare visum est Chelyn hanc Anglicam latio donare ac publici juris facere, ne res communibus votis tantopere expetita, Insulâ dumtaxat vnâ circumscriberetur; at (que) ut, quò praevia jampridem pervolavit fama quantâ cum venustate ac arte Chelys in Angliâ tractari soleat, Ars quo (que) ipsa transfretaret.

Nomenclatura quarundam vocum in gratiam Tyronum variè reddita.

 Anglicè.Gallicè.Italicè.
Chelys.A Viol.Ʋne Viole.Ʋna Viola.
Ʋmbo.The Belly of the Viol.La Table.La Tauola.
Tergum.The Back.Le fond.Il fondo.
Jugum.The Neck.Le Manche.Il manico.
Canon.The Fingerboard.La Touche.La Tartiera.
Chordotomus. Magas superior, crenae supe­riores.The Nut of the Fin­gerboard.Le Cillet.Il Capitasto.
Intervalla; ligulae.The Frets.Les Touches.J Tasti.
Collabi.The Pegs.Les Cheuilles.J Piroli, Bischeri.
Magas inserior; Pon­ticulus.The Bridge.Le Cheualet.Il Ponticello.
Retinaculum; Cauda.The Tail-piece.La Queiie.La Coda.
Sustentaculum inte­stinum.The Sound-Post.L' Ame.L' Anima.
Arcus; Plectrum.The Bow.L' Archet.L' Arco.
Setae.The hairs of the bowLes Creins.J crini.
Isthmus. Asserculus setis obstans.The Nut of the Bow.La Hauste.La Alza.
Sex fides chordae.The Six strings.Les six Chordes.Le Sei chorde.
Suprema. Secunda.The Treble. The Second.La Chanterelle la Se­conde.Il Cantino, la Seconda.
Tertia. Quarta.The Third. The Fourth.La Troisiesme, la Qua­triesme.La Terza, La Quarta.
Quinta. Sexta. seu ima.The Fifth. The Sixth.La cinquiesme, La Sixiesme.La Quinta, La Sesta.
Tonus.The Key of a Song.Le Ton d' vn chant.Il Tuono d' vn Canto.
Clavis.The Cliff.La Clef.La Chiaue.
B. Molle.A Flat.Le B. Mol.Il B. Molle.
B. durum, quadratum.A Sharp.Le B. Quarre.Il B. quadro.
NotaeThe Notes.Les Nottes.Le Note.
Brevis. 𝆸Brief.Breve.Breve.
Semibrevis. 𝆹Semibrief.Semibreve.Semibreve.
Minima. 톹텥Minim.Minime.Minima.
Semiminima, 톺텥Crochet.Noire.Simini-nima.
Fuse, chroma. 톼텮Quaver.Crochiie.Croma.
Semifusa, Semichro­ma. 톼텯Semiquaver.Double Crochiie.Semicroma.
Semifusae Semis. (demisemiquaver note)Demi-Semiquaver.Triple Crochiie.Arbiscroma.
Contrapunctus.Counterpoint.Contrepoint. Notte contre Notte.Contrapunto. Nota contra Nota.
Contrapunctus ex­temporalis.Descant.Contrepoint a pre­miere veiie.Contrapunto a mente.
Syncope, Ligatura.Binding or Ligature.Ʋne Liaison.Ʋna Legatura.
Ptôsis. Cadentia.A Cadence.Ʋne Cadence.Ʋna Cadenza.
Teretismi.Double Rellishes.Des Cadences de noeuds et tremble­mens.Cadenze di Groppoe Trillo.
Clausula finalis.Close.Cadence finale.Cadenza finale.

Elenchus eorum quae hoc libro Continentur.

Parte Primâ.

  • CHelyos tractandae Praecepta. pag. 1.
  • De Chely ipsâ, qualis Minuritioni­bus maximè quadret, & quomodo concinnanda. ib.
  • De Plectro, seu Arcu Musico. p. 2.
  • De Collocatione Chelyos. ib.
  • Quomodo tenendus & movendus Arcus. ib.
  • De Sinistrae Collocatione, motuque. p. 4.
  • De Chelyos Chordotoniâ ad Scalam Mu­sicam accommodatâ. ib.
  • Quâ ratione eaedem Notae in diversis Chordis exprimi possint. ib.
  • Quare Digiti sinistrae in eâdem saepè sede continuandi sint. p. 5.
  • Regula movendi Arcum. p. 6.
  • Quo ordine Digiti Canoni applicandi sint. ib.
  • Quis motus Brachio dextro, manusque juncturae conveniat. p 7.
  • Quomodo plures simul notae perstrin­gendae sint. p. 9.
  • De Triplis. p. 10.
  • De sonorum blanditiis at (que) Leporibus. ib.
  • Lepôres ex tremoribus oriundi. p. 11.

Parte Secundâ.

  • MElothesiae Compendium. p. 13.
  • De Intervallis. ib.
  • De Concordantiis. p. 15.
  • Transitio Concordantiarum. ib.
  • De Melothesiae Clavi seu Tono. p. 16.
  • [Page]Quâ ratione Bassus conformádus sit. p 17
  • Quo pacto Cantus Basso adstruendus sit. ib.
  • De Triphoniis. p. 18.
  • De Tetraphoniis. ib.
  • De Sexia. p. 19.
  • Quis Discordantiis locus sit. p. 20.
  • De Tritono, & Semidiapente. p. 22.
  • Contemplatio Concordantiarum Musi­caram. p. 23.
  • Musicarum Concordantiarum Analogia ad Planetarum aspectus. p. 24.

Parte Tertiâ.

  • QƲâ ratione Minuritiones ad Basin aptandae sint. p. 27.
  • Minuritionum genera. p. 28.
  • Minuritio Fundamentalis. ib.
  • Minuritio Melothetica. p. 35.
  • Minuritio Mixta. p. 36.
  • Cadentiarum duo genera. p. 37.
  • De Quintis & Octavis in Minuri­tione. p. 42.
  • De Sextis & Tertiis in Minu­ritione. p. 44.
  • De Semiminimis. p. 46.
  • De Fusis. p. 50.
  • De b Molli & Duro. p. 52.
  • Minuritionum Syntaxis. p. 56.
  • De Basi Continua. p. 57.
  • Minuritiones singulari Chely quâ ra­tione aptandae. ib.
  • Quâ Methodo duae Cheles Basi alludere debent. ib.
  • Minuritiones plurium Partium Compo­nendi ratio. p. 59.

The Contents of the Book.

In the First Part.

  • OF the Viol it self, with Instructi­ons how to play upon it. pag. 1.
  • § 2. What kind of Viol is fittest for Division, and how to be ac­commodated. ib.
  • § 3. What kind of Bow. p. 2.
  • § 4. How to hold or place the Viol. ib.
  • § 5. How to hold and move the Bow. ib.
  • § 6. The posture of the Left Hand. p. 4.
  • § 7. How the Viol is Tuned, and ap­plyed to the Scale of Musick. ib.
  • § 8. How the same Notes may be play'd upon different Strings. ib.
  • § 9. A Rule for Holding on the Fingers. p. 5.
  • § 10. A Rule for the Motion of the Bow. p. 6.
  • § 11. Of ordering the fingers in gra­dual Notes. ib.
  • § 12. The Motion of the Right Arm and Wrist. p. 7.
  • § 13. How to order the Bow in double Stops. p. 9.
  • § 14. Of Tripla's. p. 10.
  • § 15. Concerning the Gracing of Notes. ib.
  • § 16. Shaked Graces. p. 11.

In the Second Part.

  • § 1. USe of the Concords, or a Com­pendium of Descant. p. 13.
  • § 2. Of Intervalls. ib.
  • § 3. Of the Concords. p. 15.
  • § 4. Passage of the Concords. ib.
  • § 5. Concerning the Key or Tone. p. 16.
  • [Page]§ 6. How to frame a Bass. p. 17.
  • § 7. How to joyn a Treble to the Bass. ib.
  • § 8. Composition of three Parts. p. 18.
  • § 9. Composition of four Parts. ib.
  • § 10. Concerning a Sixth. p. 19.
  • § 11. Use of Discords. p. 20.
  • § 12. Of the excessive Fourth, and Defective Fifth. p. 22.
  • § 13. Reflections upon the Concords of Musick. p. 23.
  • § 14. The Analogy of Musical Con­cords to the Aspects of the Planets. p. 24.

In the third Part.

  • § 1. OF Division, and the manner of performing it. p. 27.
  • § 2. Several kinds of Division. p. 28.
  • § 3. Breaking the Ground. ib.
  • § 4. Descant Division. p. 35.
  • § 5. Mixt Division. p. 36.
  • § 6. Cadences of two sorts. p. 37.
  • § 7. Concerning Fifths and Eighths in Division. p. 42
  • § 8. Concerning Sixths and Thirds in Division. p. 44.
  • § 9. Of Crochets. p. 46.
  • § 10. Of Quavers. p. 50
  • § 11. Of b Flat and Sharp. p. 52.
  • § 12. Concerning the ordering of Division. p. 56.
  • § 13. Of a Continued Ground. p. 57.
  • § 14. Of Composing Division for one Viol to a Ground. ib.
  • § 15. Of two Viols playing together ex tempore to a Ground. ib.
  • § 16. Of Composing Divisions of Two or Three parts. p. 59.

Let this Book, Intituled, THE DIVISION-VIOL, be Reprinted,

September 24. 1665.
ROGER L'ESTRANGE.
Forma Chelyos utravis Minuritonibus apta, sed Prima resonantior.
The Figure or Shape of a Division-Viol may be either of these; but the First is better for Sound.

CHELYS, Minuritionum Artificio Exornata.

PARS PRIMA. Chelyos tractandae Praecepta.

CHELYS peritum nacta Fidicinem, cum caeteris Instrumentis Musicis de palmâ certare jure meritò potest. De ejus inprimis agendum Constructione, tum de Tangendi Modo. Libandum praeterea aliquid de Consonantiis Musicis; ut ad Mi­nuritiones, quae Chelyn ornant commen­dantque maximè, gradatim ascendatur.

De Chely ipsâ, qualis Minuritionibus maximè quadret, & quomodo con­cinnanda.

CHelyn quae Minuritionibus destinatur, breviorem esse convenit eâ, quae Choro musico inservit; ut faciliori negotio stringi percurrique possit: quâ in re, manuum digi­torumque, ut quisque arctioribus vel largio­ribus est, habenda ratio. Magnitudo ut plu­rimùm ejusmodi sit, quae Fidem duorum pedum & semissis à Magade inferiori seu ponticulo ad Chordotomum seu crenas su­periores admittat. Sonus, sit tinnulus & excitatus, qualis fere esse solet minorum Chelyum seu Violinorum. Eum videlicet so­num nanciscuntur simili figurâ majores, quarum Ʋterus ex solido trunco, Lintris instar, excavatur.

Hexachordam esse oportet; annexis septem Ligulis, aliquanto crassioribus iis, quae Te­studinis collum ambiunt. Quâ verò sede ad Fidem apertam Octava superius in Canone sive manubrio resonat, ligulam extraordina­riam figere opportunum erit, quae digitos isthac oberrantes veluti familiare signum ad moneat, quâ intercapedine vicina deinceps intervalla ratâ proportione pertentanda sint.

Fides item sint paullò crassiores Chordis Ly­rae-Chelyos, aequali discrimine Canoni super­extensae, ut faciliùs aptiusque premantur.

Ponticulus ita arcuetur, ut Chordae singulae distinctè fidentique plectro absque ullâ anxie­tate vibrari queant.

Canon sit laevis & aequabilis. Ejus longi­tudo duas tertias partes spatii occupet, quod inter ponticulum superioremque Chordoto­mum interjacet. Ponticulum declivi utrim (que) flexu aemuletur; ut chordae singulae manu­brio, quemadmodum dictum est, aequaliter superemineant. Si Ponticuli curvatura fuerit ut Arcus A. B. Canonis ima pars sit ut C. D. summa, ut E. F.

Haec Chelyum fabris propor­tio Commen­datur.

De Plectro seu Arcu Musico.

PLectri Arcus rigidus sit, mediocri pon­dere: Setae ad duos pedes quadrantemque tensae, asserculo haud oblongo, ad digiti latitudinem aut paullò altiùs, attollantur; qui quasi Isthmus setas ab Arcu distineat.

De Collocatione Chelyos.

UBI te aptâ in sede collocaveris, Chelyn utroque genu decenter complectere, ejus­que pars ima suris utrimque innitatur. Pedes tantillum divaricati solo firmiter insistant. Chelys summa ad sinistrum humerum leniter proclinet; ut eo situ, etiam nullo manus fulcimento persistat.

Quomodo tenendus et movendus Arcus.

A Prehendatur Arcus prope Isthmum ex­tremo pollice duobus (que) primoribus digi­tis; ita ut Pollex & Index caudicem teneant, alter (que) digitus parumper instexus setis oblu­ctetur: eo pacto nimirum librabitur arcus, ne slaccidus ad extremum pendeat. Adhiberi po­test & annularis, si ejus ope caeteri indigeant; quamvis ad minuritiones id minuùs conveniat.

Extento fidenter brachio, Fides haud pro­cul à ponticulo sigillatim liquidéque vibren­tur, genibus ne fortè offendiculo sint, cautè reductis.

[figure]

De Sinistrae Collocatione, Motuque.

JƲgum Chelyos ne manu constringe, ut in Violinis fit; sed ut in Testudine Pollicem averso Manubrio ita applica, ut Indici in adverso Canone se moventi plerumque re­spondeat. Hinc faciliori negotio manus pro re natâ in omnem partem perlabetur.

De Chelyos Chordotoniâ ad Scalam Musicam accommodatâ.

QƲilibet ferè Musicae candidatus Scalam Guidonianam callere solet; quâ probè in­tellectâ, Chelyos attemperatio seu Chordotonia adjectae Tabellae ope facilè adornabitur. Infima siquidem Semibrevis dabit tonum infimae Chordae in D. unde caeterarum discrimen su­metur in G. C. E. A. D. Reliquos tonos supra D. assequêris, si Chordam supremam per intervalla quae Ligulis designantur, pon­ticulum versus gradatim presseris.

[...]

Attemperatâ jam Chely, reliquos sonos seu notas sursum deorsumque modulari si velis, quibus id digitis perficias adjecti monent nu­meri, 1, 2, 3, 4; 1 Indicem signat, 2 Me­dium, 3 Annularem 4 Minimum.

Quâ ratione eaedem Notae in diversis Chordis exprimi possint.

ANimadvertendum porro est, earundem Notarum sonos, qui vel apertis Chordis, vel per consuetos ligularum gradus exprimun­tur, commodiore digitorum applicatione in superioribus ligulis, atque alienâ saepe in Chordâ elici; uti videre est iis in notis quibus appositus est Asteriscus: Earum nempe sonus, tametsi paulò ante in supremâ Chordâ expressus fuerit, in alterâ tamen Strophâ, pressis se­cundae [Page 5]chordae ligulis, perinde ut in primâ consequitur: Quod tuo ipse Marte, dum di­gitorum commodo studes, identidem tentando explorabis.

Ex plurimis Scalae Musicae lineis, quinque tantummodo in usum Chelyos assumuntur, cumque in Melodiae decursu Nota aliqua Pen­tadem evaserit, appositâ clavi alterâ, ad alteram similiter Pentadem reducitur.

In proximo Paradigmate operae pretium feceris, si manum sensim exerceas, nec nisi lentè admodum festines, id imprimis studens, ut suus cuique Notae sonus, liquidus plenusque constet: quod fiet, si chordas extremis om­ninò digitis constanter ac validè premas; tum Arcu, quantus quantus est, rursum prorsum ducto singulas chromas distinctè ad plenum evibres.

[...]

Quare Digiti sinistrae in eâdem saepè sede continuandi sint.

SIquem ligulis digitum appresseris, eum, dum reliquis digitis caetera exequeris, nè prius attolle quàm id alia occasio postulet; quo pacto, aequabiliori digitorum decursui consu­les, absque hiulco incertoque tripudio, so­numque etiam sublato arcu continuabis. Ejus morae signum (direct) ; ab eâ notâ cui digitum immorari oportet, ad eam usque extenditur, quâ vibratâ sustolli potest.

Regula movendi Arcum.

CƲm numerum chromarum vel semichro­marum parem observaveris, ut 2, 4, 6, 8. Prorsum movendus est Arcus, tametsi in praecedenti Notâ consimili motu adactus fuerit; Quòd si numerum imparem deprehenderis, ut 3, 5, 7; quod ferè ob Notam puncto auctam, aut pausas impares contingit, retrorsum re­vocandus est; quamvis id subinde exceptio­nem patiatur, Cujus rei exemplum sub cal­cem Paradigmatis 5 reperies.

[...]

Quo ordine Digiti Canoni applicandi sint.

SIquando Minuritio ad extremas ligulas aut etiam ulteriùs processerit, Suprema Nota tertio aut quarto digito premitur: Si tertio, primus & secundus in proximis Notis ascendentibus vel descendentibus ordine suo occupantur: Si Nota suprema quartum digi­tum seu Minimum vendicârit, Nota proxima si dura fuerit, tertium; si mollis, secundum postulabit. Id verò certo certius statues, sive tertium sive quartum suprema Nota distineat, Tertiam inferiorem Indice premendam esse, unde ad caeteras Notas auspicandus est transi­tus. Quod si binas notas proximè sibi succe­dentes eidem digito assignatas repereris, id propterea fit, ut digiti ad praedictam Syn­taxin disponantur, vel ut consimilis positurae digitorum in alteram sedem transferatur. Observandum tamen Minimo digito rarius locum esse versus Ponticulum, ubi interstitia tonorum ac Semitonorum contractiora sunt, quàm inter ligulas ubi majori dissident inter­vallo.

Quo porro ordine de Chordâ in Chordam digiti movendi sint, suâ quisque industriâ facilè indagabit, dùm eorum expeditiori progressui consulit.

[...]

Quis motus Brachio dextro, Manusque juncturae conveniat.

QƲod ad Brachii motum attinet; quamvis humeri juncturam movere saepenumero ne­cesse sit tardioribus in Notis, in celerioribus ta­men vix id fieri poterit absque totius corporis indecorâ succussatione. Quare ad notas bre­viores non nisi Junctura manus moveri ex­tento rigidè brachio ut plurimùm debet, in aequabili praesertim minuritione; id (que) ad de­centem corporis compositionem Tyronibus maximè commendatur. Ʋbi tamen minuri­tio hinc inde subsultat, aut non admodùm properat, cubiti motum cum manus Juncturâ una conspirare opus est. Ʋt arcus pro impe­rio gubernetur, nè non junctura porrò debitè moveatur, curandum ut dum Arcus rursum prorsum vibratur, brachii motum manus aut quasi dux tantisper procedat, aut quasi assecla proximè ancilletur.

Ad paradigma proximum in C fa ut, me­liùs exprimendum, demittitur chorda infima ad intervallum unius Notae, ut sic siat Octava Chordae antepenultimae, quod in illa Clavi plerumque observatur. Vitabis autem fre­quentes quorumdam errores; primò si lentè primùm Notas singulas, deinde auctâ dexte­ritate, ac maturâ audaciâ celerius percurras. Secundò, si sategeris ut Arens ac digitorunt motus apprimè conspirent. Tertiò, si Arcus mediocri distantiâ tum à Ponticulo, tum ab extremo suo cornu seu apice Chordas impel­lat.

[...]

Quomodo plures simul Notae perstrin­gendae sint.

CƲm plures Notas alias aliis superimpo­sitas conspexeris, uno omnes ictu ita vil [...]andae sunt, ut ab imâ ad supremam, medias in occursu perstringendo, progrediatur Arcus; ac sinistrorsum propellatur, ubi ejus­modi Notae duplices, triplices, aut plures non nisi semel se offerunt; ast ubi saepiùs multiplici serie continuantur, ad sinistram primò, deinde ad dexteram agitari debet plectrum, Motus­que ab imâ semper chordâ inchoandus est.

[...]

In Paradigmate figurae 1, 2, 3, 4, Notis non supra verticem sed ad latus adscribuntur. Ʋbi autem hanc figuram (1) in eodem Notarum cumulo saepius repetitam videris, indicium est primum digitum ad omnes ejusmodi Notas protendi debere, ut in Thiorbâ sieri solet.

Aliud minuritionum Paradigma subjungi­tur. Plura, ubi te accurata firmaverit exer­citatio, ad calcem libri in promptu habes.

[...]

De Triplis.

TRiplas (sive Minimis sive Semiminimis constent, sive eae deinde in tenuiores mi­nutias dividantur, sive Basi communis men­surae superstruantur, adeo ut uni Minimae tres Semiminimae, aut uni Semiminimae tres Chromae, aut uni Chromae tres Semichromae respondeant) facilè modulaberis, modo singulae mensurae binis utrimque lineis definiantur.

De Sonorum blanditiis at (que) Leporibus.

LEpôres varii ac elegantiae Notis adhiberi possunt, vel Arcu, vel Digitis. Arcu nunc incitatiùs nunc remissiùs chordae pulsantur; prout cujusque genius aut melismatis indoles suaserit: quae impulsus varietas eidem ali­quando Notae adhibetur, ita ut exordio submissiori paullatim assurgat vehementiùs & quasi intumescat. Nonnulli arcu trepidare ac vacillare gestiunt, cujus frequentior usus vix probatur. Plures subinde consequentes Notae eodem Arcus impulsu venustè exprimuntur.

Nec non sinistrae manus digitis varius quasi color Notis appingitur, vel cum ad vocis aemulationem unius Notae sonus in sonum al­terius quodammodo colliquescere cogitur, ap­posito vel retracto digito, paullo post Arcus im­pulsum. Id si in ascensu fiat, Assurrectio; si in descensu, Delapsus, vocari potest.

Nonnunquam via sternitur ad Notam, cum in eadem Chordâ, vel à tertiâ inferiori ad eam sensim adrepimus, diciturque Eleva­tio, nunc rariùs in usu: vel cum idem fit à Tertiâ superiori, estque quasi Delapsus du­plex.

Aliquando Nota subsequens praecedentis Notae sonum particulamque mutuatur, as­sumpto sibi ab alterâ puncti incremento, atque unius ejusdem vibrationis beneficio utraque Nota coalescit; unde Coalitio dici potest.

Accidit etiam, ut exspirante ferè Notae Sono, alterius digiti appressio eliciat acuti nescio quid, atque adeo Acumen nuncupari queat.

Lepôres ex tremoribus oriundi.

DIversis praeterea tremoribus Notis ac­crescit gratia. Pressiùs cum tremitur leni admodum crispatione, vix variatur so­nus, secus, cum apertiùs. Hoc elegantiae genus exoritur, cùm intra Toni distantiam fit tremor à loco, à quo aut ad quem transit digitus. Hujusce Tremoris variae sunt spe­cies. 1o Cùm ad Notam sequentem assurgit digitus intremiscens, dicique potest Tremula Assurrectio. 2o. Cùm à Nota praecedenti recedit digitus cum Tremore; unde Tremulus Delapsus vocari potest.

Quo pacto vero in Elevatioue, Coalitione, &c. Tremor fiat, ex ipso Paradigmate ad­jecto, ubi signis characteristicis apponuntur Notae exponentes, clariùs elucescit.

  • Lepôres plani.
  • Assurrectio.
  • Delapsus.
  • Elevatio.
  • Delapsus duplex.
  • Coalitio.
  • Acumen.
  • Lepôres tremuli.
  • Tremor pressus.
  • Tremor apertus.
  • Tremula Assurrectio.
  • Tremulus Delapsus.
  • Tremula Elevatio.
  • Tremula Coalitio.
  • Crispata Cadentia.
  • Explicatio;

[...]Beat. exp: Backfall exp: Double-Backfall exp: elevation. [...]exp Spinger. exp: Cadent. exp: Backfall Shaked exp: [...]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

Si quid praeterea in vocis ornamentis, Trillis, Gruppis, reliquisque Teretismis sin­gulare est, digitorum blandimento simplicique Arcus vibratione ad Chelyn concinnè tranferri potest.

Inter has elegantias aliae sunt Masculinae, ut Assurrectio & Delapsùs, Bassoque potissi­mùm conveniunt: aliae Femininae, quae sci­licet Tremore leni vel nullo fiunt; Superio­rique seu Netodo inserviunt maximè: ta­metsi pro varietate affectuum, Amoris, Do­loris, Audaciae, Timoris, ubilibet compa­rere queant.

PARS SECUNDA.

Melothesiae Compendium.

MElothesiam seu Compositionem Musicam aliquot hîc praeceptis complecti visum est. Quâ in re, tametsi quidam à Tenore seu Mesodo, nempe quòd illi Parti in Cantu Ecclesiae plano seu Gregoriano ceterae accinant atque subserviant, reliquorum concentuum rationem distantiamque desumant; in nostrâ tamen Methodo, à Basso seu Hypatodo quasi à Substrato ac Fundamento caeterarum Par­tium Intervalla numerare multò erit oppor­tuniùs.

De Intervallis.

PRimùm contemplationi se nostrae sistit Ʋnisonus seu Isophonos, ejusdem vide­licet Soni seu Notae Repelilio, vel potiùs duarum Notarum in eundem Sonum conspi­ratio; valetque perinde ac Ʋnitas in Arith­meticâ, Punctum aut Centrum in Geometriâ, estque in nulla divisibilis intervalla. Dum Soni ab Ʋnisono plùs minùsve recedunt, va­ria oriuntur Intervallorum genera. Secunda inprimis, quae dividitur in perfectam & im­perfectam: Perfecta vocatur Tonus, qui in duos ex aequo Semisses, si Soni proportionem spectes, findi nequit. Attribuuntur ei à plerisque novem Commata seu minora seg­menta; quorum bina consiciant Diaschisma, quatuor Semitonium Minus, quinque Semi­tonium Majus, adeo ut discrimen inter utram­que hanc Secundam imperfectam sit unius Commatis, quam differentiam Apotomen nuncupant. Nonnulli subtiliùs observant aliquid Tono deesse, quo minus novem Com­mata expleat; itidem Semitonio Majori quo minùs quinque, Minori quo minùs quatuor attingat. Sed haec cùm ad nostrum institu­tum haud admodum conducant, aliis quibus vacat, pensiculatiùs indaganda relinquimus, uti & caeterorum Intervallorum accuratiores minutias.

Tertia dividitur in perfectam seu majorem quae Ditonus vocatur, & imperfectam seu minorem quae dicitur Semeditonus. Notan­dum verò particulam Semi seu Seme hic [Page 14]atque alibi saepe, non signisicare Semis­sem sed defectum Soni, utpote qui ad justi intervalli metam non pertingat.

Quarta dividitur in majorem quae Trito­nus dicitur, estque intervallum prohibitum, & minorem quae Diatessaron nuncupatur.

Quinta dividitur in Perfectam, quae Dia­pente appellatur; & Impersectam, quae Se­midiapente, seu falsa Quinta, vocatur.

Sexta dividitur in majorem, quae Hexa­chordon majus, seu Tonus cum Diapente di­citur, & minorem quae Hexachordon minus sive Semitonium cum Diapente nominatur.

Septima dividitur in majorem, quae Di­tonus cum Diapente, & minorem quae Se­miditonus cum Diapente nuncupatur.

Octava dividitur in Perfectam, quae Dia­pason (seu per omnes chordas) appellatur, & Imperfectam quae Semidiapason dicitur.

His Intervallis variae Concordantiae ac Discordantiae continentur, quarum genesis ac ordo subjecto Schemate exhibetur, in quo Octavam vides in duodecim divisam Hemito­nia, cujusmodi in Chelyos Canone aliisque Instrumentis secundùm Scalam Diatonicam reperire est; ubi quia plura quam duodecim Segmenta seu diastemata non distinguuntur, nullum discrimen (quoad Intervalla) apparet inter Tritonum & Semediapente; cùm utri­usque distantia à quintâ perfectâ unius dun­taxat sit Semitonii: quamvis in praxi Tri­tonus Quartae, Semediapente Quintae speciem prae se ferat.

[figure]

De Concordantiis.

QƲatuor ex his vocantur Concordantiae; Iertia, Quinta, Sexta, Diapason, ea­rumque Octavae; Tria reliqua intervalla di­cuntur Discordantiae; Secunda, Quarta (tametsi hanc quidam Concordantiis subinde annumerent) Septima, earumque Octavae.

Inter Concordantias duae sunt Perfectae; Quinta & Octava: ita dictae, quòd aures plenâ quadam Voluptate permulceant. Reliquae duae sunt Imperfectae, Tertia & Sexta; ita nuncupatae, quòd tenuiori concentu aure's recreant.

Transitio Concordantiarum.

OBservandum porrò duas Persectas ejus­dem generis Concordantias sibi invicem succedentes, verbi gratia, duas simul Quin­tas, aut binas continenter Octavas, quòd au­ditum nimiâ satietate oppleant, prohiberi; nisi forte adversis sibi motibus, (in pluribus presertim partibus) occurrant, aut in eadem sede consistant.

Illicita Illicita Licita Licita Licita in pluribus partibus [...]5 5 5 5 8 8 8 8 5 5 5 8 8 8 8 8 5 5 5 [...]Not allowed Not allowed Allowed Allowed Allowed in many parts

A Quintâ tamen ad Octavam, aut ab Octavâ ad Quintam promiscuè transiri potest; modò altera Pars sixa in statione permaneat, aut non nisi gradatim se moveat. Nam si Partes per saltum unà progrediantur, minus grata ista Perfectarum collocatio accidet.

Imperfectae vero Concordantiae ascendendo aut descendendo continuari possunt.

Denique ab unâ Concordantiâ ad aliam transire nil vetat, modo evitetur Relatio non harmonica, quae tum accidit, cùm Nota mollis durae inconcinnè absouéque opponitur.

De Melothesiae Clavi seu Tono.

OMnis porro Melothesia ad Clavem ali­quam seu Tonum reducitur, in quo nimirum Bassus post varias fluctuationes quasi in Portu anchoram jacit. Tonus durus dici­tur, cùm Tertia supra Notam Toni cardina­lem dura est seu Ditonus. Tonus denominatur Mollis, si praedicta Tertia mollis fuerit seu Semiditonus.

Mollis Durus Mollis Durus Mollis Durus [...] Mollis Durus Mollis Durus Mollis Durus [...] Mollis Durus Mollis Durus [...]

Observandum porrò Tonos Duros, tametsi alii aliis peregriniores appareant, omnes esse non affines modò sed ejusdem planè indolis; adeò ut per Transpositionem, non solum quot­quot hîc sunt reliqui, sed quotquot omninò excogitari possunt, ad primum in G. nullo negotio revocentur. Quod de Tonis Mollibus perinde intelligendum est.

Ad Tonum Bassi partes caeterae componum­tur.

Horum omnium periculum optimè fiet in Contrapuncto. Est autem Contrapunctus cùm Nota supra Notam, sine coloribus, Mu­sicè construitur.

Quâ ratione Bassus conformandus sit.

IAciatur itaque imprimis fundamentum; hoc est, Bassus concinnetur iis legibus: Primò, ut Tono conveniat, Cadentiis interme­diis, siquae fuerint, assumptis finali clausulae haud alienis; in Quintâ videlicet aut Tertiâ superiùs. In Tonc tamen duro vice Tertiae, in quâ Cadentia minimè convenit, assumatur Quarta aut Secunda.

[...]5 3 5 4 2

Secundò, Bassus moveatur plerumque per Saltus ad Tertiam, Quartam, & Quintam; gradibusque duntaxat iis gaudeat, quibus in­tra Toni fines coerceatur. Cantus autem gra­dario ut plurimùm incessu procedat.

Tertiò denique, auspicium sumatur à Tono molli, sepositis consultò, ad majorem facili­tatem, Notis duris.

[...] 3

Quo pacto Cantus Basso adstruendus sit.

SƲperstrue porro Cantum Basso, adhibendo Tertias, Quintas, Octavas (seclusis tan­tisper Sextis, quae Notis duris congruunt max­imè) ut quaeque vicinior magisque in promp­tu est. Numerosque arithmeticos 3, 5, 8, ut­pote Concordantiarum characteres inscribe; ut sic vel ad oculum pateat cujusmodi sint.

Cantus. [...] Bassus. [...]

Notandum verò, ubi partes pauciores con­cinunt, imperfect as Concordantias praelegen­das perfectis, ut aurium fastidio consulatur. Hinc in Biciniis rarò usurpatur Octava, nisi in principio, clausulâ finali, aut intermediâ, velcùm partes contrariis incedunt motibus.

De Triphoniis.

HIsce peractis, si alteram fortè Partem annectere velis, verbi gratiâ, Altum, cujus sedes est proximè infra Cantum, vide Concordantiis utaris, quae ad Cantum propius accedunt; Tertiamque in alterutrâ Parte nunquam omittas, dum Tricinium adornas.

Cantus. [...] Altus. [...] Bassus. [...]

Vides in Paradigmate Can­tum & Altum ambos in Octa­vâ desinere; quod in Tono molli convenientius videtur, quàm si Cantus transisset in Tertiam duram, quae in ulti­mâ Clausulâ gregariae atque interiori Parti in Polyphoniis potiùs convenit.

Quando Bassus assurgit ad Quartam, aut descendit ad Quintam, Nota quae praecedit hujusmodi ascensum vel descensum requirit Tertiam majorem; unde secundam & pe­nultimam Alti notam duplicato decussi ad gra­dum Ditoni elevatam vides.

De Tetraphoniis.

UBi te in Triphoniis jam satis exercue­ris, ad Tetraphonia transire poteris, caeteris Partibus adjuncto Tenore. Quaedam autem hic observanda. 1o Ʋt Pars assumpta adornetur Concordantiis, quantum fieri po­terit, ab utraque aliâ Parte diversis. 2o Ʋt quam proximè Alto subnectatur; tum enim harmonia perfectissima consurgit, cùm Partes superiores maximè sunt affines atque con­terminae. 3o Ʋt duarum Quintarum & Octavarum consecutionem non minùs inter superiores Partes, quam inter illas & Bassum ascendendo aut descendendo fugias.

In Paradigmat, pe­nultimam Alti, in duas Semiminimas divisam vides, quarum prior Notae praecedenti colliga­tur, unde ligatura voca­tur, Cadentiamque ex­ornat plurimùm: quod imitari poteris qualibet in Parte, quae Ditonum Basso occinit in Notâ pe­nultimâ.

Cantus. [...] 3 5 3 5 3 5 5 3 5 8 Altus. [...] 8 3 8 3 8 3 3 8 3 8 Tenor. [...] 5 8 5 8 5 8 8 5 8 3 Bassus. [...]

Ʋbi huic Methodo assueveris, majori deinde cum libertate omnes simul Partes componere fas erit, quavis cuilibet parti attributâ Con­cordantiâ, modò sua singulis assignetur, nec interea omittatur Tertia.

De Sexta.

HActenus nihil actum de Sexta; quae tum adhibetur (loco Quintae) cùm Bassus in Notis duris versatur, quales ferè sunt Ditonus supra Tonum Melothesiae, Semiditonus infra, atque illa Nota quae Primariae proximè substat; ejusmodi enim notae durae Sextam postulant. Vide Paradigma.

Cantus. [...] 3 6 3 3 3 3 8 3 5 8 Altus. [...] 8 3 3 8 8 6 5 8 3 8 Tenor. [...] 5 8 6 5 5 3 3 5 8 3 Bassus. [...] 1 2 3

Notandum vero 1o Quintam & Sextam in Contrapuncto nunquam simul usurpari. 2o Semitonium infra Cardinalem Bassi Notam Octavam sine aurium offensione non admit­tere; quare amandatâ Octavâ duae partes in eadem potius Tertiâ invicem complecti de­bent. 3o Bases quae notis ut plurimùm constant poscentibus Sextam, paucioribus quàm pluri­bus [Page 20]Partibus aptiores esse. 4o Bassum, cùm ejusmodi Notas recipit, carere ad sui complementum ac latitudinem debitam, Ditono inferiori; quem si subnectas, jam Sextae mutabuntur in Octavas, Tertiae in Quintas, quaeque fuisset Semitonii Octava sed inconcinna, jam cum lepore fit Tertia.

Cantus. [...] 3 8 5 3 3 5 8 3 5 3 Altus. [...] 8 5 3 8 8 8 5 8 3 8 Tenor. [...] 5 3 8 5 5 3 3 5 8 5 Bassus. [...]

Ex his omnibus patet, non nisi tres reperiri Consonantias eodem simul tempore Basso insistentes; eae (que) sunt Tertia, Quinta, vel Sexta, & Octava. Quòd si plures quàm quatuor Partes compo­nere animus est, praedictae consonantiae in suis Com­positis sen Octavis reprae­sentandae sunt; Ʋnde, dùm duarum Quinta­rum aut Octavarum con­secutionem declinas, suavem ac versicolorem Melodiae texturam consurgere necesse est.

Quis Discordantiis locus sit.

DIscordantiarum in Musicâ duplex est usus. Primò, in Diminutione; cùm videlicet binae, trinae, aut plures Notae sibi invicem gradatim subnexae, uni alterius Partis Notae respondent. Providendum tamen, ut primitia Nota sit Concors.

[...] 5 4 [...] 6 7 8 7 [...] 8 7 6 5 [...] 3 4 5 6 [...] 3 4 [...] 5 4 5 6

Hic observa duas, tres, aut plures subinde Notas in eadem lineâ vel Spatio consistentes, instar unius longioris notae considerari posse; atque adeo easdem omnino pati Discordantias, quas admitteret Nota illa integra longior, cu­jus hae particulae censentur.

[...] 7 6 5 4 3 2 3 8 7 5 [...] 8 2 3 4 5 6

Secundò, Discordantiis locus est in Syncopsi ac Ligaturis; cùm nimirum pars una nexu quodam ac colligatione duarum Notarum in eâdem statione detinetur, atque ab allisione alterius Partis quae interea progre­ditur quasi conscindi videtur: habetque id plurimum elegantiae, si non temerè sed cum iudicio fiat.

Syncopsis in Dyphoniis.

[...] 8 7 6 6 5 4 3 4 6 7 6 8 3 4 3 4 3 4 3 23 8 3 23 2323 2 3 4 6 4 3 8 [...] 5676 7676 76765 4 38 3 4 3 4323 8 8 7 6 5 3656 7 6 5 4 3 8

Syncopsis in Triphoniis.

[...] 5 6 7 6 85 6 7 65 7 6 8 3 65 3 65 3 65 4 3 8 5656 5656 7 6 5 8 [...] 323 3 3 3 4 3 3 3 3 3 843 843 843 8 3 3 3 3 434 3 4 3 8

Et quamvis Discordantia initio alicujus Notae in Basso applicatur, nihil interest, modò particula prior ligaturae ei Concors sit, ac deinde Discordantiam emolliat Concordantia subsequens, quae Imperfecta plerumque esse debet.

Auribus verò per discordantias concordan­tiasque imperfect as variâ expectatione tradu­ctis atque suspensis tum demum fiet satis, cùm in perfectis Concordantiis Melodia quodam­modo colliquescit. Idcirco enim Discordan­tiis in Musicâ concessus est locus, tùm, ut va­rietati consulatur, tùm, ut ejusmodi asperi­tate quasi vellicatae aures Consonantiarum suc­cessione levari ac permulceri gestiant.

Transitus autem Discordantiarum ad Con­cordantias imperfectas maximè vicinas fieri ut plurimum debet: quod etiam in progres­sione Imperfect arum ad perfectas observandum est. Hinc Sexta major ad Octavam, minor ad Quintam genuino lapsu pergit. Atque hac aequabili gradatione, suavior absque incon ditâ subsultatione Melodia redditur.

De Tritono, & Semidiapente.

QƲamvis supra dictum sit, Tritonum & Semidiapente intervalla prohibita, ac Dis­cordantias plerumque censeri; est tamen eo­rum usus nonnunquam in Musica elegantissi­mus. Nam etiam absque Syncope Basso cum gratiâ opponuntur, quod aliis discordantiis, nisi forte veterani Musurgi peritiâ scitè attem­perentur, vix conceditur.

[...]Semidiapente Tritone Tritonus. Semidiapente.

Curandumque ut Tritonus ad Sextam, Se­midiapente ad Tertiam transeat.

Example.

[...]Tritonus. Semidiapente.

Diximus praeterea Quintam vnà cum Sex­tâ in eadem Contrapuncti plani sede comparêre neutiquam posse: Secus est, quando Semidia­pente in posteriori parte ligaturae adhibetur; tunc enim requirit Patrocinium atque unbra­culum Sextae, ut sese auribus gratiùs sistat. Quo in casu, si rectè expendatur, Semidia­pente supplet locum discordis Septimae, ac Sexta ei imminens obit vices Octavae; ut facile patebit, si Bassum ad Tertiam inferiùs demiseris.

Contemplatio Concordantiarum Musica­rum.

ATque hîc quis non jure merito obstu­pescat, cùm animum subit ex Concor­dantiis dumtaxat tribus, paucis subinde intertextis discordantiis, tam innumerabilis prognata soboles, ut quicquid unquam Melo­thesiae fuit vel futurum est, ex his quasi elementis coalescat. Auget admirationem per septem distributa Gradus, (unde haec concor­dia discors emanat) tam apta Sonorum com­plexio, eodem literarum ordine in Scalâ Musicâ exhibita, quo recursantes per annum dierum Hebdomadas primaevae rerum originis imaginem repraesentamus.

Numerum hunc Orpheus fastis immorta­libus consecravit, cùm Lyram suam, (quae à Pythagora Samio in Aegyptiorum adytis reperta olim, atque è tenebris in bono lumine collocata, Alexandri temporibus etiamnum superstes fuit) Heptachordam esse voluit; ut septenis Fidibus septem Planetarum discursus atque concentum, quoties fila pulsaret, auribus atque animo sisteret. Neque verò absimilis est Sonorum ac Siderum harmonia, cùm illorum concordia horum aspectibus ad amussim respondeat. Isophonia siquidem Astrorunt refert Conjunctionem; exiremi Diapason termini, Oppositioneni; comprehensae intra Octavam Concordantiae, Tertia, Quinta, Sexta, Trinum, Sextilem caeterosque in Zo­diaco aspectus intermedios. Ʋtque Planeta­rum varia inter se collocatio orbi inferiori alios atque alios impertit influxus, ita diversa Sonorum Eucrasia miros in auribus animisque motus excitat, quibus in omnis harmoniae authorem admirabili sursum contemplatione rapiantur. Ʋnde suum in Templis sacrisque locum Musica jure meritò vendicat.

Nec vacat Mysterio, ternos per intervalla sonos invicem superimpositos universae Har­moniae medullam ac summam ambientis vin­culi nodo nexuque complecti. Divinae illius Monadis Triadisque, nutu suo omnia in ordine pondere et mènsurâ gubernantis, non leve simulachrum; quo nihil ad Musicae landem illustrius, nihil excellentius.

Reliqua itaque huc attexere, tametsi admi­randa, nil attinet; cujusmodi sunt, fidem pulsatam ab alterâ homophonâ side etiam intactâ responsionem quodammodo aliquam acclamationemque accipere: Tubas, caeteraque ejusmodi oblonga instrumenta pneumatica, Sonos gradatim consequentes modulanti ne­gare, nisi prius per solitas concordantias Sal­titando exordium feceris.

Musicarum Concordantiarum Analogia ad Planetarum aspectus.

SEptem in sequenti Schemate gradatim soni, quos intra Limites Diapason, stilus Diatonicus exhibet, in lineâ Diametro arith­meticè repraesentantur. Circulus Zodiacum refert, aspectumque Planetarum, cujus inter­sectionibus Octavae partitiones exactè respon­dent. Extremi siquidem ejus termini Conjun­ctionem Oppositionemque imitantur. Partitio media, quae hinc Quartam, inde Quintam respicit, □ adumbrat. Tertia ac Sexta Octa­vam ut △ ac * Hemicyclum explent. Quibus adde, Octavam duodecim constare Hemito­niis; non secus ac Zodiacus signa duodecim variis animalium figuris descripta comple­ctitur.

Figura infima Omnes omnino sonos quot­quot concentum simul efficiunt, Ternarii Har­moniâ identidem repetitâ contineri demon­strat.

[figure]
Benedicta sit sancta et individua Frinitac

CHELYS, Minuritionum Artificio Exornata. PARS TERTIA.

Quâ ratione Minuritiones ad Basin ap­tandae sint.

MInuritio ad Basin nihil aliud est, quàm aut ipsius Baseos, aut aliarum Partium, quae Basi accini possunt, in varias melicas Minutias Sectio; unde vulgò Divisio Musica appellatur. Ea, uti omnium ferè Instrumen­torum Musicorum, ita Chelyos imprimis per­fectio Summa est. Rem omnem, si cui peregrina est, verbo primùm complectar; deinde fusius artis documenta subjungam.

Fundamentum quodvis rectè concinnatum bis describitur; cujus exemplar alterum Or­gano, Clavicymbalo, seu alii Instrumento sustinendum traditur; alterum ob oculos Musurgi variis Melodiae elegantiis exornan­dum proponitur, quibus inventionem dexte­ritatemque pariter ostentet: quod nonnullis faeliciter adeo succedit, ut Auditores non modo singulari voluptate permulceant, sed admiratione etiam incredibili non rarò per­cellant.

Quòd si ad tantam excellentiam primasque pertingere paucis conceditur, ac reliquis certè in secundis non sine laude consistere licebit; si, quod inventioni deest, dexteritate ex­plere, atque aliorum compositiones concinnè modulari nitatur: tametsi enim hoe admira­tionis minus fortasse habeat, quòd hîc alienâ utendum sit operâ, ac sedula praemeditatio plerumque antecedat, Melothesiae tamen prae­stantiâ exactéque modulandi industriâ plus saepe affert voluptatis. Atque ut ab hoc infe­riori gradu ad altiorem conscendere pluribus in promptu sit, visum est hujusce artificii fontes omnibus aperire, ac publici juris fa­cere.

Minuritionum genera.

EX Definitione jam traditâ, triplex ena­scitur Minuritionum species.

Prima simplicissima, quae Fundamentalis dici potest, utpote quae fundamenti duntaxat longiores Notas, in breviores celerioresque dividat.

Secunda magis composita, quae Melotheti­ca nominari poterit; nempe, quae Basso superio­rum Partium minutias superstruit.

Tertia ex utraque mixta, quae fractiones tum Bassi, tum aliarum Vocum, vel agglome­ratis conjunctim, vel sparsis sigillatim Notis exhibet.

Hae pro cujusque genio promiscuè, nullo servato ordine, usurpari possunt. Nos vero ut ordinem doctrinae observemus, à simpli­cioribus ad complexa seu composita progre­diemur.

Minuritio Fundamentalis.

MInuritio Fundamenti variè perficitur, dùm Semibrevis in duas Minimas, qua­tuor Semiminimas, octo Fusas, sexdecim Semifusas, &c. comminuitur.

Idque fit primò cum Minutiae vel in eadem Ʋnisonâ sede, vel in Octavâ con­sistant.

Paradigma.

[...]

Secundò, cum variatur quidem Sonus, deflexione tamen adeò exiguâ, ut tenuis admodum Melodiae immutatio percipiatur; dum à Notâ diminutâ tantillum receditur, ac subito ad eam regressus fit.

Paradigma.

[...]

Tertio, cum Minutiae adhibentur per mo­dum Transitionis de Notâ ad Notam, uti in apposito Paradigmate videre est, ubi transi­tiones ad singula unius Octavae intervalla, tum in ascensu tum in descensu repraesentan­tur.

Paradigma.

[...] 3 4 5 6 7 8 Ascending. [...]Descending [...] 2 3 4 5 6 7 8 Ascending. [...]Descending [...] 2 3 4 5 6 Ascending. [...]Descending. 7 8 2 3 4 [...] 5 6 7 8 [...]Ascending [...]Descending

Adjecimus praeterea exemplum in Clavisu­periori, cùm hic transitionum decursus omni­bus passim vocibus inserviat.

Quartò, quando Minutiae à Notâ dimi­nutâ in alias Concordantias per Saltus prosi­liunt.

Paradigma.

[...] 853 468 85635 853468 853

Quinto, dum ad dictas Concordantias gra­datim pergitur, trium aut quatuor Notarum sese consequentium fluxu continuo. Qui modus etsi ferè ad Secundam Minuritionum Speciem pertineat, cùm tamen Basin potissimùm re­spiciat, cujus Notis, perexiguâ exorbitatione, inhaerit, ad primam revocari non immeritò potest.

[...]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 [...]2 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.

Curandum verò 1o ut minutiae, dum ad Con­cordantias transeunt, ad Basin harmonicè con­struantur. 2o Ʋt ad proximam Basis Notam affini quodam Motu suaviter perlabantur. 3o Si quando minutiae ad Discordantiam transe­unt, id locis congruis, ubi eae videlicet in Melothesia adhiberi assolent, et ex arte fiat.

[...]As thus. Exemp: Gratiâ. [...] 3 This pusses into a 4.th This into a 7.th

Minuritio ad initium sequentis Notae aptè deducetur, si (ut ferè contingit in transitione ad Concordantias) tres aut certè duae ultimae minutiae ad hujusmodi Notam gradatim ascen­dant vel descendant: ut in adjecto. Paradig­mate demonstratur, ubi Semibrevis in G. dividitur per varias transitiones ad quodlibet intervallum Diapason.

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

Atque hic incedendi modus probatur, sive lentior sive velocior sit minuritio, quae quo suerit incitatior, plures minutias postulabit, uti experientia constat.

Jam verò quemadmodum harum regularum intelligentiam praxis perficiet, ita praxin ha­bitus facilitasque consequentur. Hanc in rem juvabit Fundamentum aliquod facile seu sub­stratum concinnare, cujus Notas singulas ad praecedentium praeceptorum normam in varias Minutias frangas.

Cavendum autem 1o ut nativo quodam pro­cessu, quod suprà monuimus, Minutiae fluant: nec Notae durae aut molles temerè inserantur, nisi quas Melodia Fundamenti ac Toni indoles exigit.

Notandum 2o, Septimam ac Sextam in descensu aequipollere Secundae aut Tertiae in ascensu, ut exemplo hic demonstratur.

Paradigma.

2 3 4 5 6 7 8 8 [...]7 6 5 4 3 2 8

Atque adeò eodem redit, sive succedenti Notae in Ʋnisono occurras, sive in Octavâ. De Octavis enim eadem est ratio.

3o Ʋbi Basis, vel ad Quintam descendendo vel ad Quartam ascendendo, Cadentiam prae se fert, Notas quae vel in Tertia superiùs vel inferiùs in Sexta ei accommodantur, duras plerumque esse oportet.

Ʋltimò quemadmodum Minuritio Basin supergreditur in Tertiâ aut Quintâ; ita ad earumdem Concordantiarum Octavas, hoc est, ad Sextam, & Quartam, cum inferius mo­vetur, delabi debet.

535 535 535 [...]464 464 464

Hisee praecognitis, Basin in Minutias fran­gere proximo Paradigmate disces: ubi clari­tatis causâ minutiae Singulis Fundamenti Notis superscribuntur.

An Example of Breaking the Ground [...]

In secundâ autem variatione, sub initium tertiae mensurae, Basi occurritur in Tertiâ; qui videlicet occursus eo loco maximè vide­batur genuinus; adeoque isthic atque alibi ad imitationem proponitur; si quando Melodiae decursus istiusmodi contextum suaserit. Non absimilem occursum in Quintâ, tertia mensura variationis tertiae exhibet.

Disputant nonnulli, quid in Minutiis de Septimâ Superiùs & Secunda inferiùs statu­endum sit; debeatne videlicet duritiem indu­ere, tametsi natura mollis sit. In istiusmodi subitis mutationibus, tametsi aurium potis­simè judicio standum sit, plerumque tamen haec regula observari potest, ut dùm à Notâ cardinali ad Secundam aut Septimam descen­ditur, rursumque ad eandem Notam ascendi­tur, signum B duri [*] apponatur.

Paradigma.

[...]

Nisi fortè Basis cadat vel assurgat ad Se­cundam Mollem, aut transeat ad Tertiam, aut denique per modum Cadentiae progredi­atur ad Quartam superiùs, aut Quintam inferiùs.

Paradigma.

[...]

Suadetur ut sub Cadentiam finalem Nota penultima ad Quartam superiùs aut Quin­tam inferius simpliciter transeat; ne dùm per Minutias ad clausulam gradatim descen­ditur, Minuritio Fundamenti, duas conse­quenter Octavas alicui Parti superiori, quae ab Organoedo exprimitur, temerè impingat; idque tum in Diminutionibus, tum in Choro maxi­mè, Polyphoniisque cavendum est, ubi ista Octavarum Consecutio magis apparet.

Paradigma.

Not allowed. Not allowed. Allowed. Allowed. [...]5 8 88 88 [...]Illicita. Illicita. Licita. Licita.

Minuritio Melothetica.

DIffert Melothetica à Minuritione sim­plici Fundamentali, quòd illa Notas Basis duntaxat concerpit, nunc suprà nunc infrà (haud longâ tamen ambage) ab isto suo Polo digrediens: Haec verò Basso usque super­eminet, ac coelo liberiore fruitur, è quali­bet voce seu Parte superiori Minutias versi­colores depromens, Concordantiis debitis vel saltuatim vel gradatim Bassum inumbrans, Discordantiasque legitimè intertexens.

Regulas easdem admittit quas Melothesia; perque Tertias, Quintas, Octavas incedit: Quintarum aut Octavarum consecutionem evitans; Troposque affectat consimiles iis, quos in Minuritione simplici descripsimus. 1o Minutias in Ʋnisono persistentes. 2o Soni variationem, servato in diminutionibus eo­dem ferè Melodiae tenore. 3o Transitiones de Notâ ad Notam, ascendendo vel descen­dendo per duos aut tres vicinores gradus. 4o Concordantiarum ex aliâ in aliam desul­torios motus. 5o Liberiorem per plures gra­dus ad varias Concordantias decursum.

Discordantiae, ut dictum est, sub initium mensurae, nisi in Syncope, non adhibentur. Sexta diminutionem rarò inchoat, nisi forte in ligaturâ, aut ubi eam Basis desiderat vice Quintae; cùm scilicet duriores Bassi Notae Sextam minorem expotunt, aut Molliores etiam majorem, ad melodiae suaviorem con­textum deposcunt, uti in Paradigmate liquet.

Paradigma.

[...]6 66 6 6 6

Ʋbi vides Basso deesse ad sui complemen­tum Tertiam inferiùs, quae hic nigricante Notâ adumbrata est, qua rursus demptâ, Minuritio quae Octavam effecerat, jam ad Sextam redit.

Paradigma.

[...]6 6 6

At si Quinta loco Sextae adhiberetur, ea ad Basin, si ad Tertiam inferius demittteretur, Discors foret.

Minuritio Mixta

SImplicem atque Compositum unà com­plectitur, ad quam spectat quilibet dua­rum aut plurium Partium concentus, Chely eodem simul tempore auribus repraesentatus, sive id fiat disjunctis ictibus, sive eadem vi­bratione conjunctis. Quod diminutionis ge­nus, uti caeteris praestat, ita plus requirit in Melothesiâ peritiae atque judicii, ob frequen­tiores Syncopas, quibus Discordantiae haud rariùs quam in aliâ quavis Musicâ, hujusmodi Melodiae interseruntur.

Exempli gratiâ Paradigmata sequentia ex­hibemus. Cumque in Cadentiis difficultas maxima momentumque sit, in iis potissimum hujus artificii speciem edimus.

Cadentiarum duo genera.

CAdentiae verò tametsi videantur innu­merae, ad duplex genus revocantur. Primùm cùm à Septimâ per Sextam transitur ad Octavam, Basso delabente ad Secundam inferiùs. Secundum, cùm à Quartâ per Tertiam ad Octavam fit gradus, Basso ad Quintam inferiùs aut Quartam superiùs se promovente.

Paradigma.

[...]76 76 43 43

Paradigma sequens primi generis Caden­tiam, ejusque Minuritiones simplices, com­positas, mixtasque, tum disjunctim, tum con­junctim, ob oculos ponit.

  • Minuritio
  • Ground Broken.
  • Fundamentalis.
  • Simplex.
  • Descant.
  • Melothetica.
  • Composita.
  • Mixt.
  • Mixta.

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

In praecedenti Paradigmate observare est, ad plures Fundamenti Notas unicam in Mi­nuritione compositâ continuari, quod saepe aut ad pathos aut ad varietatem fit. Habes hîc praeterea transitum à Septimâ per Sextam ad Octavam, atque ubi Basis Sextas postulat, id figurâ [6] designatur. Animadvertendum denique, partem finalis Notae subinde dimi­nui, quod cujusque arbitrio relinquitur.

Paradigma sequens, Notis duris Caden­tiam exhibet, ut, quamvis idem ferè hîc minuendi modus, qui supra, observetur, quanta nihilominus Melodiae discrepantia mol­l [...]es durasve consequatur Notas, auribus aesti­nes.

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

Paradigma proximum, secundi generis Cadentiam exhibet in Minimis.

Paradigma.

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

Quòd si singulas praecedentis Paradigmatis Notas alterum tantum producas, specimen dabunt Cadentiae in Semibrevibus. Id tamen seorsim Paradigmate sequenti ostenditur; ubi nonnullas Notas praevias apposuimus, ut eâdem operâ plures gradatim Notas diminuen­di modum habeas.

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

De Quintis & Octavis in Minuri­tione.

AT, ne in praecedenti exemplo Octavarum alicubi consecutio quempiam offendat, considerandum est, num diversa a Basso Pars, ut in minuritione melothetica fit, prae manibus sit, an Basis ipsa, ut sit in fundamentali, ubi Octavarum consecutio haud secus admitti po­test ac in Organo, Clavicymbalo, Testudine, quae, singularum ferè Notarum Octavas ad pleniorem harmoniam assumunt.

Quintarum Consecutio omnino exploditur, nisi earum altera sit Quinta falsa; tum enim non modo nihil vitii sed multum habet leporis atque elegantiae; Ʋnde seposito Antiquorum fastidio à Recentioribus admittitur.

Paradigma sequens in Brevibus Cadentiam proponet, quatuor antepositis Minimis grada­tim ascendentibus.

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

De Sextis & Tertiis in Minu­ritione.

IN Minuritione Mixtâ horum Paradigma­tum, plures simul Sextae itidemque Tertiae occurrunt: in quibus haec tenenda regula. Cùm eodem ictu impelluntur Chordae, Tertiae gratiores facilioresque accidunt: Cùm diversis atque per saltus incitantur, Sextae ut pluri­mum adhibendae: Saltus enim quò remo­res sunt, eo Majori varietate aures recreant. Quapropter in Minuritione subsultante, De­cimas potiùs quam Tertias alternatim usurpa­mus.

Ad Cadentias proximè accedit Clausula quaedam ei admodum affinis, in graviori Mu­sicâ satis usitata, cùm Bassus descendit ad Quartam aut assurgit ad Quintam, Notae­que finalis prior pars in Melothesiâ frangitur hoc modo.

Hujusce generis Paradigma in Minuritionibus exhibemus, praepo­sitis quatuor Semibrevibus, ut dis­sicultatem quae Tyronibus in Notis longioribus amplificandis obversari solet, nonnihil levemus.

[...]

Notae sursum deorsumque caudatae, duarum Chordarum in unisono percussionem indigi­tant.

An Example of a Close without a Cadence

[...]

Praecedens Paradigma tripaex Minuritio­num genus non admittit, ob Fundamenti moram in eodem sede diuturniorem, ut consideranti patebit. In eo tamen satis elucet Methodus diminuendi Notas etiam longiores.

Hactenus Minuritionum tria genera seor­sim collocavimus, quae tamen in eadem Stro­phâ inter se commisceri nil vetat. Imò ejus­dem etiam Notae heterogen [...] Minuritio se­quenti Paradigmate contin [...]ur: ubi vides priorem Notae partem Minuritione simplici seu fundamentali, posteriotem Minuritione Melotheticâ exornatam.

Paradigma.

[...]

De Semiminimis.

Quae hucusque de Minimarum, Semibre­vium, aliarumque Notarum longiorum fractionibus dicta sunt, celerioribus facile applicare est; cùm eadem ferè sit utrobique ratio. Ne quid tamen hîc desiderent Tyro­nes, idem in Notis brevioribus, Semiminimis & Fusis, adumbrabimus. Ac primùm de Semiminimis gradatim vel ascendentibus vel descendentibus.

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

Paradigma Semiminimarum gradatim descendentium.

An Example upon Crochets descending by Degrees

[...]The Ground broken [...]Descant [...]Mixt [...]Mixt

Nunc verò idipsum in Semiminimis per saltum dispositis demonstrandum.

An Example of Crochets rising and falling by Leaps

[...]The Ground [...]The Ground broken [...]Descant [...]Mixt [...]Mixt

In superiori Basi omnia unius Octavae In­tervalla percurruntur. In primâ Strophâ Tertiae descendentes aequipollent Sextis ascen­dentibus; Quartae ascendentes, Quintis de­scendentibus. In Secundâ Strophâ è con­verso, Tertiae ascendentes aequiparantur Sex­tis descendentibus; Quartae descendentes, Quintis ascendentibus. Septimae in suis oppo­sitis Octavis, hoc est, in Secundis includuntur, ubi sursum vel deorsum fit sine saltu gra­datio.

De Fusis.

SI fortè Fusae occurrent in Basi, cui ap­plicandae Minuritiones, dispiciendum in­primìs est, num Fusae accipiendae sint ut sub­stantivae fundamenti partes, an verò ut ad­jiciales Minutiae alicujus longioris Notae, ornamenti aut transitionis causâ adhibitae; ut in subsequenti gradatione apparet.

Paradigma.

[...]

Hic vides Minutias illas aequivalere lon­gioribus Notis, quae illis in Paradigmate proximè adscribuntur: Quare Minuritiones ad praedictas longiores Notas, perinde ac si Fusae istae non intervenissent, motu contrario accommodari nil vetat, in exercitatione prae­sertim extemporali.

Quod si Fusae Substantivae ac Fundamen­tales sint, inque Minuritiones frangendae, habes hic apposita Paradigmata, quorum id imitatione perficias. Ibi primùm quid in gradatione tum descendendo tum ascendendo agendum sit, ostenditur; deinde quid in discretis per saltum Intervallis.

An Example upon Quavers Rising and Falling by Degrees

[...]The ground The Ground broken [...]The Ground Descant [...]The Ground Mixt [...]Mixt

Hic praeter morem regulasque jam traditas alternae Notae non in Ʋnisono aut Octavâ sed in Secundâ Basin excipiunt: id tamen quaedam illic necessitas Notarumque velocitas excusat. At si pari ratione Semiminimae in Fusas, Minimae in Semiminimas comminuerentur; id aegrè admodum paterentur aures ob diu­turniorem in secundâ moram. Attamen si gradarius ille ascensus aut descensus Notas punctis alternatim interstinct as haberet, jam Minuritio nativo cursu ordinatim proflueret, quemadmodum in Exemplo vides.

[...]Ground Broken Ground Broken

De b Molli & Duro.

HIc si quaeras, cur Fusae in B, appositum sit b molle; id propterea sit, quòd Mi­nuritio inde ad F mollioris itidem soni de­scendat; uti paulò post, F.b. duro atollitur; quia nimirum inde ad B. similiter durum ascenditur: Ʋtriusque porro ratio eadem reddi potest, ut Relatio non harmonica evi­tetur auribus planè ingrata, quae tùm perpe­tratur, cùm quatuor Notae gradatim ascen­dentes, aut descendentes, terminos perfectae Quartae excedunt. Nam licet Quarta minor passim in usu sit, attamen si Nota altera ab alterâ remotiùs divaricetur, enascitur Tri­tonus harmoniae infestus; quod ne siat, à priore ad posteriorem sternenda et emollienda est via: atque hîc tria Quartarum genera observari possunt: Tritonus, Diatessaron, & Quarta minor, cum nimirùm superior Nota mollis, inferior dura est.

[...]

De Fusis per saltus incedentibus id dicen­dum restat, videri istiusmodi constructionem ad Basin Minuritionum minus idoneam. Si tamen occurrant, eadem regula hîc inservire poterit, quae de Semiminimis tradita est, conversis Semiminimis in Fusas, Fusis in Semifusas &c. Quid praeterea in iis sit agendum, sequens Paradigma planum facit.

Quavers moving by Leaps

[...]The siround broken [...]Descant [...]Mixt Mixt

His praemissis de extemporali ad Basin Ex­ercitatione agendum.

Primùm seligatur Basis Semibrevibus aut Minimis, aut utrisque constans; ejusmodi enim ad extemporaneam Exercitationem aptissima.

Deinde ad manum habenda quaedam Mi­nuritionum Schemata seu Figurae, quae pri­mis Fundamenti Notis accommodata, sequen­tibus itidem simili filo applicari possint.

Hac Supellectile instructus auspicare lusum à Schemate omnium facillimo, atque enitere ut à primis illud Notis ad extremam usque Basin deducas, pari texturâ. Id cum fueris assecutus, aliud atque aliud Schema, simili conatu aggredere.

Hujus tibi Exercitationis Figuras aliquot unà cum idoneâ Basi, sequens Paradigma exhibet: quibus innumeras alias tuo ipse marte attexes.

Paradigma.

[...]The Ground points [...]

Horum Schematum amplisicationem a tque ad reliquam Basin applicationem è proximo exemplo colliges.

An Example for carrying on a point upon a Ground

[...]

Ejusmodi amplificatio cujuscumque Sche­matis, Inventioni non leve affert subsidium, eamque omni anxietate liberat, dum nihil admodum elaborandum venit, nisi ut prima Schematis ratio ad totam Basin consimili Syn­taxi applicetur. Hinc praeterea oritur Mi­nuritionum analoga compositio, jucunda ad­modum, modò ne eâdem sigura nimiâ in­culcatione fastidium creet, cui facile mede­bitur interposita subinde, ut in praecedenti Paradigmate vides, versicolor transitio, di­versorumque Schematum alius ex alio con­textus.

Minuritionum Syntaxis.

PRincipio Fundamentum ipsum simplici ac liquidâ modulatione percurre: idque 1o Ʋt Minuritionum Substratum ab Audito­ribus clariùs atque distinctiùs percipiatur. 2o Ʋt Basin tu ipse ejusque genium melius comprehendas. 3o Ʋt, qui tibi fundamentum accinit, probè intelligat, quo Mensurae tem­peramento uti velis.

Deinde Basin in varias Minutias Semi­minimarum atque Fusarum dispesce, aut ali­quot fiosculos Melotheticos lentioris mensurae adsperge; idemque in Secundâ & tertiâ Strophâ, si forte totidem Basis contineat, fieri poterit.

Tum verò Minuritiones celeriores earum (que) varia Schemata atque amplificationes, ut supra ostendimus, adhibe.

Ʋbi hoc genere lusus dexteritatem audito­ribus probaveris, ad Melothetica ornamenta subtiliora Syncopasque transire licebit, nunc intensiori, nunc remissiori manu, ut studio­siùs abblandiaris auribus, attentionemque con­cilies.

Demùm varios Minuritionum saltus atque tripudia, cum multiplici Triplarum genere, in medium produces; laxando Inventionis habenas, animoque, quà vocat liberiùs, in­dulgendo; varietati inprimis atque aptae figurarum collocationi studens, quò novâ identidem attentione Auditorem allectes per­que multiplices assectionum motus, Musicae imperio rapias.

De Basi Continua,

QƲod si Basis non per Strophas, sed per­peluo cursu ad exitum procedat (ut cùm pro fundamento Bassus Continuus alicujus Motecti aut Madrigalis assumitur) prin­cipio sedato ac merâ Basi inchoandum erit, ut Organoedus mensurae quâ velis uti, teno­rem assequatur. Post aliquot verò Semibreves, ad Minuritiones quas animus suggesserit, di­gredi poteris; donec ad clausulam pervene­ris, quae Manui exerendae campum aperiat. Pausis aliquot subinde interpositis, concede Organoedo nonnihil spatii quo te praecedat, ut illum deinde lepidâ aemulatione consequa­ris. Varias demum Melothesias, Minuritio­nes Mixti generis, Triplas ac caetera Inven­tionis Myrothecia essunde.

Minuritiones singulari Chely quâ ra­tione aptandae.

PRaeter ea quae jam diximus, id curan­dum maximè in concinnandis Minuri­tionibus, ut Symmetriae facilitatique consu­las. Nam ex duabus Melothesiis aeque prae­stantibus, ea meretur Palmam, quae faci­liori negotio ac leviori manu percurri potest: satisque liquet, eum qui Canonis indolem digitorumque applicationem nesciat, vix esse ad Minuritionum compositionem idoneum ar­tisicem.

Adhibenda porrò sunt ad exemplum, alio­rum opera, quorum industria in excogitandis Minuritionibus cum laude desudavit. Quos inter, D. Henrici Butler, & D. Danielis Norcome elucubrationes, aliorumque No­stratium, quibus pulsandae Chelyos praeroga­tiva facilè conceditur, praecellentium Musi­corum, nunquam sine acroamate usurpari poterunt.

Quâ Methodo duae Cheles Basi alludere debent.

HAec hactenus de Chely Simplici; nunc agendum de duplici. Cùm duobus simul Musurgis ad eandem Basin componendae atque accinendae erunt Minuritiones, hae serventur regulae.

Primò Fundamentum in triplici chartâ describatur, quarum prima Organoedo qui literâ A. designari poterit, secunda ei qui primam pulsat Chelyn literaque B. notabitur, tertia illi qui secundâ canit Chely, insignie­turque C. seorsim tradendae sunt.

Exordiantur A. & B. Basinque simplici modulatione percurrant, interea dum C. graviorem aliquam Melothesiam Basi appo­nit. Dumque B. eandem cum aliquâ varia­tione Melothesiam redintegrat, C. soli Basi immoretur. Atque eadem methodus sive duae sint Fundamenti Strophae sive unica, obser­vetur; altero Basin, altero Melothesiam modulante.

Secundò, C. in procursum Minuritionum celeriorem exsiliat, cum B. simile quid, sublimiori tamen stylo reponat. Id ut feli­ciùs eveniat, auspicetur Lusum is qui In­ventione pollet, sequatur qui manu expedi­tiori praecellit, ut assurgat potius quam flac­cescat Musica.

Tertiò, post iteratam Chelyum altercatio­nem, A. si dextrâ valet, signo dato, suam quoque Minuritionum Symbolam in medium proferat; atque interea Chelys altera Basin, altera Melothesiam graviorem moduletur. Tum denique Chelys utraque seorsim, Orga­noedi Minuritiones haud impari artificio aemuletur.

Quarto, partiri inter se poterunt Stro­pham aliquam Fundamenti propositi; ita ut B. simpliciter Basin frangat, nec nisi ad Octavam sursum aut deorsum excurrat, sive in eadem Notâ consistat, sive ad sequentem transitum paret. Quod cum Musurgo C. consiiterit, eandem orbitam facilè evitabit, seque ad Tertias, aut Quintas, aut sicubi id Basis requiret, ad Sextas, subducet, Basique in Ʋnisono aut Octavâ ad Notam finalem dun­taxat occurret; atque adeò Quintarum & Octavarum obstrepera collisio etiam in extem­porali praxi haud aegrè declinabitur.

Quintò, C. Minuritionem aliquam incho­abit, quae spatium Brevis aut Semibrevis occupet, iaque, signo dato, Musurgo B. indicabitur, qui eodem temporis spatio Socii Schema in sequentibus Notis imitabitur; idque ad Strophae exitum alternis deduci poterit. Similis concertatio ad breviora vel longiora, intervalla, varietatis ergò, insti­tuatur.

Sextò, Signum dari poterit Organoedo, si callet artem, ut Schema aliquod ipse quoque hac postremâ methodo auspicetur, quod post Brevem, Semibrevem, aut simile Spatium, utraque Chelys aut separatim aut conjunctim excipiat; servatâ hac regulâ, ut dum con­junctim canitur, altera Notas lentiores adhi­beat, dum altera in Minuritionibus circum­volitat.

Septimò, Chelys utraque, Organoedo ad Ba­sin ablegato, priorem concertationem celeriùs aut lentiùs renovare poterit, ac denique per varias Triplarum aliarumque proportionum formas, liberiùs evagari, vel perpetuis vel intercalatis Strophis: donec tandem junctis ambae viribus, aut quasi tumultuario con­gressu, aut si id potius libuerit, temperatâ suavique clausulâ coronidem labori imponant.

Atquae haec extemporaria concertandi ratio inter assuetos invicem sodales, adeò feliciter aliquando vertit, ut plausum etiam majorem quam studiosius adornatae Minuritiones re­portarit.

Minuritiones plurium Partium Compo­nendi ratio.

IN componendis Minuritionibus pro duobus Bassis, regula praecedens quid agendum sit satis demonstrat: nimirum jam huic jam isti Parti attributo Choragi seu Du­cis officio, superiorem aut inferiorem pro­vinciam [Page 60]alternis obtinebunt; ac denique post appositas aemulasque concertationes, in unum ambo foedus atque amplexum vel junctis Mi­nuritionibus vel suavi Melothesiae texturâ conspirabunt.

2. Minuritiones pro duabus superioribus Partibus, methodo Melotheticâ concinnandae sunt; dumque simul ambae incitatiùs ferun­tur, in Tertiis aut Sextis plerumque invicem respondere gaudent, aliis subinde Concor­dantiis interjectis, habitâ nimirum semper Fundamenti ratione. Caetera, nihil à su­perioribus regulis diversum occurrit.

3. Si Basso atque Superiori Minuritiones adaptandae sunt, perpendenda est utriusque Partis indoles; quâ probè perspectâ Melo­theticas fractiones Superiori, Fundamentales Diminutiones Basso ut plurimùm tribues.

4. Eâdem solertiâ Minuritionibus pro duobus Bassis & Superiore, item pro duobus Superioribus & Basso utendum est.

5. In Minuritionibus pro tribus Bassis, Superioris, Mediae aut Insimae Partis Dimi­nutiones euilibet per vices tribuendae sunt. Verum Minuritiones pro tribus Partibus ad certam Basin vix solent aptari; sed liberiore, per modum Fantasiae, ut vocant, decursu sine certâ lege hinc inde divagantur: Exordio plerumquè severiore, adeoque per modum Fugae incedant, Minuritionum alternâ ve­litatione in medium conjectâ, conglobatâ subinde concertantium acie; demum quasi pactis induciis, suavi ac placido plenioris concentus Episodio, dextras Musicamque jungant.

Subtexi possunt ad levandum fastidium Melismata varia, Allemandae, &c.

Hujus generis Minuritiones variis Parti­bus accommodas, nos haud sanè paucas in Apollineae Academiae Tyronumque gratiam claboravimus. Plures reperire est inter exi­mia D. Joannis Jenkins Opera: de cujus aliorumque nostratium Authorum immortali­bus in Musicam Rempublicam monumentis ac meritis, cùm supra invidiam sint, meâque laudatione crescere nequeant, praestat silere quam frustra dicere.

The DIVISION-VIOL, OR The Art of Playing ex tempore to a GROUND.

THE FIRST PART.

Of the VIOL it self, with Instructions how to Play upon it.

A VIOL in the hands of an excel­lent Violist may (no doubt) be reckon'd amongst the best of Mu­sical Instruments. To Play ex tem­pore to a Ground is the highest perfection of it: And this is the Subject of our pre­sent Discourse. But first we must treat of some things necessary to that designe; as namely, First, a Viol fitted for that pur­pose; Next, Hands enabled to Play upon it; And then, some knowledge in the Concords of Musick. With these therefore we will begin, in assistance to such as are not sufficiently informed therein: And first concerning the VIOL.

§ 2. What kind of Viol is fittest for Division, and how to be accomoda­ted.

A Viol for Division, should be of some­thing a lesser size than a Consort Bass; that so the Hand may better command it: more or less short, according to the reach of his fingers, who is to use it: but the ordinary size, such as may carry a String of thirty Inches from the Bridge (duely placed) to the Nut. The Sound should be quick and sprightly, like a Violin; and Viols of that shape (the Bellyes being digged out of the Plank) do commonly render such a Sound.

It must be accommodated with six Strings; and with seven Frets, like those of a Lute, but something thicker. If also you fasten a small Fret, at the distance of an Octave from the open Strings (which is the middle betwixt the Nut and the Bridge) it will be a good Guide to your Hand, when you stop that part of the Finger-board.

The Strings a little bigger than those of a Lyra-Viol; which must be laid at the like nearness to the Finger-board, for ease and convenience of Stopping.

The Bridge, as round as that of a Con­sort Bass; that so each several String may be hit with a bolder touch of the Bow.

The Plate, or Finger-board, exactly smooth and even. Its length, full two parts of three, from the Nut to the Bridge. It must also be of a proportionate roundness to the Bridge; so, that each String may lye at an equal nearness to it. As for ex­ample: If the Roundness of the Bridge, be as the Arch A. B. then I would have the low end of the Finger-board to be as C. D. and the top of it, as E. F.

Viol-makers may take no­tice hereof.

§ 3. What kind of Bow.

A Viol-Bow for Division, should be stiff, but not heavy. Its length (be­twixt the two places where the Hairs are fastened at each end) about seven and twenty Inches. The Nut, short. The height of it about a fingers breadth, or little more.

§ 4. How to hold or place the Viol.

BEing conveniently 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 turn'd a little outward. Let the top of your Viol be erected towards your left shoulder; so, as it may rest in that posture, though you touch it not with your hand.

§ 5. How to hold and move the Bow.

HOld the Bow betwixt the ends of your Thumb and two foremost fin­gers, near to the Nut. The Thumb and first finger fastned on the Stalk; and the second fingers end turned in shorter, against the Hairs 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 Divivision, two fingers and the Thumb is best.

Holding the Bow in this posture, 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 yeild a full and clear sound; and order your knees so, that they be no impedi­ment to the motion of your Bow.

[figure]

§ 6. 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.

§ 7. How the Viol is Tuned, and applyed to the Scale of Musick.

WE now suppose you to understand Song, and consequently the Scale of Musick; which known, the Tuning of your Viol appears in such order as you see the six Semibreves which stand one over ano­ther, in the first part of the following Scale: where note, that all the degrees arising above the highest of those Semi­breves, are express'd on the Treble or highest String, by stopping it still lower and lower towards the Bridge.

[...]

Your Viol being tuned 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 over them, are played on the open Strings.

§ 8. How the same Notes may be play'd upon different Strings.

YOU must know that sometimes Notes are play'd, not 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 [Page 5]standing in the same places were played upon the Treble or first String: and there­fore, when any difficulty shall occur in Fingering, you are to consider how the same Notes may be express'd 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 Line and Space take their places upon the Viol: But those that follow, must be set down in the usual way of five Lines; and when Notes exceed that Compass they are reduced again into the said five Lines by setting another Cliff.

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

[...]

§ 9. A Rule for Holding on the Fingers.

WHen you set any Finger down, hold it on there; and play the following Notes with other Fingers, until some oc­casion require the taking it off. This is done as well for better order of Fingering, that the Fingers may pass 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 Holds (for so they are called) you have, where you see such a Stroke as this (direct) drawn from One to some other distant Note unto which you must hold it.

§ 10. A Rule for the Motion of the Bow.

WHen you see an even Number of Qua­vers or Semiquavers, 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 played with the Bow back­ward. This is the most proper motion of the Bow, though not absolutely without some exception: for sometimes the quickness of the Notes may force the contrary, as you will see in the end of the fifth Example. Also quick Notes skipping from the Treble to the Bass, and so persued, are best express'd with contrary Bows. Let your next practice be this which followes.

[...]

§ 11. Of ordering the fingers in gra­dual Notes.

IN any point of Division which reaches to the lower Frets 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 to the said under Note being 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, the Third below doth alwayes imploy the first finger, which serves as a Guide to those two Notes above it. And whereas you will see sometimes two successive Notes stopt one after the other with the same finger, it is alwayes done 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 [Page 7]gradual Notes upon one String) with this difference only, that where the Stops are wide (as amongst the Frets) the fourth or little finger is of more requisite use than it is lower down where the Stops are more contract.

As for the posture of the Fingers in moving from one String to another, I must refer you to your own observation, in ma­king use of what Finger doth offer it self the aptest for stopping any succeeding Note.

[...]

If you find difficulty in this Example, play it the slower, until your Hand have overcome it.

I must now propose unto you Notes of a quicker Motion, viz. Demisemiquavers; but not before I have said something of

§ 12. The Motion of the Right Arm and Wrist.

I Told you before that you must stretch out your Arm streight, in which posture (playing long Notes) you will necessarily move your shoulder Joint; but if you stir that Joint in quick Notes, it will cause the whole body to shake; which (by all means) must be avoyded; as also any other indecent Gesture. Quick Notes therefore must be express'd 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 kept stiff; Insomuch, that I have heard a judi­cious Violist positively affirm, that if a Scholar can but attain to the playing of Quavers with his Wrist, keeping his Arm streight and stiff in the Elbow-Joint, he hath got the mastery of the Bow-Hand. Others contend that the motion of the Wrist must be strengthened and assisted by a compliance or yielding of the Elbow-Joint [Page 8]unto it; and they, to back their Argument, produce for instance a person famous for the excellency of his Bow-hand, using a free and loose Arm. To deliver my own opinion; I do much approve the streightness of the Arm, 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 and Swift Division; for which it is most properly apt; But Cross and Skipping Division cannot (I think) be so well express'd without some consent or yeilding of the Elbow-Joint unto the motion of the Wrist. To gain this Motion of the Wrist, the ordinary direction is, to draw the Hand (in moving the Bow to and fro) a little after the Arm. Or you may try how you can play the first Example of Quavers by moving your Wrist only, keeping your Arm streight in the Elbow-Joint; a little practice will effect it. This Motion or loosness of the Wrist we mention, is chiefly in Demisemiquavers; for, in Quavers, and Semi­quavers too, we must allow so much stiffness to the Wrist as may command the Bow on, and off the String, at every Note, if occasion so require.

I will set your next Example in C fa ut, with the lowest String put down a Note, as we commonly do when we play in that Key. And, as I have formerly admonish'd you to practise your Examples first flow and then faster by degrees, that admoni­tion is most requisite in Swift Division, where also you must be carefull that the Motion of your Bow and Fingers do equal­ly answer each other, bearing your Bow moderately stiff 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 complyance of the Bow to the Strings, or 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 avoyd them.

[...]

The little peece at the end of this Example, is set as an exception to what was said (pag. 5.) of Beginning each eaven number with a Forward Bow; for here you must play them (as necessity will enforce you by reason of their quickness) some forward, and some backward.

§ 13. How to order the Bow in dou­ble Stops.

WHen two, three, or more Notes stand one over another (as you have in two places of the last Example) they must be play'd as One, by sliding the Bow over those Strings which express the sound of the said Notes. When one of them comes by it self, it is commonly play'd with a forward Bow; but if divers of them fol­low successively (as in the passages hereto annexed) then each other must of necessity by play'd by drawing the Bow back; but whether back or forward, be sure to hit the lowest String first (insisting thereon so long as need requires) and let the Bow slide from It to the highest, touching in its passage those in the middle betwixt them.

[...]

The figures for more convenience, are here set before the Notes. Where you see this figure (1) set before two or three Notes in the same Stop; it signifies that the first finger must be laid over all the said Notes: in which, and in all double Stops, the posture of the left hand is the same as if you play'd upon a Thiorba. One Example more, and we have done.

[...]

When you have practis'd these Examples according to the Instructions given, you may then, for variety, look upon some of those Divisions at the end of this Book; amongst which some are easie, made purposely for Learners; Others require the hands of a good Proficient. And because in those (as also in other mens Divisons) you will meet sometimes with Tripla's of divers sorts, I will speak something of them in this place.

§ 14. Of Tripla's.

SOmetimes the Grounds themselves are Tripla-time, consisting (usually) of three Semibreves, or three Minims, or three Crotchets to a Measure. Sometimes 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 Crotchets, six Quavers, or the like. Again, in Divisions upon Grounds of the Common-Time, you will meet now and then with divers Tripla's, as sometimes three Crotchets to a Minim, producing six Quavers, twelve Semiquavers, &c. Sometimes three Quavers to a Crotchet, and sometimes three Semiquavers to a Quaver; the Measure of all which, will not be hard to find out, where the quantity of each Semibreve is marked out with Strokes or Bars.

It now remains, that in directing the Hand I speak something concerning the Gracing of Notes: and though it depend much upon Humour and Imitation, yet I will try how far it may be deliver'd in words and Examples.

§ 15. Concerning the Gracing of Notes.

GRacing of Notes is performed two wayes, viz. by the Bow, and by the Fingers. By the Bow, as when we play Loud or Soft, according to our fancy, or the humour of the Musick. Again, this Loud or Soft is sometime express'd in one and the same Note, as when we make it Soft at the beginning, and then (as it were) swell or grow louder towards the middle or ending. Some also affect a Shake or Trem­ble with the Bow, like the Shaking-Stop of an Organ, but the frequent use thereof is not (in my opinion) much commendable. To these may be added that of Playing two, three, four, or more Notes with one motion of the Bow, which would not have that Grace or Ornament if they were play'd severally.

Graces performed with the Fingers are of two sorts, viz. Smooth and Shaked. Smooth is, when in rising or falling a Tone or Semitone, we draw (as it were) the Sound from one Note to another, in imi­tation of the Voyce; 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; in descending, that called a Back-fall.

Sometimes a Note is Graced by sliding up to it from a Third below, called an Elevation, now something obsolete. Some­times from the Third above, which we call a Double Back-fall. This Sliding a Third, is performed commonly upon one String.

Again, a Note is sometimes Graced by joyning part of its Sound to the Note fol­lowing, like a Prick-crotchet whose follow­ing Quaver is placed with the ensuing Note, but play'd with the same Bow of his Prick-crochet; This we have called a Cadent.

There is yet another Plain or Smooth Grace called an Acute or Springer, which concludes the Sound of a Note more acute, by clapping down another Finger just at the expiring of it.

§ 16. Shaked Graces.

SHaked Graces we call those that are per­formed by a Shake or Tremble of a Finger, of which there are two sorts, viz. Close and Open: Close-shake is that when we shake the Finger as close and near the sounding Note as possible may be, touching the String with the Shaking finger so softly and nicely that it make no variation of Tone. This may be used where no other Grace is concerned. Open-shake, is when a finger is shaked in that distance from whence it was removed, or where it is to be set down; supposing the di­stance exceed not the wideness of two Frets, for wider than that we never shake. Graces made with Open-shakes are these; a Beat, a Back-fall, an Elevation, a Cadent, and a Double Rellish. The Beat is the same in nature with the plain Beat, the difference only a short shake of the finger before we fix it on the place designed. This, as also the plain Beat, is commonly made from the Half Note, or distance of one Fret. The shaked Back-fall is also the same in nature with the plain, the difference only a shake of the finger taken off, which must be done in the same wideness as it stood. How an Elevation, Cadent, Double Rellish, &c. imploy the Open-shake, will better appear in their Examples which follow; in which (exp.) stands for Explication. The Notes which have an Arch or Stroke over or under them, are play'd with one motion of the Bow.

  • Smooth Graces.
  • A Beat.
  • Back-fall.
  • Elevation.
  • Double Back-fall.
  • Cadent.
  • Springer.
  • Shaked Graces.
  • Close-shake.
  • Open-shake.
  • Shaked Beat.
  • Shaked Back-fall.
  • Shaked Elevation.
  • Shaked Cadent.
  • Double Rellish.
  • exp.

[...] Beat. exp: Backfall exp: Double-Backfall exp: elevation. [...]exp Spinger. exp: Cadent. exp: Backfall Shaked exp: [...]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

To these may be added the Gruppo, Trillo, or any other Movement of the Voyce imitated on the Viol, by playing the like-moving Notes with one motion of the Bow.

Of these fore-mentioned Graces, some are more rough and Masculine, as your Shaked Beats and Back-falls, and therefore more peculiar to the Bass; 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 Cheerfulness upon the Treble, we do fre­quently use both Shaked Beats and Back-falls, 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 Bass. 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 thus directed, we will now proceed to the Concords of Musick.

SECOND PART.

§ 1. Ʋse of the Concords, or a Com­pendium of Descant.

ALthough our excellent Country-man 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 Bass, as the Ground­work or Foundation upon which all Musi­cal Composition is to be erected; and from it we are to reckon or compute all those distances or Intervalls which we use in joyning Parts together.

§ 2. Of Intervalls.

IN reference to Intervalls, we are first to consider an Unison; that is, One and the same Sound; whether produced by one single voyce, or divers voyces sounding together in the same Tone; and is, in Musick, as an Unite in Arithmetick, or as a Point or Centre in Geometry, not divisible. As Sounds recede more or less from the Unison, so do they make greater or lesser Intervalls. As namely, first, a Second, divided into Perfect and Imperfect. A per­fect Second is called a Tone, and cannot (as some contend) be exactly split in two equal halfs, as to proportion of Sound, but is by most Authors subdivided into Nine lesser Segments or Comma's, two whereof are assigned to a Diaschisma; four to the lesser, five to the greater Semitone: and the difference between these two Se­mitones or imperfect Seconds, they call an Apotome. Some more curious Observers of these Fractions will needs say, that a Tone wants somewhat of nine Comma's, and that the greater Semitone doth not altogether reach to five, nor the lesser to four. But these and other like observa­tions being less requisite to our present pur­pose, it sufficeth to have mentioned them; leaving a further disquisition thereof to such as find leisure and pleasure to search into these nicer subtilties.

Next follows a Third comprehending the perfect or greater Third by the name of Ditonus, and the Imperfect or lesser Third by the name of Seméditonus. And [Page 14]here it is observable, as also elsewhere, that the particle Semi or Seme doth not im­port the half of the whole, but a defici­ency, which makes the Sound fall a Semi­tone short of the more complete and perfect Intervall.

A Fourth is divided into the greater by the name of Tritone, which is a prohibited Intervall, and the lesser by the name of Diatessaron.

A Fifth is divided into Perfect and Im­perfect; the former is called Diapente, the later Semediapente; a false Fifth.

A Sixth is divided into the greater Hexachord consisting of a Tone and Dia­pente, and the lesser Hexachord consisting of a Diapente and Hemitone.

A Seventh is divided into the greater consisting of a Ditonus and Diapente, and the lesser consisting of a Diapente and Se­meditonus.

An Octave is divided into Perfect, cal­led Diapason, and Imperfect called Semedia­pason.

From these Intervalls arise those Distan­ces which we call Concords and Discords, in such manner and order as you see in the following Scheme, where an Octave is di­vided into twelve Semitones or Half-notes, such as may be observed in the Stops of fretted Instruments, or the Keys of an or­dinary Hapsecord or Organ; where (by rea­son no more subdivisions than twelve are exhibited) no difference appears between a Tritone and a Semediapente, (each being a Semitone less than a perfect Fifth) though in practical Musick their appearance be dif­ferent, the one like a Fourth, the other like a Fifth, as you shall see hereafter.

[figure]

§ 3. Of the Concords.

COncords are these; a Third, a Fifth, a Sixth, an Eight, and their Octaves. All the rest (with their Octaves) are Dis­cords. A Fourth, as it is an Intervall be­twixt the Fifth and Eight in the two upper parts, may in that sence be called a Conso­nant, but Computed with the Bass, it is a Discord.

Again, Concords are of two Sorts; Per­fect and Imperfect. Perfect are these, a Fifth and Eighth. Imperfect, are a Third and Sixth; which two last have yet another Distinction, to wit, a greater and a lesser Third, as also a greater and a lesser Sixth.

§ 4. Passage of the Concords.

FIrst, take notice that two Perfects of the same kind, as two Fifths, or two Eights, rising or falling together, is not allowed in Composition; but if the Notes stand still in the same place, or if one of the parts re­move into the Octave it is allowed. Or if the parts remove in contrary motion, it may be allowed in Songs of many parts, as thus,

[...] Illicita [...] Illicita [...] Licita [...] Licita [...] Licita in pluribus partibus [...]5 5 [...] 5 5 8 8 8 8 [...] 5 5 5 8 [...] 8 [...] 8 8 8 [...] 5 5 5 [...]Not allowed Not allowed Allowed Allowed Allowed in many parts

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 its place, or remove but one degree: For if both Parts leap together, the passage is less pleasing.

As for Thirds and Sixths, 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, provided you avoyd Relation inharmonical; that is, a harsh and unpleasing reflection of Flat against Sharp.

§ 5. Concerning the Key or Tone.

EVery Composition in Musick, be it long or short, is (or ought to be) designed to some one Key or Tone, in which the Bass doth always conclude. This Key or Tone is called Flat or Sharp, according as the Key-note hath the lesser or greater Third next above it. If it be the Lesser Third, 'tis called a Flat Key; if the Grea­ter Third, 'tis a Sharp Key, thus exempli­fied.

[...]Flat [...] Sharp [...] Flat [...] Sharp [...] Flat [...] Sharp [...]Flat [...] Sharp [...] Flat [...] Sharp [...] Flat [...] Sharp [...]Flat [...] Sharp [...] Flat [...] Sharp

How strange or difficult soever some Songs may appear by reason of the Flats or Sharps set at the beginning of them, yet all is but in relation to the Lesser or Greater Third taking place next above the Key or Tone-Note; being the very same, in all respects, with the first Instances of the Lesser and Greater Third above G.

As the Bass is Flat or Sharp, so must the other Parts be set, which are joyned to it.

All these things will best appear in Counterpoint; that is, when we set the Notes of the higher Parts, Note for Note, just over the Notes of the Bass, which (to a Beginner) is the easiest way of shewing the use of the Concords. But first I must direct you

§ 6. How to frame a Bass.

IN making a Bass three things must be observed; First, that it be natural to the Key designed, making its middle Clo­ses (if it have any) in such other Keys as have dependence upon the said Key; such are the Fifth and Third, if it be a flat Key; but if it be a sharp, imploying the greater Third (which is not so proper and easie for a middle Close) you may in stead thereof make use of the Fourth or Second above the final Key, in this manner.

[...]5 [...] 3 [...] 5 [...] 4 [...] 2

Secondly, let your Bass move for the most part by Leaps of a Third, Fourth, or Fifth; using degrees no more than to keep it within the proper bounds and Ayre of the Key.

Thirdly, I would have you (for more ease) to make choice of a Flat Key to be­gin with, and avoid setting of sharp Notes in it for some reasons which will appear hereafter.

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

§ 7. How to joyn a Treble to the Bass.

ABass being prick'd, you may joyn a Treble to it by setting like Notes a Third, Fifth, or Eighth above it. As for Sixths (which properly belong to sharp Notes) I shall speak of them hereafter. Now, as the proper movement of the Bass in Counterpoint, is (for the most part) by Leaps, 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 take for your next, (and so from one to another) that Concord which affords the nearest Compliance to that movement by degrees, as you see in the Example. If you set a figure under each Note as you prick it, to signifie what Con­cord it bears to the Bass, as you here see them, it will be some ease to your Eye and Memory.

Take notice that in few Parts Imperfect Concords are more delightful than Perfect, as not satiating or cloying the Ear so much as the multiplicity of Perfects do. Hence it is that in Two parts we seldom use Eights, unless to the Beginning-Note, Ending-Note, [Page 18]Cadent-Notes, or where the Parts proceed in contrary motion; that is, one ascending and the other descending.

§ 8. Composition of three Parts.

WHen you are perfect in setting a Treble and Bass, you may add to them a third Part, 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 nearest thereto. Provided, that if you intend your Composition for no more than three Parts, one of the two upper Parts be still a Third to the Bass, for the reason above-mentioned.

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

Cantus. [...]3 5 3 5 3 5 3 5 8 Altus. [...]8 3 8 3 8 3 8 3 8 Bassus. [...]

Concerning those two Notes which you see made sharp in the Alt, take notice, that when the Bass ascends a Fourth, or descends a Fifth, it commonly requires the sharp or greater Third to that Note from which it so riseth or falleth.

§ 9. Composition of four Parts.

BEing perfect in composing of Three Parts, you may try how you can add to them a Fourth Part, which now remains to be the Tenor; concerning which, these things are to be observed. (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 neer as you can to the Alt; for the Melody is best when the upper Parts are joyned close one to ano­ther. (3.) That you avoid the Consecu­tion of two Fifts, or two Eights, rising or falling together; as well amongst the upper Parts themselves, as betwixt any one Part and the Bass.

All which is at once performed by taking the next Concord, Note for Note, which you find under the Alt. As appears by the following Example.

Cantus. [...]3 5 3 5 3 5 5 3 5 8 Altus. [...]8 3 8 3 8 3 3 8 3 8 Tenor. [...]5 8 5 8 5 8 8 5 8 3 Bassus. [...]

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 always which bears the sharp or greater Third to the Bass in the next Note before any Close.

Though for ease and order's sake I shew­ed you first how to joyn one part to your Bass, then two, and lastly three, by setting and adding one part after another; yet now it is left to your liberty to carry on all your upper parts (so many as you design) together, disposing them into such Concords as you think most Convenient: Provided that one of the parts be still a Third to the Bass, which in Composition of three or more parts, should never be omitted.

§ 10. Concerning a Sixth.

IF your Bass have sharp Notes in it (such are commonly the Half Note under the Key or Tone, the greater Third above it, and sometimes also the lesser Third under it:) Notes standing in these places do common­ly require a Sixth to be joyned to them, as you see in this Example.

Here you have three Notes in the Bass, which require the lesser Sixth to be joyned to them; The First in E. (the lesser Third under the Key) whose Sixt is in the Treble. The Second in F Sharp (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 some things are to be Noted.

First, That when the Sixth is used, the Fifth must be left out; for a Fift and Sixth must not sound together in Counterpoint. Secondly, That the Half-Note under the Key, doth hardly admit an Eight to be joyned to it, without offence to a Critical Ear; and therefore have I put two parts in the same Third, as you see in the first [Page 20]Bar, rather than have any part to sound in the Eighth to that Sharp Note in F. Thirdly, That Basses, consisting much of Notes requiring a Sixth, are more apt for few than for many Parts. Fourthly, That the Bass, 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 Sharp Notes a Third lower, those Sixths are changed in Eights, the Thirds into Fifts, and the Sharp prohibited Eight into a Third, as in the Example following. And thus you see where Sixths are used, and how they may be avoided when you desire it.

From hence it ap­pears, that seeing a Fifth and Sixth are never used together in Coun­terpoint, it consequent­ly follows that there can be but three several Concords (which are a Third, a Fifth or Sixth, and an Eighth) joyned at once to any one Note of the Bass. And there­fore if you have a mind to compose more parts than four, (as five, six, seven, or eight parts) it must be done by redoubling those Concords in their Octaves, and making the parts pass into different changes to avoid the Consecution of Fifts and Eights, which duely observed, your Composition (no doubt) will be Harmonions.

Cantus. [...]3 8 5 3 3 5 8 3 5 3 Altus. [...]8 5 3 8 8 8 5 8 3 8 Tenor. [...]5 3 8 5 5 3 3 5 8 5 Bassus. [...]

§ 11. Ʋse of Discords.

DIscords are two wayes admitted into Musick: First, in Diminution; that is, when two, three, four, or more Notes of one Part, are set against one Note of a different Part: In which position a Discord is allowed to any Note of the Diminution, except the Leading Note, which should alwayes be a Concord. Example

[...]5 4 [...] 6 7 8 7 [...] 8 7 6 5 [...] 3 4 5 6 [...]3 4 [...] 5 4 5 6

Here observe, that two, three, four, or more Notes standing together in the same Rule or Space, may be considered as one intire Note; and may admit the applica­tion of a Discord to any of them, the first, only excepted. Example.

[...]7 6 [...] 5 4 3 2 3 8 7 5 [...]8 2 3 4 5 6

The other way in which Discords are not only allowed, 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 the Note of an other Part, as you see in the following Examples.

Syncopation in two Parts.

[...]876 6543 4676 8 3 4 3 4343 238 323 2323 2346438 [...]5676 7676 76765 4 38 343 43238 8 76 53656 765 4 38 [...]

Syncopation in three Parts.

[...]5 6 7 6 85 6 7 65 7 6 8 3 65 3 65 3 65 4 3 8 5656 5656 7 6 5 8 [...]323 3 3 3 4 3 3 3 3 3 843 843 843 8 3 3 3 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 Bass, if the other part of the Bin­ding Note did sound in Concord to that Note which went before.

Discords thus admitted, we are next to consider how they are brought off, to ren­der them delightful to the Ear; for simply of themselves they are harsh and displea­sing, and introduced into Musick for va­riety; or, by striking the sense with a dis­proportionate Sound, to beget attention to that which follows; to the hearing of which, the Ear is carried on (as it were) by a necessary expectation.

This winding or bringing a discord off, is best effected by changing from thence into some imperfect Concord, to which more sweetness is added by the Discord go­ing before. Yet here the Ear is not fully satisfied until these Discords and Imperfect Concords arrive at One more perfect, where (as at a period) we understand the sense of that which went before. Now, in passing from Discords to Imperfects; or from Imperfects to Perfects, the Rule should be this; that we deflect to that which is nearest rather than to one more remote: Hence it is that the greater Sixth is observed (by Des Cartes) to pass more naturally into an Eighth, and the lesser Sixth into a Fifth. This little remove, by a Tone or Semitone, connects and makes smooth the Ayre of the Musick in passing from Concord to Concord; which, by a greater remove, would rather seem disjointed.

§ 12. Of the excessive Fourth, and Defective Fifth.

ALthough an Excessive Fourth and Defective Fifth be Discords, yet are they of most excellent use in all Figurate Musick, and are sometimes set without Syncope or Binding, which (according to the Rules of Composition) is not allow­ed to other Discords. Either of them consists of six Semitones, which seems the same, as to proportion of Sound; But here we must consider them as they are represented to the Eye, like a Fourth and a Fifth, which (if you place one above the other) compleat the Compass of an Octave, thus.

[...] Semidiapente Tritone Tritonus. Semidiapente.

A Tritone naturally passeth into a Sixth, a Semidiapente into a Third.

Example.

[...] Tritonus. [...] Semidiapente.

A defective Fifth doth naturally require a Sixth to be joyned with it, as you see it set in the Example; which perhaps may seem a contradiction to what I said (pag. 19.) that a Fifth and Sixth must not sound toge­ther; that is, as Concords set Note against Note without binding: But this Fifth stands as a Discord, and is back'd with a Sixth to mollifie its harshness: For (as I have formerly said) there can be but Three Concords joyned at once to the Bass, which are alwayes (except when a Sixth takes place) a Third, Fifth, and Eight. And therefore if a Hundred or Hundred Thousand Voices were joyned together in Musical Concordance, they must all sound in these Three Concords or in their Octaves, which is still but the same species.

§ 13. Reflections upon the Concords of Musick.

ANd here I cannot but wonder, even to amazement, that from no more than Three Concords, (with some intervening Discords) there should arise such an infinite variety, as all the Musick that ever has been or ever shall be composed. And my wonder is encreased by a consideration of the Seven Gradual Sounds or Tones, from whose various positions and Intermixtures those Concords and Discords do arise. These Gradual Sounds are distinguished in the Scale of Musick by the same seven Let­ters which in the Kalender distinguish the seven dayes of the Week; to either of which, the adding of more is but a repeti­tion of the former over again.

This Mysterious number of seven, leads me into a contemplation of the Universe, whose Creation is deliver'd unto our Ca­pacity (not without some mystery) as begun and finished in seven dayes, which is thought to be figured long since by Orpheus his seven stringed Lyre. Within the Circumference of this great Universe, be seven Globes or Spherical Bodies in continual Motion, pro­ducing still new and various figures, accord­ing to their divers positions one to another. When with these I compare my seven Gradual Sounds, I cannot but 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 Trine, 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 [Page 24]such Concords, transmit into the Ear an Influence of Sound, which doth not only strike the sense, but even assect the very soul, 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 Three Sounds placed by the Interval of a Third one above another, do constitute one entire Harmony, which governs and comprises all the Sounds which by Art or Imagination can, at once, be joyned together in Musi­cal 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 most perfect and stu­peadious 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 Sackbot, Trumpet, or like extended Tube, should, by a Stronger emission of the Breath, skip from Concord to Concord before you can force it into any gradation of Tones, &c. What I have already mention'd is enough to persuade me that there is a greater mysterie in the Harmony of Sounds, than what hath been yet discovered.

§ 14. The Analogy of Musical Concords to the Aspects of the Planets, illu­strated in the following Scheme.

WHere you have the seven Gradual Sounds in their orderly progression represented on the Diameter-line. Upon which, is also described a Diapason with its included Consonants, according to the Arithmetical division thereof, as experi­mentally found upon a Monochord, or the String of any fretted Instrument, from the Nut to the middle thereof. 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 Fifth on one side, and a Fourth on the other) to a □. A Third and a Sixth compleating also the Compass of an Octave, as a △ and * do a Semicircle or the two opposite points of an Orbe. To which may be added, that a Diapason is divided into Twelve Semitones, as the Zodiack into Twelve Signes or Sections.

The other Figure shews, that all the Sounds that can possibly be joyned toge­ther in Musical Concordance, are still but the reiterated Harmony of Three.

[diagram demonstrating the analogy of music and the zodiacal planets]
‘Benedicta sit sancta et individua Trinitas’

The DIVISION-VIOL, OR The Art of Playing ex tempore to a GROUND. THIRD PART.

§ 1. Of Division, and the manner of performing it.

DIminution or Division to a Ground, is the Breaking, either of the Bass, or of any higher Part that is applyable there­to. The manner of expressing it is thus:

A Ground, Subject, or Bass, (call it which you please) is prick'd down in two several Papers: One for him who is to play the Ground upon an Organ, Harpsechord, or what other Instrument may be apt for that purpose; the Other, for him that plays upon the Viol, who, having the said Ground before his eyes, as his Theme or Subject, plays such variety of Descant or Division in Concordance thereto, 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 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 that few attain unto, depending much 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 endea­vour. True it is, that Invention is a gift of Nature, but much improved by Exercise and Practice. He that hath it not in so high a measure as to play ex tem­pore 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 the Hand may be shewed as well as in the Other, and the Musick perhaps better, though less to be admired, as being more studied. But to our matter in hand:

§ 2. Several kinds of Division.

IN Playing to a Ground we exercise the whole Compass of the Viol, acting there­in sometimes the Part of a Bass, sometimes a Treble or some other Part. From hence proceed Two kinds of Division, viz. a Breaking of 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 several sorts of Division are used upon the Bass-Viol, very promiscuously, according to the Fancy of the Player or Composer; Howbeit, for Order and Me­thods sake, I must discourse of them seve­rally; and will begin with.

§ 3. Breaking the Ground.

BReaking the Ground is the dividing its Notes into more diminute Notes. As for instance, a Semibreve may be broken into two Minims, foure Crochets, eight Qua­vers, sixteen Semiquavers, &c.

This Breaking or Dividing a Note admits divers ways of expression, according to the divers ordering and disposing the Minute parts thereof.

First,Five ways of Break­ing a Note. when there is no variation of Sound, by reason of the Minutes standing still in the same place, or removing into the Octave, which I accompt it but the same Tone.

Example.

[...]

Secondly, when the Sound is varyed, and yet the Ayre retained, either by a quick return, or by keeping near to the place of the Note divided: thus:

Example.

[...]

Thirdly, when the Minute Notes are imployed in making a Transition to the next Note of the Ground; as you see in the following Examples, where Notes are broken to all the several distances in an Octave, both ascending and descending.

Example.

[...]3 4 5 6 7 8 Ascending. [...] Descending [...]2 3 4 5 6 7 8 Ascending. [...] Descending [...]2 3 4 5 6 Ascending. [...] Descending. [...]7 8 2 3 4 [...]5 6 7 8 [...] Ascending [...] Descending

I have set some part of the Example in a higher Cliff, because this Breaking a Note by way of Transition, holds good in higher Parts as well as in the Bass.

Fourthly, when the Minutes are im­ployed in skipping into other Concords, as you see in breaking these four Semibreves.

Example.

[...]853 [...] 468 [...] 85635 [...] 853468 [...] 853

Fiftly, when the said Minutes make a Gradual Transition into some of the Con­cords, passing 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, moving on, to meet the next Note of the Ground. And though this moving into the Concords, be the very same as Descant, so long as it continues in that Motion; yet in regard of its returning either to its own Note, or to meet the next following Note in nature of a Bass, we must here rank it under the name and notion of Breaking the Ground. The manner of it you may see in these following 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 [...]2 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.

The chief Mysterie of Division to a Ground may be referred to these three Heads.How Divi­sion is made har­monious to the Holding-Note of the Ground. First, That it be harmonious to the holding Note. Secondly, That it come off so, as to meet the next Note of the Ground in a smooth and natural passage. Thirdly, Or if it pass into Discords, that they be such as are aptly used in Composition.

[...] As thus. Exemp: Gratiâ. [...] This passes into a 4.th This into a 7.th

How Division is made harmonious to the Holding-Note, was shewed in the Fifth way of breaking a Note. And the Bringing it off to meet the next Note of the Ground, How Divi­sion is brought off to Meet the next Note of the Ground. is much after the same way, viz. by making the last three, or more of the Minute Notes (at least two of them) ascend or descend by degrees, unto the next succeeding Note, as you see here following where the Semi­breve in G. is broken to all the distances 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; Onely that in quick Division more of the minutes will offer themselves in making this Gradual transition to the succeeding Note, as you see in the Semi­quavers of the precedent Instances.

By this which hath been shewed, you see (I suppose) what belongs to Breaking a Note: but this requires not only a Notion but a Habit also, which must be got by pra­ctice. Wherefore I would have you prick down some easy Ground; and break each Note making a Transition still from Note to Note, 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 carried on smoothly, as we have formerly admonished; and that your Flats and Sharps have still relation to the Key and Ayre of your Ground.

Secondly, you are to consider that a Seventh or Sixth falling, is the same as a Second or Third rising, and so you may consider all other distances, with their opposite Octaves.

Example.

[...]2 3 4 5 6 7 8 8 [...]7 6 5 4 3 2 8

And therefore you may choose whether you will meet, any succeeding Note of the Ground, in the Ʋnison, or in its Octave, above or below it; for, concerning Octaves the reason is still the same.

Thirdly, in such places as the Ground doth intimate a Cadence, by falling a Fifth or rising a Fourth; all the Notes that hit upon the Third above, or Sixth below, must be played Sharp. See Pag. 18.

Lastly,How Divi­sion is to Move be­low the Ground-Note. as your Division passes into the Third and Fifth, whilst it moveth above (by which it is made harmonious to the to the Ground-Note) so, in moving beneath, it must pass into the under Octaves of those Concords, viz. into the Sixth and Fourth below the Ground-Note. Thus

[...]535 [...] 535 [...] 535 [...]464 [...] 464 [...] 464

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, according to some One or Other of those five ways before-mentioned; only I have made the Division, in one place, to meet the Ground-Note in the Third; and in another place in the Fifth: both which are mark'd out unto you for your imitation, when the Point, or any other convenience shall invite you thereunto.

Here a doubt may arise, concerning the Seventh above and Second below the Divi­ded-Note; which, in the Division, is some­times made Sharp, and suddenly Flat again, according to its own nature: in which doubts the Ear must always be chief Um­pire. Howbeit, in this particular, some­thing (I think) may be deliver'd by way of Rule; which is, that if we descend to a Second, and immediately ascend again, that Second must be made Sharp: The same is understood of the Seventh above, in reference to the Eighth, as you may see in breaking the two Semibreves in D.

Example.

[...]

Here your Ear will tell you that the Note in C requires a Sharp: but in the second Instance where the next Note doth not so ascend, no Sharp is required.

From this Rule we must except, that if the Ground do suddenly rise or fall to a Flat Second; or fall a Third, or make a Ca­dence: In these Cases no Sharp is required, though the Note rise again, as you may see in these Instances.

Example.

[...]

Another observation is; that at a Close I would always have the Division to end in the Sound of the Note next before the Close, and from thence leap off into the Sound of the Final Note, as you see it doth in all the Strains of the last 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-Bass, would sometimes at the very Close, run down by degrees to the Concluding-Note; than which nothing is more improper: for, if any upper Part do fall from a Fifth to an Eighth (a thing most frequent) the Bass, by such a Running down by degrees, doth make two prohibited Eights to the said Part.

Example.

[...] Not allowed. [...] Not allowed. [...] Allowed. [...] Allowed. [...]5 8 [...] 88 [...] 88 [...] Illicita. [...] Illicita. [...] Licita. [...] Licita.

Though this Running down by degrees, be worse in playing a Consort-Bass, than in Division to a Ground; yet in This also it doth not want its bad consequence; the Organist commonly joyning such Parts to his Ground, as the Composer doth unto his Bass.

§ 4. Descant Division.

DEscant Division is that which makes a Different-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 Ʋnison 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 Bass, is but a Transition from Note to Note, or from one Concord to another, either by Degrees or Leaps, with an Intermixture of such Discords as are allowed in Composition.

The Rules of Descant-Division are the same I gave you in joyning another Part to your Bass; That is, you may begin with a Third, Fifth or Eighth to the Ground-Note; passing on to meet the next Note also in a Third, Fifth, or Eighth: provided you avoyd the consecution of Perfects of the same kind, as hath been delivered. The manner of Breaking this Descant is the same I gave you in Breaking a Note, according to those Five Ways mentioned pag. 28. and left to your liberty to use This or That, as occasion shall re­quire.

A Discord is never used to the Beginning of the Ground-Note, unless in Syncope, as hath been shewed. A Sext is seldome used as the Leading-Note, unless in Binding, or to such Notes as require a Sext: not only Sharp Notes requiring the lesser Sext, as was shewed pag. 19. but sometimes also Flat Notes which require the greater Sixth [Page 36]in stead of the Fift, as you see in the middle Bar of the Example following; in which, the black Notes express the full latitude of the Bass, according to what hath been for­merly shewed.

Example.

[...]6 [...] 66 [...] 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 Sixths to those Notes which stand a Third higher.

Example.

[...]6 [...] 6 [...] 6

And here you may perceive the reason, why such Notes affect a Sixth and not a Fifth, because a Fifth would produce a Seventh to those Notes which express the full latitude of the Bass.

§ 5. Mixt Division.

I Call that Mixt Division which mixeth Descant and Breaking the Ground, one with the other; under which name I com­prehend all Division which presents to our Ears the Sounds of Two or more Parts moving together: And, this is expressed either in single Notes, by hitting first upon One String and then upon an Other; or in double Notes, by touching two or more Strings at once with the Bow. This, as it is more excellent than the single ways of Breaking the Ground, or Descanting upon it, so it is more intricate, and requires more of judgment and skill in Composition; by reason of the Bindings and intermixtures of Discords, which are as frequent in This as in any other Figurate Musick.

I will give you Examples of This and of Descant-Division; not insisting upon the several distances in an Octave (now less needfull) but upon such passages as offer themselves most remarkable in Grounds; such are Cadences.

§ 6. Cadences of two sorts.

THough Cadences may seem to be many in Number, yet in effect they are but Two; to wit, a Seventh brought off with a Sixth, after which the Bass falls a Tone or Semitone; or else, a Fourth brought off with a Third, after which the Bass commonly falls a Fifth, or rises a Fourth, which is the same thing.

Example.

[...]76 [...] 76 [...] 43 [...] 43

Your first Example shall be upon the first sort of Cadence, and the Notes leading to it: in which you have first, the Ground broken; then Descant; and lastly, Mixt Division, both in single and double Notes; by which you may better discern how they differ one from another.

  • Minuritio
  • Ground Broken.
  • Fundamentalis.
  • Simplex.
  • Descant.
  • Melothetica.
  • Composita.
  • Mixt.
  • Mixta.

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

In Playing to a Ground we do sometimes 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 Se­venth brought off with a Sixth, which passes into its desired Eighth. In the other Variations of Descant you have the figure [6] set under those Notes which lead the Division answering to that Note of the Ground which require a Sixth. 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 Sharp, that you may perceive how great a difference of Ayre there is, betwixt the same Notes Flat & Sharp; as upon hearing you might easily judge; though the same Diminution were applyed to each of them.

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

We will now proceed to the other sort of Cadence, which is a Fourth brought off with a Third; and first upon a Minim. Thus:

Example.

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

Where observe, that if the Notes were played twice so slow or long as they are here set down, the Example would be a Cadence upon a Semibreve. Nevertheless, I will set your next 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 Notes descending by de­grees.

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

§ 7 Concerning Fifths and Eighths in Division.

IN this last, and also in other Examples, there is one thing which may scandalize a young Composer, and perhaps give of­fence to some old Critick, in prevention whereof I will speak a little in this place. Every Composer knows that the Consecu­tion of Fifths and Eighths, is not allowed in Musick; that is, between two different Parts. 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 a Ground, we play but the same Part with it; in which doing, if we hit upon the Eighth above or below the Ground-Note (which will produce, sometimes, two or more Eighths together, as you see in the first variation of the precedent Example) yet this is still to be accompted as but one and the same Sound with the Bass; and therefore if any man except against such a Consecution of Eighths, he may aswel except against the Organ, Harpsecord, or Lute, having Octaves joyned to their Basses, which being struck one after another, produce the consequence of so many Eighths together.

As for Fifths, they cannot occur in Breaking the Ground, because there we meet every following Note in the Ʋnison or Oclave. If they happen in Descant, there is no Apology for them, except one of them be a false Fifth; which, though not allow­ed by some precise Musicians of former times, yet our more modern Authors, as well Writers as Composers, do both use it and approve it. For my own part, I do not only allow the Consecution of Two Fifths, when one of them is Defective, but (being rightly taken) esteem it amongst the Elegancies of Figurate Musick.

Your next Example is a Cadence upon a Breve, with four Minims ascending to it by degrees.

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

§ 8. Concerning Sixths and Thirds in Division.

IN the mixt Division of these Examples, you have in some places many Sixths ta­ken one after another, in other places ma­ny Thirds; concerning which, observe; that in Notes where we hit two Strings at once with the Bow, Thirds are more easie for the Hand, and more pleasing to the Ear than many Sixths together: But, in Mixt Notes where we hit one String after another, Sixths are esteemed better than Thirds; for, the Leaps of those being greater, a greater variety is conveyed un­to the Ear. Thence it is, that in Skipping-Division we rather make use of Tenths then simple Thirds, when there follow many of them one after another. Howbeit, if skipping Thirds be express'd upon two different Strings they are very delightful in Mixt Division.

Having spoken of Cadences, I must not omit a Close which is made without either of the forementioned Cadences, and is used for a Conclusion to some Fancies, Mo­tets, or other grave Musick; in which the Bass falleth a Fourth or riseth a Fifth, and part of the final Note is commonly taken into the Descant in this manner.

I will give one Example of dividing upon it, because, if at [...] any time you play or compose Division to a Through-Bass 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.

Where you see any Note with a Tail both upward and downward (as in the se­venth Line of the next example,) it signi­fies two Strings sounding in Ʋnison; one being stopped and the other open.

An Example of a Close without a Cadence

[...]

I have not distinguished the three sorts of Division in this last Example, because the Ground-Notes standing so long in the same place, do not admit any distinction betwixt Breaking the Ground and Descant­ing upon it. But this which I have set down may suffice to shew you the way of Dividing upon such Notes, albeit their con­tinuance in the same place were yet much longer.

Although I did set, in the former Ex­amples, the several Ways by themselves, that you might better observe 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, as frequently as we please; insomuch, 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; In which the first part of the Semibreve in D, is divided according to the way of Breaking the Ground, and the later part of it in the way of Descant.

Example.

[...]

§ 9. Of Crochets.

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 neer as I can, omit no­thing which may ease or assist the young Practicioner, I will give some Examples upon shorter Notes, as Crochets and Qua­vers, with such Observations as I think requisite; and first, of Crochets ascending and descending by degrees.

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

Paradigma Semiminimarum gradatim descendentium.

An Example upon Crochets descending by Degrees

[...] The Ground broken [...] Descant [...] Mixt [...] Mixt

Having shewed you Crochets moving by degrees, I will now let you see them move by leaps, 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 foregoing Ground you have all the Intervalls or Distances which are in an Octave; for, in the first Strain you have Thirds falling and Fourths rising, which include, as the same thing, Sixths rising and Fifths falling. In the second Strain you have on the contrary, Thirds rising and Fourths falling, which is the same with Sixths falling and Fifths rising. And lastly, for Sevenths you have Them in­cluded (by their opposite Octaves) in such Notes as rise or fall by degrees.

10. Of Quavers.

IF Quavers occur in a Ground upon which you are to Play or Compose Di­vision; you are, first, to consider, whe­ther they be not the Minute parts of some longer Note: as for example, when they move by degrees to make a transition to some other Note, as in such instances as these.

Example.

[...]

Here they signifie no more than the plain Notes which you see in the Bars next after them; and therefore, if you divide upon such Quavers, as you would do upon the said plain Notes, only making your Division proceed in a contrary motion to to the Quavers, the Musick may pass for currant, especially in Playing ex tempore to a Ground.

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, by 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, is a little irregular, as to what we have deli­vered of meeting each following Note in the Ʋnison or Octave, for here each other Quaver is met in a Second. But necessity or shortness of Dissonance renders 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 and De­scending [Page 52]by degrees consisted of Prick-Notes, succeeded by Notes of the next less quan tity; Then, that way of Breaking would be both regular and commendable; as thus,

[...] Ground [...] Broken [...] Ground [...] Broken

§ 11. Of b Flat and Sharp.

IF you ask me why I 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, 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 ascending or descending by de­grees, we seldome exceed the distance of a perfect Fourth, lest we produce unto the Ear that harshness which is called Relation not harmonical: for though the lesser Fourth be most frequent and very agreeable in Musical progression, yet when both Terms are extended, the Higher being sharp, and the Lower flat, the distance is then a Tri­tone, which is more by half a Note than a perfect Fourth; and therefore when this happens, we commonly alter that which comes first in complyance to, (and preparing the Ear for) that which is to follow. And here you may observe Three different Fourths in Practical Musick, viz. a Tritone, or excessive Fourth, Diatessaron or perfect Fourth, and the lesser Fourth we spoke of, which is when the lower Term is sharp and the higher flat; thus exemplified:

[...]

As for Quavers moving by leaps, I have little to say, more than that Grounds ought not to consist of Notes so quick as Quavers in such a movement. But if such Notes should be proposed, you may serve your self by that Example you had of Crochets; 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

It now only remains that I give you some little assistance, by taking you (as it were) by the Hand, and leading you into the easiest way of Playing Ex tempore to a Ground.

First, you are to make choice of some Ground consisting of Semibreves or Minims, or a mixture of these two: for such ought Grounds to be, which are proposed to be Play'd upon at sight.

Next, you ought to be provided of ten, twelve, or more points of Division (the more the better) each consisting of a Semibreve or Minim, which you may ac­commodate to the first Note or Notes of your Ground.

Being thus prepared, take one of the said Points, and apply it first to One Note, and then to another, and so through the whole Ground. When you can do this, take another Point, and do the like with it, and so one after another so many as you please.

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

Example.

[...] 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 of 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 several Notes of the Ground: Besides, it renders the Division more uniform and more delightful also; provided you do not cloy the Ear with too much repetition of the same thing; which is easily avoyded by a little variation, as you see I have done in carrying on some of the foregoing Points, Also you have liberty to change your Point though in the middle or in any other part of the Ground: or you may mingle one Point with another, as best shall please your fancy.

§ 12. Concerning ordering of Division.

WHen you are to Play Division to a Ground, I would have you, in the first place, to Play over the Ground it self, plainly and distinctly; for these reasons: 1. That others may hear 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 Plays the Ground unto you may better perceive the Measure of Time.

The Ground being Played over, you may then break it into Crochets and Quavers; or Play some neat peece of slow Descant to it, which you please. If your Ground consist of two or three Strains, you may do by the second or third, as you did 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 think fitting, and shewed some command of Hand; you may then fall off to slower Descant or Binding-Notes, as you see cause; Playing also sometimes loud 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 invention shall prompt you to, changing still from one variety to another; for variety it is which chiefly pleaseth: The best Division in the world, stil 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.

§ 13. Of a Continued Ground.

A Continued Ground used for Playing or Making Division upon, is (com­monly) the Through-Bass of some Motet or Madrigal, 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, until you come near some Cadence or Close, where I would have you shew some Agility of Hand. There, if you please, you may rest a Minim, two or three, letting him that Plays 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 or 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 than other, reserve it for the Conclusion.

§ 14. 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 as to Musick, That is always to be preferred, which is more easie to be per­formed. Hence we may conclude, that no man is sit to Compose Division to a Ground (how great a Master in Musick soever he be) unless he know the neck of the Instrument, and the Method of Finger­ing belonging unto it.

This is all I have to say concerning Di­vision for one Viol; more than that I would have you peruse the Divisions which other men have made upon Grounds; as those of Mr. Henry Butler, Mr. Daniel Norcome, and divers other excellent men 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.

§ 15. Of two Viols Playing together ex tempore to a Ground.

AFter this Discourse of Division for One Viol, I suppose it will not be unseasonable to speak something of Two Viols Playing together upon a Ground; in which kind of Musick, I have had some [Page 58]experimental knowledg; and therefore will deliver it in such order and manner as I have known the practice of it; referring the Improvement thereof to further expe­rience.

First, let the Ground be prick'd down in three several Papers; One for him who Plays upon the Organ or Harpsechord: The other two for them that Play upon the two Viols: which, for order and brevity, we will distinguish by three Letters; viz. A. for Organist, B. for the first Bass, and C. for the second.

Each of these having the same Ground before him, they may all three begin to­gether; A. and B. Playing the Ground, and C. Descanting to it, in slow Notes, or such as may sute the beginning of the Musick: 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 in the second: One Viol still Playing the Ground whilest the other Descants or Divides upon it.

The Ground thus Play'd 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 flaccess or lessen, but rather increase in the performance.

When the Viols have thus (as it were) Vied and Revied one to the other, A. if he have ability of Hand, may, upon a sign 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 sinished his Strain, a reply thereto may be made, first by one Viol, and then by the other.

Having answered one another in that same manner so long as they think sit, the two Viols may divide a Strain Both toge­ther. In which doing, let B. break the Ground, by moving into the Octave up­ward or downward, and returning from thence either to his own Note, or to meet the next Note in the Ʋnison or Octave. By this means, C. knowing B's motion, he knows also how to avoyd running into the same, and therefore will move into the Third or Fifth, (or Sixth where it is re­quired) meeting each succeeding Note in [Page 59]some one of the said Concords, until he come to the Close; where he may (after he has divided the Binding) meet the Close Note in the Octave; which Directions well observed, two Viols may move in Extemporary Division a whole Strain together, without any remarkable clashing in the Consecution of Fifths or Eighths.

When they have proceeded thus far; C. may begin some Point of Division, of the length of a Breve or Semibreve, na­ming the said word, that B. may know his intentions: 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. This done, they may betake themselves to some other 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 singly or joyntly; if jointly, it must be done according to the former Instructi­ons of Dividing together; Playing still slow Notes and soft, whilest the Organist Divides; for that Part which Divides should always be heard lowdest.

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 begin to Play Tripla's and Proportions, answering each other either in whole Strains or 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 sute 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, than those Divisions which had been most stu­diously composed.

§ 16. Of Composing Divisions of Two or Three Parts.

IN Composing Division for two Bass Viols, Two Basses you may follow the forementioned me­thod, making sometimes This, sometimes That Part move above or below: Some­times answering one the other in Points, [Page 60]joyned together in Division; sometimes in siow, sometimes in quick Motions, such as may best produce Variety: but after their answering one another in Points, I would always have them joyn together in some lofty 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: Two tre­bles. So, that (the Ground conside­red) the Composition is Three distinct Parts. When the Trebles move together, their most natural passage is in Thirds one to the other; sometimes in Sixths or a mixture with other Concords, but still such as have relation to the Ground. As for their answering one another in Points; their several Motions and Changes, in order to Variety; the same is understood as of the former.

In Composing for a Treble and Bass, you are to consider the nature and compass of either Part,Treble and Bass. 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,Two Tre­bles and a Bass. Two Basses and a Tre­ble. Three Bas­ses. must be had in Composing for two Trebles and a Bass, or for two Basses and one Treble.

In Divisions made for three Basses, every Viol acts the Treble, Bass, or Inward Part, by turns. But here you are to take notice, that Divisions of Three Parts, are not usually made upon Grounds; but rather Composed in the manner of Fancies; be­ginning commonly with some Fuge, and then falling into Points of Division; an­swering one another; sometimes two a­gainst one, and sometimes all engaged at once in a contest of Division: But (after all) ending commonly in grave and harmo­nious Musick.

Howbeit, if, after each Fancie there follow an Ayre (which will produce a pleasant Variety) the Basses of These consisting of two short Strains, differ not much from the nature of Grounds. These Ayres or Almains begin like other Consort Ayres; after which the Strains are repeated in divers Variations, one Part answering another, and sometimes joyning together in Division, as formerly mention'd.

In these several sorts of Division of two and three Parts, my self, amonst others more eminent, have made divers Compo­sitions, which perhaps might be useful to young Musicians, either for their Imitation or Practice: but the Charge of Printing Divisions (as I have experienced in the Cuts of the Examples in this present Book) doth make that kind of Musick less com­municable. Howbeit, if you desire writ­ten Copies of that sort, (a thing most necessary for those who intend to Compose such like themselves) none has done so much in that kind, as 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 design) divers Eminent men in this our Kingdom; who, in their various and excellent Compositions, especially for Instruments, have (in my opinion) far out­done those Nations so much cry'd up for their excellency in Musick: but my naming them would signifie little, they being sufficiently known and honoured by their own Works; neither had I taken upon me to nominate any particular person, had it not been upon the necessary accompt of Division-Musick, the peculiar Subject of our now ended Discourse.

Minuritiones, Tyronum exercitationi, accommodoe.
Divisions for the practice of Learners

[...]

Prolusio [...]

Prolusio [...]

[...]

Prelude [...]

Prelude [...]

Prelude [...]

[...]

The Ground [...] [Page 55] [...] [Page 56] [...] [Page 57] [...] [Page 58] [...] [Page 59] [...] [Page 60] [...] [Page 61] [...] [Page 62] [...] [Page 63] [...] [Page 64] [...] [Page 65] [...] [Page 66] [...] [Page 67] [...]

Finis.

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